Exclusive Track-By-Track: Pyrrhon – “The Mother Of Virtues”

Exclusive Track-By-Track: Pyrrhon – “The Mother Of Virtues”

We’re excited to bring you the exclusive track-by-track from Pyrrhon for their new release, The Mother Of Virtues, out now through Relapse Records. Stream the album below while you read along.

Purchase The Mother Of Virtues here: www.relapse.com/pyrrhon

Pyrrhon

The Mother Of Virtues Track-By-Track

“The Oracle of Nassau”
This was one of the last songs we wrote for an album, and it was kind of a lark at first — a “how zany can we get?” experiment. The section that runs from 0:39 to 0:52 sounds like random noise at first, but it’s actually one of the most complex and technically demanding passages on the whole album. I tried to pack as much into the lyrics as I could in an effort to keep up with the music. —Doug

“White Flag”
This was probably the most challenging song on the album for us to assemble and fine-tune. We recorded a working version in the summer of 2012 for a demo, but it changed considerably for the final cut. The doubled vocal on the final riff was the result of in-studio happenstance. Doug tracked a high and low part separately so that we could compare the results; someone suggested that we listen to both simultaneously and the results were devastating. —Dylan

“Sleeper Agent”
“Sleeper Agent” was constructed with both aggression and groove in mind. The original version of the song was written by Doug, but Dylan later reworked most of it, creating a much more intense tune. We take full advantage of abrupt changes in this song, leading violently from one section to the next. The guitar solo was a last-minute addition to the track, but serves as a perfect median, splitting the groove of the first half from the speed of the second. —Erik

“Balkanized”
“Balkanized” started as a bass composition. Dylan wasn’t sure what to do with it at first but ended up writing this incredibly strange guitar part over it, creating one of my favorite tones on the album. The sample that leads off the track was a lucky moment: a piledriver tearing away at the ground right across the street from us as we were recording the tracks live in Brooklyn. —Erik

“Eternity in a Breath”
I suspect that a lot of people will dislike this song, but I love it. It’s the loosest and most ‘live’ cut on the album; we went into the studio with only a vague sketch of its second half. The way that section crescendos was totally unplanned, and it’s one of the most intense moments of intuitive group dynamic on the record. It’ll never sound quite the way it does on this recording again. “Eternity in a Breath” also has my favorite lyrics on the album. —Doug

“Implant Fever”
This is the oldest song on the album by a pretty broad margin. We actually debuted it live at the record release show for our first album back in 2011. I wrote the original guitar part for this song, but Dylan reworked parts of it substantially and improved the song a great deal in the process, just like he did with “Sleeper Agent.” I was ready to scrap this song for most of the second year we spent on the album, but I’m glad we kept it. —Doug

“Invisible Injury”
I started writing the main riff of this song while I was on an airplane flying back to the east coast from San Francisco. Up until that point, most of my riff-writing for this album began with a guitar in my hands, as opposed to with pen and paper. I realized with this song that it can be easier to pinpoint the musical ideas swimming around in my head if I sit down and patiently jot them down before picking up a guitar and refining them. —Dylan

“The Parasite in Winter”
“The Parasite in Winter” is the second bass-driven song on the record, with the guitars staying high and atmospheric throughout the beginning, growing more chaotic as it goes. The tempos systematically fall, leading to an ending made up of improvised double bass patterns under a wash of guitars and bass. —Erik

“The Mother of Virtues”
One of the biggest chances we took on this album was with the middle improvised section on this song. We had incorporated improvisation into our music before, but this song features our loosest and most drawn-out piece of pure improvisation yet. I have always wanted to hear more metal bands experimenting with improvisation, so we gambled and went for it with this one. The transition between the end of the improv section and the quiet motif that introduces the final section of the song is one of my favorite parts on the album. —Dylan

www.facebook.com/pyrrhonband  |  pyrrhonband.bandcamp.com  |  www.relapse.com

Upcoming Show:
4/6/2014 The Acheron – Brooklyn, NY w/ Epistasis, Kayo Dot, White Suns [info]

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