So you were pretty prepared going into it?
Alex, Matt Good of From First To Last and I had demoed out two songs. Both of those songs were used with the Wade stuff. One song we just re-recorded from the Caleb stuff, “Nothing But A Reject.” Wade was like, “Just let me know what the vocals are like.” I was like, “I’ll show you when I get there.” And I literally just wrote all the vocals on the flight over. I was so busy with stuff that I sat on the flight like, “All right, Craig, you have to have these songs ready when you land—they have to be ready.” So I literally wrote all the melodies and lyrics on my way over there. Sometimes people work well under pressure. I definitely feel like that’s what happens to me. I actually love working under pressure. Bring it on, man. I’ll roll out anything last-minute, because it seems like that’s when it turns out the best.
Is there a difference between the Wade stuff and Edge Of Reality, sonically?
It’s definitely heavier, but I know everybody says that. I’ve showed my friends, my long-time girlfriend, my roommates and they’re like, “Holy shit! You sound fucking pissed.” And that’s the best way to describe it. On some of these songs, I just sound really pissed off, and that’s what I love about it. The verses just get really heavy, so things are really interesting and different. The screaming parts are somewhat more fast-paced than I’m used to. Wade took a lot of the songs and fucking killed it, dude—like, in a good way. He took one of my least-favorite songs that we recorded, and now it’s the whole band’s favorite. It’s crazy how much something so simple can completely change a song. We had all the vocals; we had all the parts recorded; and then, Wade sends it back with these little, tiny harmony vocals that he did behind the screams. You wouldn’t think that would change the song that much, but it fucking took it up, like, 10 notches.
Do you have a title yet or anything set in stone for the album?
We have this one track. I thought of a pretty sick intro for it—it’s actually the beginning of The Texas Chainsaw Massacre. It’s this weird camera sound. It just sounds so creepy. It’s almost like the same sound the guitar’s doing in that song. I told Wade to add that as the intro, and it goes into the song so perfectly. That was the first new song that we played live. That’s the title track that’s going to open the new record, and I know that’s the first song that’s going to come out, so I’ve already sent the track to Tragic Hero, and I guess they’re working on a lyric video for it. So that will be the first song that everybody hears. I found an artist that I want to work with for the artwork.
Then there’s another track I recorded with our guitarist, and I have Ashley [Costello] from New Years Day [singing on it], and it’s like the raunchiest song I’ve ever written. It’s pretty much about having sex. I’m sure as soon as that song gets released, everybody’s going to think that Ashley and I have a thing going on.
Yeah, it’s definitely inevitable. “They’re singing about having sex; they definitely had sex.” [Laughs.] Not true.
Any touring plans?
Were talking about putting a tour together, and actually bringing Dead Rabbitts to people other than Arizona and California, because those are the only two places we’ve played so far. It’s being thought out, but I’m still waiting to see what Escape The Fate’s plans are. I’ll book a Dead Rabbitts tour around that obviously, or maybe just say, “Fuck it,” do an Escape The Fate tour and have Dead Rabbitts open the tour. ALT