Known for their adept fusion of chaotic hardcore, emotional weight, and screamo intensity, Copenhagen based Regarding Ambiguity has carved out a space where vulnerability meets raw power. As they prepare to catapult their sound into the future, the band stands on the cusp of transformation, eagerly anticipating a foray into live performances and potential tours, with sights set on Europe’s rich tapestry of underground venues.
The Danish music landscape, particularly rich in hardcore, metal, and rock, offers a fertile ground for creative expression. In this arena of eclectic sounds, bands like Rot away, Syl, Omsorg, Demersal, Pleaser, Puke Wolf, and EYES exemplify the nation’s capacity for musical innovation, influencing and energizing Regarding Ambiguity to push their boundaries even further.
Lyrically, the band’s upcoming record promises to be a profound dive into the human psyche.
It serves as a vessel for their most intimate revelations, chronicling complex relationships, the mental health odyssey, and the perennial human quest for meaning.
The lyrics are time capsules, snapshots of bygone struggles transformed into visceral narratives, encompassing life, death, love, and the pursuit of something just out of reach, all expressed with compelling imagery and resonant metaphors.
In their latest endeavor, each track stands as a confessional, a bold declaration of personal evolution and artistic defiance. Today, we’re thrilled to give you a special track by track rundown, delivered by the band themselves.
Recorded at the Sunsetter Studio in Bremen, Germany, the record is a labor of love and dedication. With production helmed by Fabian Schulz and the band itself, and final touches by Jack Shirley at The Atomic Garden Recording Studios in Oakland, California, this album is a bold testament to the band’s growth and artistic integrity.
Burned Out
As I remember writing this song, I wanted to create a classic skramz song. That’s why there’s the sudden tempo shift in the beginning that also switches between clean and distorted guitars. It really reminds me of oldschool skramz like Saetia, Orchid etc. However I don’t think the finished song turned out to be like oldschool skramz, but that’s where the inspiration came from.
Wither Away
Writing this song was quite easy as I remember it. It came to me in a few hours and the main influence was that I had just been on a few dates with my current girlfriend. She was the main source of inspiration. I guess that’s why the tone of the whole song is more “happy” as opposed to the lyrics of the song being more sad.
Abyss trilogy
I’m a huge fan of Loma Prieta with their album ‘I.V.’ being my absolute favorite record by the band. I always loved the trilogies on both ‘I.V.’ and ‘Last City’ and I always wanted to do something similar.
Abyss I: Void
I had just a Fender Telecaster special run with two humbuckers that I bought from reverb.com. I was noodling around and playing the song “Will Someone Shoot That Fucking Snake” by Gallows. I love that song, and I guess I wanted this song to be in the same vein as that one.
Abyss II: Hollow
Writing this song was a bit more challenging, as it kinda had to be a continuation of the first trilogy song while still be a different song altogether. The Loma Prieta song “Trilogy 5 – Half Cross” was the main source of inspiration. I also think this is one of the more atypical Regarding Ambiguity songs we’ve ever written, since it’s a straight up hardcore song.
Abyss III: Chaos
For the finale of the trilogy, I wanted to do something special. It was the last song to be written before we entered the studio to record. During the time of writing it, I was listening to a lot of Vein.fm. In particular the song “Errorzone” was the one I wanted to replicate. I didn’t want to replicate the song sonically, but instead I was so in love with the dynamic shift that occurs half-way through the song. It goes from being very chaotic, and then shifts to a crescendo that’s very Deftones like.
As for our song the first part is mathy with a sprinkle of some jazzlike parts. It stems from my love for The Dillinger Escape Plan. Whereas the second part is a loveletter to Touché Amoré and American Football. Atleast that’s how I see it. Overall, I’m very proud of the trilogy and I think the ending suits it very well.
Dawn
This song was written a long time ago. As far as I remember it was back in the fall of 2019. Our drummer, Mikkel, wanted us to write a song that started with 3 notes and strum of a chord that occurs in the beginning of the song. The reason being that it was something I always played at the end of our song ‘Arrows’. That was the foundation for the song, and the rest kind of came to me as I was writing the song, with only three notes and a chord to begin with. The song itself reminds me of a mixture between Pianos Become the Teeth and Deafheaven. When we recorded the song, we wanted to add something different since we had already recorded the song once before. At first, we wanted to add a spoken word part from a movie or show. Very typical emo. We threw some ideas around like parts from Stranger Things.
Instead, we asked the wife of our producer, Vicky Kheira, if she wanted to contribute vocals on the song. At first it was only backing vocals, but we asked if she could add the spoken word part too. So, she recited the bridge in French. And it sounds beautiful. I’m glad we went with that approach instead of adding a Stranger Things part.
Dusk
Since Mikkel wanted a song that could start after Arrows, our vocalist Oliver wanted the same, but for Dawn instead. That’s how we wrote Dusk. It features guest vocals from our good friend Joachim Møller Jensen. Oliver and Joachim used to be dual vocalists in a melodic hardcore band, named Cartographs. In that sense the song was also an homage to that band.
Swim in Peace
This song was written shortly after we wrote Dawn, meaning it was also in the fall of 2019. I had written this mathy/jazz kinda riff inspired by the last part of a Tera Melos song called ‘Trident Trail’. I didn’t feel the song should only be in that kind of feeling, so I took the same chords and played them in a Touché Amoré way.
Shell
I remember this song being the first song we wrote for the record. We wrote it shortly before we went on tour with the band Closer. In my eyes I wanted the song to be an homage to bands like Pianos Become the Teeth, Touché Amoré and Deafheaven. Like making the song a true emo song. The riffs just scream emo to me, and the last part of the song is very blackgaze. Mikkel wanted the ending to be pure blastbeats and the guitars only playing 0 on the 3 bottom strings. I then added a little amount of melody in that part, and I think it fits well.
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