DEADHORSE – New Album Track-By-Track Breakdown

“The Beast That Comes”

An Interpretation by Singer Argo

I have always felt that the interpretation of a song is up to each individual that hears it. You listen to a song, read the lyrics, and immerse yourself in the music and you will come away with what the song means to you. Quite honestly when I was asked to write out the meaning of each song on the new Deadhorse album, The Beast That Comes, I was taken off guard because I’ve never been asked to do that, but once given the task I decided to take it seriously. My approach was to try to clear my mind, listen to each song, and try to interpret them the way that a fan would. That is a difficult process. This essay is a mixture between the meaning that I think the fans will find in the songs, and what I was actually thinking during the writing process. These are my own interpretations of the songs from The Beast That Comes. If I have done my job properly the listener will determine their own meanings of the songs, and those meanings may differ from my own. I would also like to say that when I was writing the vocals for the Loaded Gun EP my primary driving thought was “this has to sound like Deadhorse”, and I think that I accomplished that goal. By the time we started the writing process for the full length album I felt that I had already earned my stripes and established myself as the lead vocalist for Deadhorse and I allowed a little more of my own style to make its way onto this recording.

How We Rot. I wanted to write a song that was a ghost story from the perspective of the ghost. This person has lost and forgotten things like love, happiness, friendship and are left with fear, anger, and maybe even hatred. They suffer from having a hole in their soul from having lost the good things in life, indeed their very humanity. They are haunted by the memory of it, or the lack of.

So I Die. With this song, I drew upon my own fight for life. When we are faced with our own mortality, do we go away meekly or do we fight for survival? When all is said and done have we lived a life that had meaning?

Gifts of Eden. From the beginning of time mankind has been on a course of self-destruction. We come from dust, and will return to ashes. This song takes a look at how humanity is divided, and how we tend to think those that aren’t like us are our enemies. Will the planet burn as a result of our division?

Breaking of Spirit. This song is about perseverance in the face of adversity.

The Beast That Comes. I envision the people of a small country village in the mountains somewhere that live in fear of an ancient killer that lives nearby

Horsecore. When I was teenager I was actually a Deadhorse fan. I thought that it would be interesting to write a song about my experience, as a fan, of going to a Deadhorse show.

“The Beast That Comes”
An Interpretation by Alpo

How We Rot
Created as an extremely fast tempo tune from Sevall, “How We Rot” changed when the intro sequence was added by Alpo. The combination of the heavy thrash parts from Sevall, with the rhythmic intro by Alpo, turned the song into what you hear on “TBTC”. Trotting towards the bridge with Guyote’ s signature double basses pounding the way, Sevall and Alpo forge a dimension of sound that culminate into a series of amazing rhythmic tempos. Supported by the tight chugging thrash pulsations of Martin and Alpo, the solo from Sevall leads to the end as on end of “TBTC”. The first song dispatches you fast, sending you marching, as if the spirit of a rotting horse descends into the abyss.

THIS IS HOW WE ROTs (end production contains EVP captured in 2005 by Alpo from Flatonia and Pasadena Texas. This was the weeks after his mother Lynda passed. Intrigued by Ghost Hunters, he set out to find spirits. What was found was so profound, it ended all future investigations into the spirit realm).

So I Die
A song written on pulsating rhythms, mathematics and note interval shifts, “So I Die” begins using a warm up exercise develop thanks to a technique shown to Alpo by the bands patriarch Greg Martin. After the thunderous double bass leads into the chorus, the song take a step down into the grave depravity that dead horse has developed through their love of Black Sabbath and bands of the dreg. “So I Die” is short, sweet and will leaves you ridden hard and put up wet.

Gifts of Eden (GOE)

Writing for “Gifts Of Eden” was started in 2012 during the rehearsals leading up to the “Making a dead horse LIVE” DVD (MADHL) release. At that time, dead horse had returned to a garage environment in Humble Texas and by all accounts, were feeling the effects of the Texas heat. Formed around a bass riff that was influenced by the song “Black Sabbath”, it was originally slower, gloomier and more subdued with more tom fills and wailing guitar. The song was kicked it to the curb when organizing the songs that would form the “Loaded Gun” CD. But once the other sections where developed and lyrics presented, “GOE” fell into place. The Acoustics and the end sequences were added in the studio when the idea was presented to the band, along with Martin guitars as gifts from Alpo to Martin and Sevall. “Gifts of Eden” exemplify the maturity and originality that keeps dead horse diverse and ever living.

Breaking of Spirit
“Breaking of Spirit” pretty much came out of no ware shortly before doing a final production demo with Mike BBQ. Originally called “The 1 Plus”, “Breaking of Spirit” wound up being one of the bands favorite songs of “TBTC”. Most epic dead horse songs have been written, with spontaneous ideas feeding on one another from all members of the band, the mastering of spastic rhythms and chaotic melodies is simply dead horse’ s way. Historically all rehearsals have been recorded by Alpo and have greatly benefited the bands writing processes since forming in 1988.

The Beast That Comes: (TBTC)
“The Beast That Comes” had many forms before the final arrangement was cast before going into the studio with Tim Gerron (MOD, Feed Me, Loaded Gun, Making a Dead Horse LIVE!). First written as a guitar harmony song, but then once the bass progression of the opening measures was introduced, it changed the songs melody and structure. Demented and intentional “The Beast that Comes” has murder in his eyes, and is there to kill you. Demonstrating his great vocal ability, along with narrative lyrics, “TBTC” is destined to be a hit feature of the release. The decision to make “TBTC“ the title of the album was made shortly after the completion of all the studio work. Several concepts and titles for the release were discussed, but all lack collective satisfaction across the members. “The Beast That Come” rose to the top as a unanimous choice and made the entire album’s concept fall into place.

Kill the Infidel: (KTI)
Once known as “Donkey Punch”, then “5 Hour Donkey Punch”, “KTI” was another song from the pre MADHL DVD rehearsals. This was the last song to have lyrics on “TBTC”, lyrics heard for the 1st time in the final studio sessions in Austin Texas. “KTI” is the most re-written musical arrangement process that dead horse has ever gone through, well over 15 versions were made. Alternating from a slamming mosh into heavy straight forward thrash, the humor of “Kill The Infidel” explodes into a striptease style lead break, then back to the core once more. The crazy thing is, the original parts that formed the beginning, the parts that kept it in the “to be complete” column, are not even in the song, but the humor remained. Often ideas, progressions and ditties remain with dead horse a long time, they are either tilled into the soil or rise as flowers. (several songs were mothballed before recording began)

Beat on The Brat
“You can lead a horse to water, but you cannot lead a dead horse anywhere”, so what led dead horse to do “Beat on the Brat” by The Ramones? Would be easy to just say “we all love the Ramones”, but that’s not what happened. The truth is, after pondering songs from ZZ Top to Judas Priest from Cinderella to Jonny Cash, the inability to find a song easy enough to play drunk was a daunting process. The idea came from a statement Greg Gutfeld made comparing the song to the 2016 Elections.

Wanting to tie the original feeling of the 1989 Horsecore album with the concept of “The Horsecore” as a collective of metal fans, “Horsecore” is a song influenced by the band dead horse, made for the band and it’s fans who, through the 29-year history of dead horse, have become loyal followers and part of the HORSECORE. “Horsecore” has an attitude based on a philosophy of brotherhood, kinship and comradery and centered around trash, punk, heavy metal and hardcore. The song was a final remnant from the 2012 garage days in Humble, the time when dead horse decided to keep on rotting and keep on rolling. Ironically, the lyrics about being a fan, going to a dead horse show, was written by a big fan about his experiences seeing dead horse as a fan in the 1990s – WE ARE HORSECORE!




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