Between The Buried And Me: The Parallax II Tour

Time may move in a circle, but we pick up wisdom along the way. When we face similar situations further down the line, we’re armed with the experience to not only survive, but actually thrive. Between The Buried and Me built their influential 2007 album, Colors, on an unwavering commitment to artistic integrity. They’ve only fortified that commitment on its 2021 sequel, Colors II [Sumerian Records]. The circumstances surrounding both records bear key similarities, yet the North Carolina quintet—Tommy Rogers [lead vocals, keyboards], Paul Waggoner [lead and rhythm guitar, backing and lead vocals], Dustie Waring [rhythm and lead guitar], Blake Richardson [drums], and Dan Briggs [bass, keyboards]—once again stretch the boundaries of their signature sound and heavy music at large.
“Especially with 2020, we really wanted to give it all we could and show the world we’re still here,” explains Tommy. “That’s part of the reason we named it Colors II. We were in a similar spot when we did the first Colors. Back then, we had just gotten done with OZZfest. We were wondering, ‘Where do we belong in this music scene?’ We still struggle with that. At both of these moments in our career, we decided to just be ourselves and write the best album we can. We came out guns blazing, and I feel like it’s some of our most creative material in a long time.”
“Colors was very much our attempt at a do-or-die statement,” recalls Paul. “We had to establish our identity and be who we really wanted to be in order to have a career. This time around, our industry was shutdown for a year. Once tours were cancelled due to the Pandemic, we were like, ‘We’ve got to write a record, and it’s got to be good’. We had to do something next level.”
They did so with nearly 20 years of hard-earned experience behind them. Their fourth offering Colors represented the first in a series of high watermarks. It graced numerous tastemaker lists, including KERRANG!’s “The 21 Best U.S. Metalcore Albums of All Time,” Prog’s “The 100 Greatest Prog Albums of All Time,” ThoughtCo’s “Essential Progressive Metal Albums,” and Loudwire’s “Top 25 Progressive Metal Albums of All Time” and “Top 100 Hard Rock and Heavy Metal Albums of the 21st Century.” In its wake, 2015’s Coma Ecliptic opened at #12 on the Billboard Top 200 and received a perfect rating from The Guardian. During 2018, they unleashed the two-part Automata I and Automata II to further acclaim. Along the way, the group toured with everyone from Mastodon and Coheed and Cambria to Lamb of God and Devin Townsend in addition to selling out headline shows around the globe.
Throughout 2020, the band members wrote remotely before congregating in Winston-Salem, NC with longtime producer Jamie King. Instead of adhering to a conceptual thread, the conditions gave the concept meaning.
“Musically, it flows like a sequel to Colors, but it wasn’t just another version of that album,” Tommy goes on. “On the original, I was analyzing myself and analyzing humanity. With last year, I was in a perfect position to do that. I wrote lyrics in the same way, but they felt new. It was more of a real-world concept by virtue of making a continuation.”
They introduce the album with the pummeling single “Fix The Error.” Galloping thrash drums collides with a wah-ed bass solo and carnival-esque keys before launching into gritty verses. It twists and turns towards a hardcore chant punctuated by topsy-turvy vocals and mind-numbing fretboard fireworks underpinned by drum solos by an ironclad trifecta of Mike Portnoy, Navene Koperweis, and Ken Schalk.
“The intention was to write a metal song with a big gospel vibe,” smiles Tommy. “It turned into this monster. It’s a small story on the record about this guy who lives in a big apocalyptic city. He retires from his job, but he wants to take down this huge corporation. The song is a celebration of taking down corruption and saying, ‘Fuck you’, to the man. It’s about as punk as we’ll ever get.”
Meanwhile, the nine-minute “Revolution In Limbo” steamrolls through frenetic keys with fascinating guitar movements and a head-spinning vocal ebb-and-flow. “The songs are meant to flow in and out of each other like one big chunk of music, creating a seamless and chaotic musical journey,” the frontman observes.
Between The Buried and Me encode various “easter eggs” for fans of the original Colors inside of the opening salvo of “Monochrome” and “The Double Helix of Extinction,” while “Bad Habits” calls back to the lyrics of “Ants Of The Sky” with the line, “Sleep on…fly on.”
“There are a lot of fun nuggets,” Paul continues. “You’ll hear certain instrumental parts and lyrics that remind you of Colors. Everything comes full circle.”
In the end, Colors II sees Between The Buried and Me make a similar connection.
“Music’s purpose is to help,” Tommy eaves off. “That’s a big theme of this album. Once our songs are done, they belong to our listeners. Maybe this will help them move forward creatively or in life.”
“I hope audiences get a feeling similar to what they got when Colors came out,” Paul concludes. “This is a full 80-minute album experience. For years, fans have told us how much they loved Colors. I hope they feel the same way about Colors II.”

Jake Dieffenbach: Vocals
Brody Uttley: Guitar
Jon Topore- Guitar
Adam Biggs: Bass / Vocals
Jared Klein: Drums

Reading, Pennsylvania's Rivers Of Nihil have never fit neatly into a box, but with 2018's Where Owls Know My Name, they transcended all labels applied to them. Returning in 2021 with The Work, they have forged further into new territory, delivering an album that is as cerebral as it is visceral, and that covers a staggering sonic range, definitively placing them in a category of their own.

With the first track penned in the fall of 2018, while the band were touring Owls, the writing process for the album was long, lasting well into 2020. Even before the music industry shutdown that happened concurrently with the Covid pandemic, the band intended to take most of 2020 off to focus on writing, meaning that their schedule was not disrupted. However, even with the whole album demoed out musically, they were not initially sure what they were working with. "We didn't really know if it was all going to connect together in any kind of logical or interesting way. It wasn't until we got the vocals done that it was clear what we had on our hands: something that actually somehow all worked together," says guitarist Brody Uttley, who describes the album as a "Sound World," a term coined by a friend. "It's an album that almost sounds like a place rather than a thing. It puts you in this world where you're not exactly sure what is going on at certain points, but eventually, it all comes together. It's harsh and cold, but also warm and inviting," he adds.

For the guitarist, writing music came together smoothly, never having to push to find ideas, and in spite of the raging pandemic. "I don't think on any other release I was able to insulate myself from external noise like I did on this one. The amount of work that went into it is obscene, but I felt like I was just floating through this 'sound world' the whole time, kinda grabbing ideas off of the vine and seeing how they worked."

Lyricist and bassist Adam Biggs' experience was somewhat different, finding the process more challenging, but this was ultimately to the The Work's betterment. "It felt like a huge demand to get this record written during one of the weirdest times imaginable. It gets to the point sometimes after a lot of touring that you can forget how to be creative, because you've just been playing your - now old - material for several years. Writing this record, for me, meant almost entirely reconnecting with creativity after what I'd consider to be a lengthy hiatus."

While The Work is a very dense, inarguably heavy collection, it is far too dynamic to consider it solely a metal record, and there is a genuine warmth that shows through, particularly on "Wait" and the gorgeous "Maybe One Day," and the band have included far more clean vocals alongside the screaming that tears through many of the heavier tracks. Adds Biggs, "It spans a lot of different styles, ideas, and emotions. The twists and turns are pretty drastic for your modern day metal record. There's a lot of what you already know we do, and a lot of what you've never heard us do before."

Courtesy of their friend Zach Strouse, saxophone once again adds extra layers of atmosphere to the collection, utilizing baritone, soprano and alto saxes to great affect. "We really wanted the sax to be more of a texture on this album rather than a featured instrument. So while it may seem like there is more sax, the only 'true' sax solo is in 'The Void From Which No Sound Escapes.' For most cases on the rest of the album, he is just sort of reinforcing the songs in his own way, which is exactly what I wanted. I didn't want to tell him how to sound or what to do really. I just wanted his response to the material, and he definitely did a fantastic job."

While there is a central concept driving the album, Biggs elects to keep the specific details to himself so that listeners can relate to it in their own way, but he explains where the title comes from. "What does life all really boil down to in the end? You can be lovey-dovey about the good times, and savor the sweetness that life sometimes provides, but beneath everything is work, struggle, someone is always getting a raw deal, someone's always sweating it out in the mines somewhere so you can enjoy your diamonds. This has always proved true in everything I've ever done in life. Most people reading this know me as a member of a successful band, but beneath it is constant work. Physical, emotional, spiritual work. All the time. Every day. And I know that it's like this across the board for just about anyone in at least some capacity, so I figured this subject would be relatable to a lot of people."

"Focus," one of the album's standout tracks, is a meditation on the writer's - and possibly the listener's - relationship with drugs, starting with having been medicated for ADD as a kid. "That was not uncommon for the time. Maybe it was for the best, maybe not. But it did kick off a relationship with drugs that has been pretty interesting. I've gone through long periods of sobriety, and I've been on the complete other end of that. What I find is that drugs are largely disappointing. The expectation is that they can relieve your mind, or change your thinking. But for me, it always just feels like a slight shift in focus." Then there is "The Void From Which No Sound Escapes" and "MORE?", which are thematically linked. "It's about expectation and delivery. 'Void' is the expectation, they want what you have, and you have to give up a bit of yourself to give it to them. The 'what' and 'they' in that sentence aren't super important. But I think everyone has a 'what' and they know a 'they' that wants that from them, and we all feel some obligation to deliver."

With guitars and synths/keys tracked at Uttley's home studio, the band then we went back for the third album in a row to Carson Slovak and Grant McFarland at Atrium Audio to do drums, vocals, bass, sax, and mixing. "We've done so many sessions with those guys that they're basically an extension of our band at this point. They usually know what we like, and we always encourage them to roast us to make stuff better," says Uttley. Alongside the band, James Dorton from Black Crown Initiate provided some vocals on "Episode," Grant McFarland played cello on "The Void From Which No Sound Escapes", and Uttley's friend Stephan Lopez helped out with all of the field recordings, an integral part of the sonic textures of the record.

There's no denying that the finished product is something unique and marks the beginning of an exciting new chapter for Rivers Of Nihil, though Biggs states he has never gotten anywhere by thinking about the future of the band. "We always just sort of do this thing and it grows. I guess that could change at some point. But thinking about things that way doesn't seem to get me anywhere either. Better to focus on the work in front of us, as it turns out," he adds, referencing the album's title. "If we've learned anything for certain in the last year or so, it's that the future can be murky, we're not really owed anything, and it can all be taken away any second. But for now, we press on."