We started writing intensively in the beginning of 2005, because that’s when most of the touring was done. We didn’t have the chance to rehearse much because most of the shows were during weekends. So we decided to quit touring and really focus on the new record. It took us around 9 months, just like a baby.

 

 

That started somewhere in 99 to 2001, so that took two years.

 

 

When we were making Polars we didn’t have to worry about a label and real deadlines. We could just take our time for it and just live by the ‘It’s done when it’s done’ rule. For Drawing Circles we did set a deadline for ourselves and that was a conscious choice. Otherwise it would never be ‘finished’.

 

 

Everyone has his own ideas and they can record it at home. We set up a server where we can all upload our ideas so the others can check it out. It’s impossible to see each other every day of the week but we’re always working on new things individually.

 

 

It didn’t start as a concept album but it did evolve into one. It was when we had some lyrics and songs finished that we noticed that some of the songs and lyrical content really fit together well. The title refers to patterns in your live and in nature, basically in everything. Those can be positive or negative. Every song is about a pattern on a certain level.

 

 

We hear from people that on the first listening they didn’t like it as much as Polars, but after a week they suddenly ‘get’ it and love it. We prefer that than if it was the other way around. The record is a more coherent effort, and of course Erik’s vocals make a huge change. We really pushed him; “sing higher!”. The production is much better because of everything we learned. A record is a moment in time for a band so things always change.

 

 

We thought that it leaked after the promos were sent, but I guess that someone at the ‘CD-factory’ in Czechia was responsible for it. The thing is you can’t do anything about it. You can’t blame anyone in specific. And some of the people who buy the CD will do the same thing anyways. It’s just a bummer that a lot of people will probably already know most of the songs so the surprise-factor is gone. When we played in Utrecht there were guys on the front row screaming along, so I was almost tempted to point them out.

 

There are always plans. We have to see how the CD will do and just play a lot of shows.

 

 

The thing is that we would love to but it's more of having the chance to actually be able to do that. We didn’t get any offers and we don’t have the means ourselves so it’s hard to get in touch with the venues over there.

 

 

Well, I know certain bands on major labels who hardly ever toured. One of the problems is that it’s hard to define our band’s music. It’s not easy to ‘dance’ to, and I don’t think we could play festivals over there. There are bands who are better at doing that. But if someone called me tomorrow to jump on the plane to play shows in the USA we wouldn’t say no. Unless they want us to play with Garth Brooks or Gary Moore or something..

 

 

Stef (drummer) is studying drums and Bart is doing audio-technology. The rest of us have shitty jobs most of the time or doing some freelance design. Having a full time serious job isn’t possible with this band; you can’t say to your boss that you’ll be gone for 3 months. Again. Some people think that we actually make some money but all of that is invested into the band, like buying a decent van to tour with. We try to keep the prices of our merchandise realistic as well.

 

 

The sound came out bad so we just could not use it. All the sound was recorded on just one track and that just wasn’t fixable. We did put a sort of mini-documentary on the dvd. It’s a sort of a compilation about the band, about Polars, about the new studio..

 

 

 

Well it’s at Jochem’s place, and he already had a lot of equipment so we decided to make a studio there, so we have the location and tools to basically record everything except drums. The drums just didn’t fit in because it was too small. When we recorded Polars we made a temporary studio ourselves which we had to break down in the end, but the new one will be up for quite some time.

How was the show in Paris with Gojira?

 

We played at Mont-Martre and the Gojira guys are just amazing. It looked really cool and we had a great crowd who were just screaming when someone came up on stage. So every time one of us went on the stage to get something or change something you heard this massive roar. But we didn’t play too well because we did not play live for a while because we were in the studio; it was like we needed some oxygen now and then. Gojira played tight as hell, and they have a great sound.

 

 

Hmm. Well. They might. -the guys start discussing- We don’t have any new real material as of yet, maybe some ideas but nothing that is set in stone.

 

 

We put it together between us, Aardschok and our management. We thought it would be cool for a relatively unknown band to get into the picture in this way. At first we were suspecting that only 4 or 5 bands would send in a demo but we got around 70, so that was really cool. It is hard to pick just two bands because we’ve learned that there are quite some great bands out there. We picked Greyline and Instill because basically everyone in the band liked them, and they are quite progressive in their own kind.

 

And that was pretty much it. The band played a kick ass show that night and according to Stef (drummer) it was one of their best. I do remember a sore neck the day afterwards! Textures' Drawing Circles is available in Europe and will see a North American release on November 7th through Listenable Records.