Chicago death metal trio PRIMAL CODE unleashes their debut album Opaque Fixation via Relapse Records. We catch up with the band to discuss their journey and intense new release.
1.
Congrats on signing with Relapse Records and your upcoming debut release Opaque
Fixation! How does it feel to finally have your first full-length album ready
to unleash on the world?
Absolutely
unreal, Relapse is an absolute juggernaut and we couldn’t be more thrilled to
be a part of it in any way. It’s very
validating to have anyone, let alone Relapse, believe in or even like your
music. We have had an amazing time
putting the record together and can’t wait to share it.
2.
You’ve described your music as having a “low-speed whiplash” vibe, inspired by
the heaviness of bands like Bolt Thrower. What drew you to that sound, and how
did you incorporate it into the core of PRIMAL CODE’s music?
It’s hard
to really describe that era and niche of death metal. There’s some extremely
raw and unrelenting energy with bands like that, where the songs are almost
more a feeling than riffs at time, a constant driving. Almost as if you’re getting sucked into some
sort of giant industrial machine. There is something to be said for that kind
of energy and driving force without overly complicated riffs or messy thrash
parts that are just filling space sometimes. Our own sound happened accidently
trying to interpret our version of that, with dashes of Death, Obituary,
Benediction, etc. For a long while, I had an aversion to faster parts and would
inadvertently write everything mid paced. Our original singer mentioned the
“low-speed whiplash” thing and it just stuck with us.
3. Your
debut album Opaque Fixation has a very powerful and brutal energy. Can you tell
us a bit about the themes and lyrical concepts behind the record? What do you
hope listeners take away from it?
Most of the
themes or ideas I like to keep as basic as I can and branch off that. I’m
nowhere near bright enough for political standpoints, or more involved
storytelling. A lot of core fears, I guess, tech-apocalypse, surviving a
wasteland, life/death, loss, where we sit in the animal kingdom’s pecking
order. Without our gadgets and tech, we
are really very useless, soft, pink creatures.
I prefer to stay as tongue in cheek as I can outside of a core theme for
each song. The songs are much better when each person doesn’t exactly know what
I’m getting at. That way every individual creates their own narration/picture
while listening that is unique to them.
If I tell you exactly what it is, it’s just uniform, standard, boring,
and won’t carry the same personal meaning to someone.
4. You
recorded the album at Bricktop Studios in Chicago. What was the recording
process like? Did the studio environment shape any aspects of the album’s sound
or vibe?
Bricktop is
spectacular. We recorded in 4 days with Pete Grossman as the engineer (Andy
Nelson is also great). Pete spent a ton of time beforehand listening to demos
and talking about our sound, what we were looking for out of tone and a vibe.
When we got in the actual studio, Pete already had a plan, and it took off from
there. It was shocking how laid back it was all while being so efficient. The
studio itself is on Chicago’s south side, nestled in the rail yards and old
warehouses. It’s inside a very cool old building that used to make butcher
blocks. It has the perfect atmosphere for us.
5. As a
three-piece band, you’ve mentioned that “less is more.” How does being a trio
influence your songwriting and live performances? Does it create any unique
challenges or benefits?
Songwriting,
not so much. We usually just write songs with no regard for how it may sound
with only one guitar player, or if I can even simultaneously sing/play what we
are writing. If we are all on the same wavelength, we usually just run with it,
and then sort out any possible live issues with it later. So far, there really
hasn’t been too much of an issue having the songs translate live. We have to
play some games with amps/pedals to make the guitars as close to we can as 2
players, but nothing major. It’s all worth it. It’s so much easier to play
tight and vibe off one another with just three people. I feel like the power
trio just always sounds more wound up, bigger and intense. It also makes
scheduling, traveling, and writing substantially less difficult.
6. Your
influences range from old-school death metal legends like Death, Obituary, and
Napalm Death. What is it about that era of death metal that resonates with you,
and how do you modernize it in PRIMAL CODE’s sound?
There is a
certain aura of simplicity in a lot of those records, both writing and in tone.
Some of those songs are just so straightforward and to the point, you don’t
have a second to even react sometimes. You’re just in it until it’s over. It
feels very genuine, in a way. So, we try our best to be as to the point as we
can, no big build ups or dragging on verses or filler. Thankfully, I don’t
think any of us are good enough musicians to write anything beyond Cro-Magnon,
knuckle-dragger riffs anyway.
7.
Tracks like “Anapsid,” “Totem,” and “Extinction” seem to strike a balance
between mid-paced brutality and moments of intensity. How do you approach
songwriting in terms of pace and dynamics to keep your music both punishing and
engaging?
Man, I wish
I had a more profound or music theory related answer…. Honestly, we just try
not to feel bored with what we’re doing. If something feels like its dragging,
take a bar or two out, if it feels lazy, we speed it up, etc. I will usually
have my favorite parts of the song and will work parts around those to best
build up to that or bring the most dynamic change that feels cool.
8. The
album’s artwork, created by Chicago tattoo artist Dan Gardea, is stunning. How
did that collaboration come about, and how do you feel the artwork reflects the
music and themes of Opaque Fixation?
Dan is a
really talented dude. We had seen his art and tattoos for a while. When this
opportunity came, we asked him first. The problem being, we only had very loose
ideas, themes and feelings we wanted out of it, no concrete plan. We were
shocked when he just ran with it without skipping a beat. I gave him lyrics,
some references and overall themes I wanted out of it, and he came up with all
of that out of the blue. It’s really perfect for our record – it’s unsettling
and claustrophobic. Makes you feel like you don’t have control, you’re
powerless with a lot of raw, scary energy.
9.
You’ve released a demo, an EP, and a split release leading up to this debut.
How has PRIMAL CODE’s sound evolved from those early releases to what we’ll
hear on Opaque Fixation?
Our
songwriting has definitely become more of our own sound rather than trying to
present our interpretation of other bands. There was a lot more “trying” to
sound a certain way at first. Trying to make sure we checked whatever boxes we
thought we needed to check. It has evolved into our own thing now; it’s a much
more comfortable and lucid songwriting process.
10. The
Chicago death metal scene has a long, proud history. How has being a part of
that scene influenced PRIMAL CODE’s music, and how do you see yourselves
contributing to that legacy?
Oh wow. We
are just happy to be a small part of it, around it and in it. We are very proud
of our city and the heavy bands it produces. Chicago is a very special place.
It’s absolutely mind blowing for us to even being considered as possibly part
of that legacy. I don’t know how to answer that. I hope people get the same
things from the songs that we do, and if that lasts in any way, we couldn’t be
happier.
11. As a
band that has quickly gained attention in the underground scene, what are your
goals moving forward? How do you plan to expand your reach after the release of
Opaque Fixation?
Get the
songs out to as many people as we can – we really want to share them. Then start all over again with another record
and repeat as long as we can!
12.
Finally, what can fans expect from your live shows after the album drops? Any
plans for touring or special events to support Opaque Fixation?
I like to
think there is a certain amount of raw energy in these songs that is only
attainable live. We would really like to deliver them to someone with the same
energy that went into them that you can’t entirely get from a recording. We’re
looking forward to getting out and playing anywhere and everywhere that we can.
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