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\u201cIt\u2019s way better than anything else we\u2019ve put out,\u201d<\/i> proclaims Cane Hill<\/b><\/a> frontman Elijah Witt as we catch up with him in London ahead of supporting Motionless In White. With their second album, \u2018Too Far Gone<\/a>\u2019<\/i>, seeing the light of day six days ago, it\u2019s clear Witt has been caught somewhat off guard by its reaction.<\/p>\n While their setlist on this current run has contained an even mix of old and new material, it has surprised Witt and his bandmates with amount of people singing along to the new songs. \u201dIt\u2019s been weird. We didn\u2019t expect anyone to know the words,\u201d<\/i> states Elijah before reminiscing about a previous UK visit. \u201dWe just figured it would be like the last time we came over and everyone\u2019s just staring at us dumbfounded.<\/i><\/p>\n \u201d’Smile\u2019 got a decent reaction; the (‘Cane Hill\u2019<\/i>) EP got a really good reaction. But this one somehow surpassed both of them together. I think, as far as I can tell by social media and people in the crowd,\u201d<\/i> states Elijah.<\/p>\n Their new material has displayed just how far Cane Hill<\/b> are able to stretch and develop their own musical style. On that note, Witt expresses \u201cI don\u2019t think we\u2019ll ever find our final sound. I think it\u2019s an ever-evolving idea. If we became stagnant or static with our evolution, it would become boring.\u201d<\/i> Looking back at their earlier material, Cane Hill<\/b> was proclaimed as the pioneers to revive nu-metal with hard-hitting breakdowns and angsty vocals. Since their first EP, they have taken that initial concept and ran with it by asserting their broad spectrum of metal into their dynamic sound. \u2018Too Far Gone\u2019<\/i> has put the band on a path towards a more personal and broadens tone with hints of 90s grunge rock and thrash.<\/p>\n <\/p>\n In regards to the making of ‘Too Far Gone\u2019<\/i>, Elijah spoke to us about the production and conceptual ideas behind the album too. He explained that with \u2018Smile,\u2019<\/i> the songs were created in the studio for the most part, as they only went in with two or three riffs written. \u201cThis time, we had four to five months off at home where we tracked the majority of the album out before we scrapped about ten of those. This one was just more methodical and more planned out.\u201c<\/i><\/p>\n There is also more than meets the eye with the album artwork used, which ties into the music video concepts. “The Mosquito is the unofficial state insect of Louisiana because we have too fucking many every season,\u201d<\/i> says Witt. He goes on to reveal \u201cthe goo is essentially our thoughts and ideas being sucked by the mosquito. So, we\u2019re the Mosquito, and the goo is the drugs and the mistakes and the limits that we pushed, being sucked into us.\u201d<\/i><\/p>\n Taking this interesting and thoughtful artistic concept with the artwork into the music video for \u2018Too Far Gone\u2019<\/i>, Elijah discloses more about how that came about. \u201cWe had a mosquito drawn out for an album cover we didn\u2019t use, by our friend Aaron Marsh, and they animated it and it all came to fruition very conveniently being similar to the album.\u201d<\/i> However, the first draft didn\u2019t go exactly as planned. He says that originally what they were first sent \u201cwas like an acid trip where you would see demons, and we were like no, that\u2019s not what we saw, that\u2019s not what we want\u201d<\/i>. Elijah\u2019s eyes lit up as he explained what they really wanted, \u201cwe saw a lot of pretty colours and started losing our minds, so we sent that back to them and they were like ‘we got it, GOO!’\u201d<\/i>. To sum up the \u2018Too Far Gone\u2019<\/i> video in his words \u2013 \u201cThrowing up colourful goo, 100%!\u201d<\/i><\/p>\n This contrasts with the music video for \u2018Lord of Flies\u2019<\/i>, which features inserts of strangely disturbing close-ups of insects etc between warped video footage of the band themselves. \u201cFor that one, we made sure we still threw in colourful things like the pastel paints and all of the background imagery that was really bright and colourful\u201d<\/i>. Comparing the two, Elijah mentions the opposites at play. \u201cWe wanted it to be a grimier juxtaposition to how pretty \u2018Too Far Gone\u2019 was.\u201d<\/i> He clarifies that \u201cbecause \u2018Too Far Gone\u2019 was the heavier, more rugged song with the prettier music video, and \u2018Lord of Flies\u2019 was the prettier song with a much dirtier music video.\u201d<\/i><\/p>\n Divulging in more discussion behind the album itself, we attain more information regarding the surfeit of influences Cane Hill<\/b> had. Pantera, Metallica and Gojira are just some of the influential \u201cheavy-hitting metal bands\u201d<\/i> they referred to during production. \u201cJames (Barnett – guitarist) was listening to a hell of a lot of hip-hop; Kendrick Lamar\u2019s ‘Damn\u2019, a bunch of old Usher records, Drake\u2019s ‘Views\u2019, the disco beat songs he has on there,\u201d<\/i> states Elijah. \u201cAll of their interludes are what we latched on to because we wanted to make the album feel artistic, in the sense that it flows into one big story.\u201d<\/i><\/p>\n We even learn how Cane Hill<\/b> intended and anticipate the way people will be listening to the album. \u201cIt\u2019s important to us that you listen to it front to back to fully understand it.\u201d<\/i> Witt expands by saying, \u201cobviously, you can flick through songs and choose, but if you really want to get what we were trying to say, you have to listen from track one to track ten non-stop because it builds a better story.\u201d<\/i><\/p>\n On that note, the topic leads to deliberation on a key talking point within the music industry at the moment; the theory that consumers only being interested in singles, rather than albums. Witt expresses his thoughts on the music industry disregarding the need for albums. \u201cI\u2019m left and right on it,\u201d<\/i> he states. \u201cI still love the artistic creation that goes into a full album, the preparation and methodical placement that goes on. But unfortunately, the music industry right now seems to be at this weird turning point where no one cares as much about a full album and 90% of people are going to listen to just the singles\u201d<\/i>. He spoke about how Spotify and monthly listeners have a huge influence on artists feeling the need to release new material any time their numbers drop. \u201cThat whole equation is really strange and foreign to me.\u201d<\/i><\/p>\n Relating it back to their scene, he reports that \u201cmetal is having a really hard time keeping up with the changing patterns in the music industry, and I think a lot of that is to do with how metal has always been a very hard headed; ‘this is how we do it\u2019 and ‘this is how it\u2019s got to be done, we don\u2019t care about the other trends.’\u201d<\/i> Witt knowledgeably adds, \u201cbut when everything is dying, you have to evolve and adapt.\u201d<\/i> To round off, he lets us know that he\u2019ll \u201cpersonally find out, because I don\u2019t think we want to do the “just single\u201d route anyway. It sounds very boring, very shallow.\u201d<\/i><\/p>\n After a long journey of working hard to find themselves, they have embarked on a constant evolutionary journey from their first EP in 2015. Staying true to their controversial methods, with no intentions of holding back, has brought them well-earned success. Despite their first UK visit only being two years ago, this tour has proved their fanbase is ever-expanding after the achievement of a triumphant album. With the release of \u2018Too Far Gone\u2019<\/i>, Cane Hill<\/b> have proved yet again that they are a force to be reckoned with and deserve all the recognition they have been receiving since, amongst fellow musicians and fans.<\/p>\n“Unfortunately, the music industry right now seems to be at this weird turning point where no one cares as much about a full album.<\/h1>\n