After the immense scope of David Comes to Life and its peripheral releases, Glass Boys cherry picks elements from its preceding rock opera to capture a more precise focus. “I think for Mike [Haliechuk] it was a reaction to how big David Comes o Life was, I think maybe for Jonah [Falco] too, when they were arranging how big this record was going to be in terms of the number of songs. Also I think it was a reaction, because I could focus a lot more on what I wanted to do on the songs. With David Comes to Life, it was just so many songs by the end of it. All the seven-inches, all the companion singles, the David’s Town compilation we did. It was too much. I think the reaction to that was us trying to scale it back so we could focus a lot more, and make individual songs, bring that epic-ness to the individual songs – pulling back the curtain, to extend to the rock opera metaphor to its most sickening point. Pulling back the curtain to reveal us. Mike and I were writing lyrics about us, who we are as people, rather than hiding behind characters to articulate our feelings.”
On paper, 2013 was the quietest year on record for Fucked Up in terms of releases, with only a split 12-inch with The Melvins added to the discography. “I think by that point we were already working on this record. It was almost like 2012 was where things really slowed down. I think we were just burnt out in terms of doing so much content on David Comes to Life. I was really serious at the time when I was talking about not wanting to do another record. There’s no inspiration in that regard to do that. Then this record started very organically – for me, at least. I think Mike and everyone else wanted to make another record, it was just a matter of time. For me, there were a few key moments where I thought ‘yeah, let’s definitely do another record’.”
Speculation regarding Fucked Up’s demise, or the prospect of touring with a replacement vocalist, was primarily fuelled by Damian’s comments following the release of David Comes to Life. To create Glass Boys, a turnaround of mentality was needed. “There’s a change of mindset, definitely. I was more aware of decision I’ve made in the band, and the decisions the band has made as a band, and what those are and where those have led, both positively and negatively. I think it’s also a change of mindset in recognising that you’re older. There was a lot of resistance to feeling older prior to this record. Even though I changed a lot, like everyone does, there’s a point where you realise you have grown up, where you acknowledge the passage of time. Maybe it should have happened to me way earlier, but I feel that has become a thing I’ve seen happen in the past few years.”
The dilemma as a parent and musician, particularly in a climate where touring extensively is the foremost breadwinner, is finding a balance between providing for a family while finding time to spend with family. “My eldest at least likes the music I make, so at the end of the day I know he at least likes what I’m doing. Going away, that’s the worst part, even though you’re making money, all you hope that money will do is buy you more time with your kids. You’re pursuing that money at the expense of spending time with your family. I knew if I got a job in Toronto it might not be as glamorous and it certainly wouldn’t be as fun, but I could find a job that pays the bills and be home every night after school and never worry about missing anything. Then I start thinking that maybe I’m just addicted to the celebrity of it all – and it’s definitely minor celebrity in our case, I’m not pretending that I’m getting mobbed in the streets. But that celebrity of people coming to see you play, or taking the time to interview you, or buying your records. Maybe I’m not making the best decisions for my family, I’m only making the best decisions for myself, keeping this 15 year-old fantasy that I’m living,” Damian states. “There’s always that in the back of my mind. It’s a constant inner struggle.”
BY LACHLAN KANONIUK
