Suicide Bombers Track-by-Track “All For The Candy”– Where Time Always Goes (Part 11)
SUiCiDE BOMBERS are thrilled to present a track-by-track run-through of our latest record, ALL FOR THE CANDY, here at Junkyard Stories. This 12-part series will present one song every week, written by members of the band.
WHERE TiME ALWAYS GOES
Chris: This is the oldest song idea of the entire record. It even pre dates our very first album. I remember playing it to the first album line-up of the band. They all liked it, but we also all agreed that a song like that would need a big stage and since we wouldn’t be playing big stages just yet, it made no sense to include it on our debut album.
It was pretty much finished from the start til the metal riff just before the solo. I had the piano part, the lyrics, melody and all the chords. I was unsure about what to do with the drums – when they should come in – and I was also unsure about what to do with the bass chords for that metal riff before the solo and since there was no immediate need for the song anyway, I just left it there.
All our live set lists have come together really naturally. We like to focus on our newest album, but also play the hits and most loved songs from all our other records and that’s been easy. The new songs are a welcome addition to the set and it’s usually pretty obvious which songs we retire. The Murder Couture set was the first time it got difficult and we ended up cutting songs I thought we’d always play. That was a pretty clear sign that we could include a song on this record that we wouldn’t necessarily be playing live.
I remember recording the metal riff and playing it in loop, while sitting with my bass and trying different things until I landed the chords. From there on I wrote the other solo part and had the idea that I wanted to change from the minor chord structure, to a major chord structure at the end and wrote the breakdown and last part because of that. I envisioned the song as an epic, but when sending it to a few friends, they obviously heard it as a power ballad with a way too long guitar solo and generally wanted me to shorten it down and restructure it into a more conventional ballad. I wasn’t feeling that, so I went the opposite way and added the half-time part in the middle of the guitar solo instead. In rehearsals we also extended the solo at the very end, and it worked perfectly.
Lyrically I see it as an abstract painting. It doesn’t tell a linear story so much as that it hints at a lot of stuff I want it to hint at. It’s a personal lyric that might not come off that way initially.
This song, more than any other song we’ve ever done, seems to split our audience in two. Either it’s their fave song or they can’t stand it. I understand both, but as a writer it’s probably the one I am most proud of. It’s a huge piece of music and one that isn’t all that common in our genre of music.
Maria Maxwell put the sound of the clock on there and a synth pad and Geir Bratland (Dimmu Borgir, Apop) played piano and put the symphony orchestra on there. The last pieces of the puzzle.
Slim: Another song we started rehearsing before it was all written and finished. Chris sent us several demos of this, changing it and extending it several times after we started rehearsing it. This was a fun one to do. As I grew up listening to more 70’s hard rock, this style of songwriting was very familiar to the kind of songs I started out writing as teenager with different parts and movements following each other rather than the traditional verse, chorus build up. Some of those pieces were quite open to some more creative bass parts, which was cool and others had to be very much locked in with the riff on the guitar. The orchestra at the end is just brilliant. Reminds me a bit of Spiral Architect by Black Sabbath…which probably no one else beside me thinks, haha.
Stevie: I remember we rehearsed this quite a bit, while it got written and finally finished. It was a really fun one to play and it turned out really good. Love how the song structure ended up and just really impressive work by Chris! Really cool to do such a different kind of song for the band, but it’s nice to be able to turn heads sometimes, and I think we really did it with this one! Chris had all of those short lead melodies written, so I just tweaked them a tiny bit and put my personal touch on them, and I also added that harmony when the whole band kicks in on the second verse.
For the main guitar solos I really went for a more melodic solo, like every other famous rock ballad has. But, Chris wanted that really flashy part after that first guitar solo, so I just went for it and did that fast picking run that totally worked out!
For the second solo, I just did a blend of Journey meets Poison in a sense, since it’s switched to a major key it worked out with more of those types of licks/melody lines. And it worked out really great in my opinion. The whole song turned out so great, and just showcases the whole band’s musicality.
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Stay tuned for the next part of the series!
