Earlier this year, colourblind returned with ‘Seatbelt’ — a track that explores the feeling of being trapped while you grapple with emotions crumbling around you.
The band tapped into all kinds of inspiration during the writing and recording process. Music was particularly formative, with a few tracks proving important to each member.
Trophy Eyes sophomore album Chemical Miracle will always hold a special place in my heart. The timing was perfect for where I was in my life and I’ve been trying to replicate how it made me feel in my own songwriting ever since. It’s anthemic, it’s angry, it’s relatable — it’s emo just how I like it. Traces of this album can be found scattered all over colourblind but especially ‘Suicide Pact’ in relation to ‘Seatbelt’. Especially in the intro. Raw vocals over driving basslines (chef’s kiss).
In my opinion this song encapsulates how colourblind try to write and how I try to tie in my drum writing style to suit our songs. The balance of soft and heavy elements that blend together and their natural progression from one to the other stand out to me as something we strive to achieve. I try to follow and compliment the melodic lines while keeping a consistent rhythm between Bernie and I. I like how the accents stray from the traditional rock beat and follow the guitars rhythms while keeping a steady flow.
The Story So Far
Out of It
The guitars paired with the drums is what drives this song. I envisioned something similar whilst writing the guitars for ‘Seatbelt’. When I first heard this song I immediately wanted to pick up the guitar and play along because it was so fun. Perhaps this is one of the reasons that ‘Seatbelt’ is one of my favourite songs to play live.
Gone But Not Entirely
I think without realising I’ve selected songs for this playlist that have vocal melodies that I wish I came up with first. The vocals throughout this song are understated but intentional, and having them sitting all the way back in the composition served as a reminder to me while we were recording Seatbelt that even a subtle and quiet backup vocal can change the whole feel of a song if done correctly. The bass part of this song is much the same, just steadily pumping along in the background, but it has a solid rhythm that doesn’t need to be over the top to get its point across, which I think is something I try to carry on in my playing.