Atlanta’s progressive rock band ETHOS is on the brink of a transformative era with their latest album, An Eye for An Eye. Known for their intricate compositions and genre-blending sound, the band has embraced a new direction that showcases their evolution both musically and personally. In this interview, ETHOS members discuss their creative journey, the thematic depth of the album, and how their dynamic has shifted over the years.

General Overview

• Can you give us a brief overview of what listeners can expect from “An Eye for An Eye”?
  • Nick Riggs (bass): This album is going to be quite a ride for the listeners. For those who are familiar with our previous releases, there will be some of that same style and writing, however this album has begun quite a shift in our overall sound and writing style. I believe this album to be a bridge between what Ethos was and who we are becoming. This is the first album to feature writing and composing from all five members and that alone speaks volumes. Stylistically-speaking, this album is approaching some much heavier and faster territory. So overall, listeners can expect a good preview of what the future holds for the Ethos sound with a good bit of reinforcement of who Ethos has always been.
• How does this album compare to your previous releases in terms of musical direction and thematic content?
  • Kuyper Cummings (guitars): Overall, you can expect a more mature sound since our group dynamic has evolved over the years. This record did take several years to write so many life events (becoming parents, several moves, and career changes) happened during that writing season. This record is steeped in the growth that happened in each of our lives over the past 7 years. During the writing of this record we spent a lot of effort fine tuning parts and gutting a lot of others. If something didn’t add to a song in a meaningful way or wasn’t on the same level, we reworked it or took it out completely. The exact same thing can be said for all of the lyrics on this album.
  • Austen Earp (vocals, keyboards): I would add too, that much of our previous work was piano driven, whereas only one song on this record was written that way. It just felt natural for this material to lean toward a heavier nature and because of that, I focused more on vocal melodies and used organ and synth pads to enhance the mood of these songs.

Artistic Vision

• What inspired the title “An Eye for an Eye” and how does it reflect the themes explored in the album?
  • Austen: I have a painting by fantasy artist Fian Arroyo that shares the same title. At some point during the post-production process for this album I walked past the piece and it just clicked. A lot of the lyrical content is fueled by distrust of power structures or a tongue in cheek commentary on those systems and an inevitable reckoning. However, the implication of the phrase “An eye for an eye” assumes there is remedy for every wrong doing, and I don’t believe that to be true. Rather, I believe that through creativity we can heal ourselves and each other by transforming our experiences into something beautiful. There is a lot to be angry about in today’s world, but more importantly, what will you do with the anger?
• Can you discuss the process of blending rock and metal with classically inspired motifs in this album?
  • Matt Palopoli (guitars): We spend a lot of time meticulously crafting our music but the aspect of heavy music meeting classical is very natural. This part of us is our collective voice and it stems from the love of honest music, very diverse musical backgrounds and wanting to play our instruments at full capacity. We usually don’t try to forge a certain sound when we write, we typically go with our natural inclinations and chase the sounds that excite us.

Creative Process

• Could you walk us through the creative and recording process for this album?
  • Kuyper: A lot of the ideas for this album came from remote sessions Austen and I had via JamLink. We would join a session from Rome and Nashville and play in real time. We started recording those sessions which lead to me tracking my parts separately and sending them to Austen. Then the rest of the guys would get together in the studio and we would solidify song structures and rewrite parts until we were all happy with them. For a while we didn’t know how writing would work out of state but we adapted to that challenge and it definitely contributed to how we approached song writing. Times when we were all in the same room were rare and precious so we handled a lot of the meticulous stuff over calls and remote sessions so we could enjoy every moment we had in person as a full band.
• How did the band’s dynamic evolve during the creation of “An Eye for an Eye”?
  • Tribb Robison (drums): We all had a lot of big life changes since our last record and we all had to learn to write and collaborate more remotely than we have in the past. Early on in the process we were sending ideas back and forth and slowly piecing together song structures but at some point we intentionally started meeting up again more frequently in person and that helped speed up the process, since we’ve always been a band that thrives more when we’re in the room together. This was also the first time all five of us have written together, and it took a little time to figure out that dynamic and how to democratically discuss and compromise on certain things. There was a lot of trial and error, but we eventually found a groove and the end result has benefited tremendously I think from taking our time and finding that right formula.

Specific Tracks

• The “Archetype Suite” is described as a multi-section epic. Can you elaborate on its narrative and compositional themes?
  • Austen: So when I was a young I was introduced to Hector Berlioz and his Program Symphony concept. I thought it was amazing how he created pieces that told stories with musical themes rather than relying on words entirely. It became a dream of mine to create something that tells a story with recurring and evolving themes and allow the listeners’ imagination to run wild. Once we had several main themes established they took on a life of their own and variations have continued to come naturally by inverting a melody or augmenting a scale, but a lot of it has come together through improvisational or “aha moments.” Kuyper and I have spent the past several years developing a story board so when we look at a particular movement we can say “Ok, what’s happening right now and does this fit? Is there a way for these two separate themes to work together in order to represent the interaction of these characters or events?” It’s an extremely rewarding exercise because it creates a feedback loop of ideas. The story itself is told from the perspective of a cosmonaut anti-hero and revolves around the tension between order and chaos. You will notice themes from literature such as “Paradise Lost” where you are invited to understand and even relate to the villain’s experience rather than take the historical author’s word for it. There is love, loss, vengeance, and plenty of nerdy shit like an inter dimensional cosmic tree.
  • Kuyper: Without giving too much away, the story is not what it seems. The heroes and villains in the story are far more nebulous in nature. If you pay attention to the musical themes that denote each character in the story, it will be easier to understand the story as you sit with the lyrics.
• Are there any particular tracks that stand out to you and why?
  • Nick: For me personally, “The Archetype Suite: IV. Stars Align” is a track that stands out. It runs the full gamut of our sound and really pushed us musically in the writing process. When we first started writing the song, we had no idea that it would end up as a part of The Archetype Suite. It just sort of progressed slowly but surely in that direction. I’m not exactly sure which one of us suggested that it musically fit within the Archetype structure first, but once suggested there was no stopping the momentum of composition. Part after part came pouring out of us and we each contributed to the whole song in such a special way. You can truly hear all of our writing influences as you listen to the song from beginning to end. It would be like, “oh that’s a Kuyper part right there” or “ah Tribb and his sneaky rhythms over here.” Really a full map and scope of who each of us are artistically. I can’t get enough of it!

Lyrics and Storytelling

• What are some of the key stories and emotions that you aim to convey through the lyrics of this album?
  • Austen: Some key themes that come to mind are balances of power, calling out corruption and greed, introspection and our derivation of purpose, the cyclical nature of existence and what role we have to play in all of it. There is both a sense of hope and despair at times and I think it tends to reflect a lot on the fundamental truth that our experience is shaped by both. What truly defines a person is not their beliefs, but their adversities. We tend to view chaos as fundamentally “evil” but the truth is that order breeds its own brand of evil and all things must live in balance if we are to call it “good.” I think ultimately Carl Jung said it best, “No tree can grow to reach heaven unless its roots reach down to hell.”
• How do you balance the storytelling aspect with the musical complexity in your compositions?
  • Austen: This is a great question, and one that I ask myself constantly. For me, it’s all about telling a compelling story while still staying true to the nature of the music. In many cases the story itself can shape the music, but when we get stuck in the moment it’s easy to forget the bigger picture. As a writer, I want the words to be part of the music and vice versa. Sometimes it works out organically, other times it’s a bit of a struggle. I try to approach each piece with a sense of purpose and to avoid adding complexity just for the sake of it. We’ve learned to be critical of ourselves and to make sure that each element has a meaningful contribution to the overall piece. It’s definitely a delicate balance but when it works, it’s extremely rewarding.

Future Directions

• What are your plans for live performances and how do you envision translating the album’s complex sound to the stage?
  • Tribb: Translating the complexity of the album to a live performance will be both challenging and rewarding. We’ve had several discussions on how to approach the songs while keeping the essence and integrity of the music intact. We’ve already started rehearsing some of the new material and are focusing on finding the right balance between capturing the essence of the record while also making it engaging for live audiences. We plan on incorporating some visual elements and stage effects that will help convey the narrative and themes of the album. It’s all about creating an immersive experience that complements the music and gives our fans a memorable live performance.
• What can fans look forward to in terms of future projects or collaborations?
  • Nick: We’re always working on new ideas and looking for ways to push the boundaries of our sound. We’ve been talking about collaborating with some other artists and exploring different genres and influences. We’re also planning on taking some time to focus on individual projects and personal growth, which will undoubtedly contribute to our future work as a band. We’re excited about the possibilities and eager to continue evolving as musicians and as a group. Stay tuned for more updates and announcements as we move forward!

An Eye for An Eye promises to be a milestone in ETHOS’s discography, reflecting their growth as artists and their commitment to pushing the boundaries of progressive rock. With its rich storytelling and complex compositions, the album is set to captivate both long-time fans and new listeners alike. Stream/download it from Bandcamp here.