Stop The Rot is out now.
Limerick’s We Come In Pieces are a fascinating and visceral proposition. Combining elements of post-hardcore, alternative rock, prog metal, and math rock seamlessly, they are a group who craft constantly shifting and emotionally cathartic songs. Plus, they get extra points for singing in their native Limerick accent and not trying to sound like they were born and bred in San Diego.
Just yesterday, the group released their latest album Stop The Rot. It’s great craic, lads. Expect much tapping, fiddling, pummeling, and emotional heft. We had a sit down with the group and they took us through each track with a fine tooth comb.
1STOP THE ROT
‘Stop The Rot’ refers to both the position that we were in as a band a couple of years ago when we were completely inactive and I suppose our position living at home through a recession. Thematically, the lyrics refer to being in torturously over your head and willing yourself out. The “digging” theme comes up a few times throughout the album and I had flashbacks to reading “The Myth of Sisyphus” in college and thinking about the endless toil that people put themselves through and never end up any better for it. Few pints at the weekend. Be grand.
‘Stop The Rot’ was one of the last two tracks written for the album and it came together really quick. The main riff was found on a phone recording that I don’t remember writing and as soon as we had the verse the rest of it just flowed. We kind of knew what the album was gonna be at this point so this song really stood out as an opener.
2YOU HAD ME AT HELL
This was the first song fully written for the album and it’s most important to us. We were in a position at that time in 2012 that we weren’t really a band. The arse had fallen out of it and Ciaran Culhane (of Shardborne fame who had recorded everything we had done) asked us if we wanted to play The Siege of Limerick. We MIGHTILY wanted to play The Siege as we had missed a couple of editions being on tour. We informed Ciaran (the only person we other Kieran’s agreed would be perfect) that we would play The Siege but he would have to play guitar with us. And so he was tricked.
We had no plans beyond that gig besides hopefully making some money back that had been spent on our second album and then calling it a day. One faithful morning when I was leaving The Culhane’s house at about 6 am, I noticed that he had been noodling away with a riff for a while so I asked him to play it and drummed along while trying to remember it. Once our next practice came along, The Culhane was tactfully reminded of said riff and we bashed it out for a couple of hours until we had a new song. And a new band. And a Jerry Maguire pun (of which there are more).
This song was originally referred to as Shark Wahlberg but thankfully it didn’t stick. Unlike Turdmerger.
This came along early enough as well before we ever had any designs on recording an album. We were just messing about after going through our set at practice and some of the jams stuck. The Culhane had this lovely picking chord structure, then we bashed out those chords loudly and started shouting, sped up some and we had the bones of a song. Anyone could and should do it. I took the lyrics down in the drafts of a Hotmail account that I’ve had since the first IT class in first year of secondary school. They were lost for quite some time. Cool story.
The solo bit towards the end of the song was thought to have been a joke while I dipped back to work from the studio/sitting room. Lots of laughs they thought they’d have at my expense with their foolery. The solo stayed.
This song is called Part Two because we wrote it by jamming it directly from Shark Wall and never bothered calling it something else. This too was another song nearly lost to the annals of Hotmail but alas, my WCW themed password was eventually recollected. This whole song was pretty much written as a pop-punk song that The Culhane can do whatever he wants over and that’s been our philosophy ever since. This song might have initially been jammed out because I was playing the start of “New Noise” by Refused and The Culhane decided finger tapping was more appropriate.
This quick ditty came out of a series of 30 second songs that Kieran of the Sims did at home and sent on to the famous Hotmail. We bashed it out and The Culhane added lashings of Culharmonies and there you have it. A song. The ONE FALL at the end is a little nod to our Wrasslin’ fandom. We came out of hibernation to play an OTT wrestling show in Limerick which got us going again so without Wrasslin’ I wouldn’t be sitting here right now typing this out on my 18 year old Hotmail account. Happy Birthday!
This is the earliest material that we have on the album (although The Culhane might be secretly harbouring riffs from us). It was half written in Dec ‘11 on an acoustic guitar when it was just two unfortunate Kieran’s as a means of seeing how a two-piece would work. It didn’t. So we finished it in Dec ‘16 with three Kieran’s. HURRAH! Another song about the virtues of boredom and decay.
The “Begin, Begin” sung by the Choral Kieran’s at the start of the song is just a copy and paste job from the middle of the song and was a joke that stuck. Tell no one.
7CEASE AND CEASE AGAIN
CACA started as a means of writing a Genesis song which we accomplished to varying degrees of success. I look more like old man Phil Collins now than I did when we started writing it. This is one of those songs that was probably written over the course of a couple of years in different, now closed practice spaces but came together in very little time when it did. We had the verse chords and chorus ages ago and once we had the opening loveliness it felt natural to fly back into that later on in a louder fashion. Lyrically, it’s a “one step forward, two steps back” dealie. Doing stuff is hard.
Steely Danzig was named by marrying both the names Steely Dan and Danzig. This was to characterise the prog stylings that The Culhane brings to the band to go along with the punk traditions that the Kieran’s maintain. It definitely wasn’t only because it made us giggle a lot. Swear.
This was the last song written before recording and has a bit of a different outlook. While most of the other songs were derived from paralytic boredom, this one was written out of sheer activity and the lyrics really reflect that. Now that I think of it, thematically it should be the last one on the album.
The song was fleshed out of a finger tappy tap tap riff that The Culhane wished into existence and the song pretty much took as long to write as it did to jam out the first time. I went and conceived melodious words for it and when I brought that verse back to practice I realised that the part was half as long as I thought it was. So we had TWO verses. Just like the time three of us got into France with only TWO passports.
‘Gestabby’, pronounced GESTABBY, was called ‘Gestabby’ because the riff starts with some stabs and the note is G. This could well have been a Shardborne song but we stole it from right under their noses. Middle fingers were pointed at the stage from members of a well known Limerick prog-metal band when we first played it.
Another song that came together really quickly, it was effectively written from the walk to the jam space from the house (230m) after The Culhane played the riff once over tea. The demo of this song doesn’t have an octavor on it. The album does and that’s all the difference. As an aside, when we demoed the album we hadn’t practised in two months and decided that it was a good idea to go for a Chinese Buffet after two songs. It wasn’t.
When we were putting out this song and video last year I was a bit cognisant of the lyrics being “Grab it by the scruff of the neck and don’t apologise” screamed by 3 big hairy feckers while the Harvey Weinstein, #metoo movement was happening. It comes off as a bit violent/direct but in context, it’s not meant that way. It’s about grabbing life by the balls.
This fast number was named after the rainbow-puking dwarf from Gravity Falls. I wouldn’t be averse to having a GIF of Shmebulock below this paragraph. If not, just type it into google yourself. It’s adorable!
Another one of the few that transcended multiple practice spaces, it was written in fat drips over such a period of time that it feels like it was never written at all. Lyrically, I think it and some of our other songs are informed by having visited the Killing Fields in Cambodia and trying to internalise that kind of horror. At the same time, the song is about overcoming which I’m beginning to see is really a theme towards the end of this album after being such a misery guts. Go us. I’m looking forward to the merging of turds now, really cap this shit off.
The last song. The big finale. Six years of misery, toil and excrement and what do you get? You get a bass lick straight out of the Law and Order theme song.
Turdmerger was named after I looked at my phone and saw the word Turdmerger and thought it was hilarious. I must have written it down in my phone as a future song title while watching It’s Always Sunny in Philadelphia and then forgot about it. Upon rewatching IASIP I put it together. Cool story.
This is one of maybe two songs that came from an era of silent practices with an electric drum kit. We had nowhere really to store our gear or make noise and we had booked that OTT Wrasslin’ show so we took to being incredibly not loud and slightly less obnoxious for a period. The opening riff came from a jam and I thought it was the most stupidest riff I’d ever heard. Delightfully so. Stupidly awesome! And it was a lot of fun to work the verse vocals in around the riff. In the very next part of the song, we play the chord of E for far far far too long. I haven’t counted it yet but someone should. Probably me.
We never really finished this song before we recorded it. We always just ended up in some sort of jam with it so that’s how it went in the recording. We played it out and the lads made it work when it came to recording guitars. I hadn’t the faintest clue how it was going to turn out. I’m glad the album ends with that scream. It was a scream of pure and utter frustration after beating the shit out of the drums to no avail so having it there is a nice reminder not to tune the skins quite so low next time. Too flappy! STOP THE FLAPS!
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