Not only will it mark your grand comeback after lockdown, but Euthanasia marks your 10th studio album as a band. Does it feel like a landmark?
“Man, that stuff makes me feel old. A lot of people would say it’s our 10th album, counting the records we put out when we were a local band, but I count it as our eighth from Villains when Drew first got involved. Whether you say eight or 10, though, it’s still a lot. I’m just thankful that the band is still together and we were able to make a record that I genuinely think is the best we’ve ever done. Interestingly, a lot of bands in our genre are putting out their best records late in their careers: Architects, Stick To Your Guns, Underoath and, even though they’ve disbanded since, Every Time I Die. We’re still figuring out how to be better as we get older and, lyrically, it’s not hard to find things to sing about, because the world is a fuckin’ hellhole.”
What’s the meaning behind that album title, Euthanasia?
“Euthanasia, where it is legal, is based on two requirements. The first is to be in a constant state of pain and suffering. The second is that that needs to be incurable. It seems to me like the whole world could qualify for that, nowadays. Even though things aren’t really incurable, it’s easy to feel hopeless. This record is nine tracks of just fuckin’ shitty, miserable stuff that happens every day in our world, then this apocalyptic final track, with Drew saying, ‘As the fires encase the sky, we’re reminded one last time we could have gone in grace together…’ We could have thrived. We could have shined. Over the pandemic, people – those people who weren’t kicked out of their homes, at least – had the opportunity to try things they’ve always wanted to try, be that learning to cook or starting a family. But instead it feels like everyone is at war with each other, people are dying, people are still sick – like my uncle who’s fighting for his life right now, waiting for a double lung transplant. The album cover shows this button where we could shed the human race from the face of the earth like a snakeskin. Maybe we should. That’s metaphorical, of course. I don’t think the world should actually be wiped clean…”
Your collaboration with Stick To Your Guns frontman Jesse Barnett on Bread & Roses – the first clean singing ever on a SFTP song – offers a glimmer of respite. Was it important to have that contrast to the vitriol elsewhere?
“Yes, it was, and I’m glad that it’s Jesse who delivers it. Some of the only inspiring things from the last few years are the things that he’s done: opening a leftist bookstore in Los Angeles – All Power Books – that’s become a huge part of his community, organising their mutual aid programme called Red Bread where they give back to their community and help the homeless. He’s one of my best friends, we work together, we’re in another band [Trade Wind] together, and the shit that he does out there is inspiring and makes me proud to be his friend. It’s a good song to break up that chaotic, miserable, murderous vibe, just saying that people deserve their bread and their roses.”