Hi guys, welcome to VENTS! How have you been?
Thanks for having us! We’ve been great, our new single Code Talker is just dropping, the video is coming out and we’re looking forward to a busy Summer…
Can you talk to us more about your latest single “Code Talker”?
Absolutely. This is the opener on our EP, Gallows Humour. It was written by our drummer, Chris, and we were trying to push ourselves technically with this one. It’s got some fairly complex harmonies and riffs but also a really raw energy to balance it out.
Did any event in particular inspire you to write this song?
Code Talkers were used in WWI and II to send secret messages in obscure languages. Just reading around that subject provided us with a good metaphor for something to write about. The narrative is about someone struggling to overcome an internal change, which manifests itself in aggressive behaviour, split personalities and deception.
How was the film experience?
Rushed! Cold! We filmed in two locations, first at a local school, and then we got the remaining closeups at night in a garage in mid January. It was absolutely freezing… Fortunately, you can’t see our breath steaming up in the finished video!
The single comes off your new album Gallows Humour – what’s the story behind the title?
Gallows Humour is about finding black comedy in the bleak and depressing events of daily life. It’s a coping mechanism essentially. The record deals with concepts like insecurity, loss of meaning, fanaticism, delusion, and the lens that you look at those subjects through is very important.
How much did this particular style of humour influence the lyrics on this record?
It’s all over the songs, really. It’s the common thread that links each track, and it is represented best on our third track, Dead Man’s Jacket. ‘Gallows Humour is all I’ve got / Crippling sense of something missing / Help me get to sleep at night / Wipe my mind of this helpless feeling’.
How was the recording and writing process?
Gallows Humour took quite a long time to come together. We did a chunk of writing and recording way back in 2013, half of which made it onto the final record, and the rest we wrote, recorded and mixed in Max’s garage over two years. We spent some time discovering exactly what kind of band we wanted to be, and worked on our sound a lot.
What role does Queens of the Stone Age and Baroness played on this material?
We’re big fans of QotSA – I think what inspires us most about them is the way they develop their sound on each album. Of course there’s going to be filthy blues, riffs and Homme’s falsetto, but they also create music that’s tender, psychedelic, brooding etc. Baroness too are masters of atmosphere, so while we share a lot with these bands tonally, it’s also their capacity for experimentation that attracts us.
Known for blending different styles of rock from progressive to post-hardcore – do you always to equally combine them or does one tends to shine out the most depending on the lyrics’ theme?
We like to think of ourselves as somewhere in the Bermuda triangle of stoner rock, alternative rock and technical metal stylistically, and definitely the lyrics and tone of the song will shift the balance in favour of one area over another.
Any plans to hit the road?
Absolutely, from August onwards you’ll be able to catch us in and around London; we’re going to book as many gigs as possible up until the end of the year!
What else is happening next in Rootwork’s world?
We’re hitting the studio in July, to record our new EP, which is coming along swimmingly. There will definitely be a big launch party for it and gigs to come. You can keep up with all our announcements on Facebook (/rootworkuk) and Twitter (@rootworkuk).
Marcus Bell is one of the top music producers/composer in the industry. He has worked …