\n\tAndrews, who took over directorial responsibilities for the doc in the middle of the pandemic, then focuses on the band\u2019s many ups and downs throughout the production of their first three studio LPs, primarily their third record, Fantastic Planet<\/a> (1996), which would go on to be widely regarded as a masterwork. Butch Vig, who produced Nirvana\u2019s Nevermind, counts it among his top albums of all time.<\/p>\n \n\tDuring Fantastic Planet\u2019s 1995 recording sessions, heroin invaded the band like it did to so many other groups of that era. Andrews and newly solidified drummer Kellii Scott<\/a> had formed what could be described as more sociable habits, but the opioid really sunk its teeth into Edwards and refused to release its bite. A watershed moment for the documentary occurred when Andrews discovered chilling footage from 1991 of 20-year-old Edwards expressing interest in trying the drug, while also foretelling just how easy it would be for him to form a heroin addiction.<\/p>\n \n\t\u201cWhen Ken found that first clip that starts the film, I was shocked at just how much insight I had at that age about exactly what ended up happening. It\u2019s uncanny to me,\u201d Edwards tells The Hollywood Reporter in support of Every Time You Lose Your Mind\u2019s Hulu release.<\/p>\n \n\tAmid their collective haze in 1995, the band knew that they were crafting the finest work of their young career, but one of several impending death knells happened toward the end of their Fantastic Planet sessions. Their record label, Slash Records, shelved the album\u2019s release indefinitely amid an effort to sell itself. This unwelcome news sent the band spiraling further into the throes of depression and addiction, and they spent 18 months questioning whether their magnum opus would ever see the light of day.<\/p>\n \n\tIn August 1996, Slash\u2019s then-distribution partner, Warner Bros. Records, finally put the album out themselves, and despite being received with critical acclaim, Fantastic Planet wasn\u2019t pushed to the degree that it should have been, resulting in unimpressive chart and sales figures. Meanwhile, Edwards was now a shell of his former self, raising major concerns about whether he\u2019d be able to sustain himself as the band toured in support of their much-delayed record.\u00a0(Andrews has stated many times since then that Edwards still managed to deliver strong live performances.)<\/p>\n \n\tIn hindsight, Andrews, Edwards and Scott are relieved that Fantastic Planet didn\u2019t receive a more robust commercial response.<\/p>\n \n\t\u201cI\u2019ve always thought that if we had gotten more radio airplay or more success [in \u201896 and \u201897], it might not have been a good thing,\u201d Andrews says, with Edwards adding, \u201cYeah, I probably wouldn\u2019t be here.\u201d<\/p>\n \n\tIn late 1997, Andrews disbanded Failure. The straw that broke the camel\u2019s back was when Edwards missed a second consecutive writing session due to falling asleep at the wheel and crashing his car into a series of parked cars at an L.A. Nissan dealership. Each member had their own crosses to bear in the following years, but they all went on to have productive music careers. Scott joined some notable bands before becoming a successful session drummer. Edwards gradually got clean and co-founded the alt-rock band Autolux in 2001. And Andrews launched several musical projects until making a name for himself as one of the industry\u2019s most in-demand mixers, engineers and producers.\u00a0<\/p>\n \n\tDuring their absence, the band\u2019s legacy quickly began to evolve, especially as the internet and file sharing took off. They soon achieved cult status, underscoring their existing reputation as \u201cyour favorite band\u2019s favorite band.\u201d Failure was previously one of the only bands that L.A. alt-metal band Tool championed and took under their wing. Tool and A Perfect Circle frontman Maynard James Keenan reinforced his support when he helped cover Failure\u2019s \u201cThe Nurse Who Loved Me\u201d on A Perfect Circle\u2019s platinum-selling second album, Thirteenth Step, in 2003. The Hayley Williams-led Paramore would also follow suit with a cover of Failure\u2019s \u201cStuck on You\u201d in 2006. (Williams and Andrews recently performed<\/a> Failure\u2019s \u201cDaylight\u201d at a benefit for L.A. wildfire relief.)<\/p>\n \n\tThe tide ultimately turned in 2010 when Andrews and Edwards both became fathers at roughly the same time. Various social engagements involving their families eventually led them to pick up instruments, and by 2013, they knew full well that they could still write music that\u2019s worthy of the Failure name. That\u2019s when they called Scott with the good news, and the trio first set out to book an L.A. reunion show in 2014. The event sold out in minutes, something their \u201890s iteration could never boast.<\/p>\n \n\tIn 2015, after 19 years between LP releases, the band released their comeback album, The Heart Is a Monster, to even more critical praise. Currently, they\u2019re putting the finishing touches on their seventh studio record and fourth, post-revival, topping their \u201990s output. Andrews admits that even he\u2019s a bit amazed that Failure has been able to pick up where they left off, musically, but above all, he\u2019s most grateful for their live audiences consisting of younger generations and varied demographics.\u00a0<\/p>\n \n\t\u201cTo walk out on stage and see those young faces is a gift that I was not expecting,\u201d Andrews says.<\/p>\n \n\tBelow, during a recent conversation with THR, each member of Failure offers their unique perspective on the demise and rebirth of the band, before adding context to some key moments from Every Time You Lose Your Mind.<\/p>\n \n\t***<\/p>\n \n\tEvery time I talk to David Dastmalchian, I ask him for updates on Failure, and in March of 2024, he told me that he <\/strong>introduced<\/strong><\/a> you guys to Hulu\u2019s head of scripted content, Jordan Helman. Is David\u2019s matchmaking a big reason why we\u2019re now talking about a Hulu\/Disney+ release of your long-awaited documentary?\u00a0<\/strong><\/p>\n \n\tKEN ANDREWS (Vocals, Multi-instrumentalist, Co-Lyricist) <\/strong>Absolutely. It was a very fortuitous thing. I had David over to help me with the edit, and he was like, \u201cTo be honest, Ken, I don\u2019t really have that much time in my schedule right now to help you because I\u2019m shooting all these movies simultaneously. But I want to introduce you to a guy who knows a lot about your band, and he knows a lot about story.\u201d So Jordan and I just hit it off, and he was instrumental in crafting the story of the movie. He helped me get a three-plus-hour cut down to two hours that really flowed.<\/p>\n \t\t\t\t\t\t \t\t\t\t\tFailure frontman and Every Time You Lose Your Mind: A Documentary About Failure<\/a> director Ken Andrews<\/p>\n \t\t\t\t\t\t\t\t\tGrandstand Media & Management<\/p>\n \n\tKen, you took over the director\u2019s chair during the pandemic, and whenever an artist is in charge of their own doc or biopic, there\u2019s usually a concern that they will sanitize their story. But that\u2019s really not an issue here because you guys have always been brutally honest about the gory details of Failure. Did you have a similar rationale when you took the reins?\u00a0<\/strong><\/p>\n \n\tANDREWS <\/strong>Yeah, and I had seen YouTube videos about our band being tumultuous, so it wasn\u2019t that big of a secret that we\u2019ve had our issues. When I saw the interviews that were already shot [by the previous directors] \u2014\u00a0including Margaret Cho\u2019s interview where she went into detail about her opinions on the connection between addiction and creativity \u2014 that\u2019s when a lightbulb went off in my head. We\u2019ve had a lot of problems with addiction, but we\u2019ve also been creative through those problems. So it\u2019s just an interesting, complicated topic, and I basically just wanted to present the situation for people to take it in on their own.<\/p>\n \n\tSome interviews go all the way back to 2016?<\/strong><\/p>\n \n\tANDREWS <\/strong>Yeah, the first directors picked away at it over the course of five years. They\u2019d grab interviews when they could, but once the pandemic hit, it just became impossible for them to finish the movie. So that\u2019s when we first got to see the footage that they had already captured. To be honest, I probably wouldn\u2019t have started a documentary on my own, but once I saw some of that footage, I knew that there were a bunch of other interesting people that might have something to say about the band and the topics that course through the band. So that\u2019s when I realized, \u201cYeah, we probably have a movie here.\u201d But it basically took ten years to shoot all the interviews. We had an album interruption and a concert film, but then we finally started editing the film two years ago.<\/p>\n \n\tGreg, the opening reel of your 20-year-old self sent a chill down my spine. When you first saw that footage, did you try to reach through the screen to deter your young self from ever considering heroin?\u00a0<\/strong><\/p>\n \n\tGREG EDWARDS (Multi-instrumentalist, Vocals, Co-Lyricist) <\/strong>Yeah, part of me would like to do that, but the larger part of me just accepts that it is my story. It is what happened. When Ken found that first clip that starts the film, I was shocked at just how much insight I had at that age about exactly what ended up happening. It\u2019s unreal. It\u2019s uncanny to me.\u00a0<\/p>\n \n\tANDREWS <\/strong>I had gone through that footage twice before, but I had not picked up on that conversation. I skimmed it and was maybe writing some emails at the same time or something. But then I went through it again, and I heard [former Failure drummer] Robert [Gauss] go, \u201cSo what are you thinking about heroin these days?\u201d And I was like \u2026 (Andrews mimics how he sat straight up with eyes widened.) That\u2019s when I finally decoded everything that was being said, and it became a turning point in the documentary.\u00a0<\/p>\n \t\t\t\t\t\t \t\t\t\t\tGreg Edwards of Faliure<\/a><\/p>\n \t\t\t\t\t\t\t\t\tGrandstand Media & Management<\/p>\n \n\tWas this footage part of a more recent discovery?<\/strong><\/p>\n \n\tANDREWS<\/strong> Yeah, I had a Sony Handycam that I had basically taken from my parents, and I was just randomly shooting stuff during that period [in the early \u201890s]. I wasn\u2019t even thinking about what we were going to use it for, but we thought that it would be fun to just shoot stuff and look at it later. But I never really looked at it later. And then, when we were editing the documentary, I went through some closets and found some old videotapes. Of course, they were in formats that don\u2019t really exist anymore, so I had to go on eBay and buy some old tape machines that could play them back. But that\u2019s when I started finding all this interesting stuff. Robert actually filmed that shot.<\/p>\n \n\tEDWARDS<\/strong> He filmed me while he asked me that question?\u00a0<\/p>\n \n\tANDREWS<\/strong> Yeah, he was interviewing you. You can hear my voice as I\u2019m talking to a friend in another part of the room, but I didn\u2019t know that your conversation had gone down at all until 30 years later.<\/p>\n \n\tGreg, when you hear all these stories about yourself in the doc, does it sometimes feel like they\u2019re describing a stranger? Or do you still feel connected to that version of yourself?<\/strong><\/p>\n \n\tEDWARDS <\/strong>In certain ways, I still feel very connected. It\u2019s also really difficult for me to get in touch with how dangerously and carelessly I was living every day for a stretch of time. It just stresses me out to even think about it now. So that part of it I don\u2019t understand, but as Ken was saying, when Margaret speaks so eloquently about the connection between being creative and being an addict,\u00a0I don\u2019t reject that at all. There\u2019s an obsessiveness to the creative process that is exactly the same energy that goes into an addiction and the lifestyle of keeping up an addiction. Sometimes, they converge in a way that can create beautiful things, and sometimes, they can disentangle where one takes over.<\/p>\n \n\tKellii, the upbeat energy you brought to the band on and off your drum kit seems to be incredibly valuable. When things got heavy between Ken and Greg back in the day, did you view yourself as the person who needed to break the tension or mediate?<\/strong><\/p>\n \n\tKELLII SCOTT (Drummer) <\/strong>No, not with that type of clarity. That\u2019s just my personality, and I act that way in every landscape. It just so happens that that is where I fit in with this group of people. But I don\u2019t think I was consciously walking around, going, \u201cOh, I\u2019ve got to do this again.\u201d That\u2019s just how my personality fit within the band, and it was definitely very necessary. You don\u2019t really even know that you necessarily need both of those things until they\u2019re there.<\/p>\n \t\t\t\t\t\t \t\t\t\t\tDrummer Kellii Scott of Failure<\/p>\n \t\t\t\t\t\t\t\t\tGrandstand Media & Management<\/p>\n \n\tAll three of you are older and more equipped to handle conflict now. Do you encounter present-day situations where you know they would\u2019ve been much a bigger ordeal in the \u201890s?\u00a0<\/strong><\/p>\n \n\tSCOTT <\/strong>We still have arguments. We\u2019re people. But as you touched on, we certainly had a lot less tools as individuals back in the day. Some of the things we argued about were probably a bit sillier or really didn\u2019t matter all that much. But we\u2019ve talked about our relationship going forward, and the only thing that\u2019s changed is we\u2019ve all had major experiences in our lives. So, for the most part, we understand how precious it is that we\u2019re able to make music again after all these years.<\/p>\n \n\tYour partner, Priscilla Chavez Scott, is another unsung hero behind this documentary. She captured a lot of the materials throughout the piece?\u00a0<\/strong><\/p>\n \n\tSCOTT <\/strong>Yeah, she did a lot of shooting. There\u2019s also a bunch of fan stuff that she captured when we were on the road doing the concert film [in 2022]. As soon as we would finish the shows, she would run outside and interact with the fans. But, yeah, she really stepped up. Before this, she was doing still photography. So she and Ken worked great together, and she learned a lot of new stuff doing this.<\/p>\n \n\tThere\u2019s a moment where you deliver a very pointed message to some people, and then you flip off the camera. It was in regard to Ken having to be the band\u2019s first line of defense. Are you able to shed a little more light on what you were referencing there?\u00a0<\/strong><\/p>\n \n\tSCOTT <\/strong>Not specifically, but there are definitely moments riddled through our career where he needed to push back on something dumb being said by someone, usually business people or people trying to get a better deal than the band. He was usually just sticking up for the band and making sure we got the best shake possible.<\/p>\n \n\tYour former guitar player, Troy Van Leeuwen, tells a story involving Stone Temple Pilots that knocked me sideways, to say the least. I won\u2019t specify so the readers can have the same experience upon watching, but did that account make some executives pretty nervous?<\/strong><\/p>\n \n\tANDREWS <\/strong>There was a little bit of concern. We had to go through a whole process of vetting the film for legal stuff, and that definitely came up. But we spoke to some people in that world who were like, \u201cNo, you\u2019re fine. You\u2019re good.\u201d I\u2019m friends with the existing members of Stone Temple Pilots. It didn\u2019t really happen for us together in the \u201890s; they soared ahead of us in terms of crowd size and popularity and whatnot. But there was always this connection between the two bands, and just the other day, [STP guitarist] Dean [DeLeo] sent me a video of him and Scott [Weiland] doing a TV interview before an [STP] show in \u201893. And they were asked about what bands to listen to, and Scott just went off about Failure for five minutes. So I think [the story] just points to a little bit of the craziness that was going on during those years for both bands.<\/p>\n \t\t\t\t\t\t \t\t\t\t\tFailure\u2019s 1996-1997 lineup of Kellii Scott, Greg Edwards, Ken Andrews and Troy Van Leeuwen<\/p>\n \t\t\t\t\t\t\t\t\tGrandstand Media & Management<\/p>\n \n\tWhen record producer\/engineer Steve Albini passed away last year, did you review his footage again just to make sure you left no stone unturned? (Note: In 1992, Albini produced Failure\u2019s debut record, Comfort, shortly before he did the same for Nirvana\u2019s third LP, In Utero.)<\/strong><\/p>\n \n\tANDREWS <\/strong>Yeah, I did. We\u2019re doing another version of the film that is more extended, and there\u2019s a lot more extended stuff of Steve. Most of his headier stuff about the music business is actually in the [current] film. He was so entertaining to listen to when he\u2019d start waxing on about that stuff, but there\u2019s tons of other stuff. His memory was way better than mine about the recording techniques that he offered up during the making of Comfort. But that was a crazy moment because he passed right after we interviewed him.<\/p>\n \n\tGreg, one of the most tragicomic stories I\u2019ve ever heard is your \u201cbread mix\u201d story from 2004\u2019s Golden documentary, which I now consider to be a proof of concept for this doc. In 1997, your mailing system failed you at a particular tour stop, and so you sent a crew member out to find opioids of some kind, only he came back with bread mix that you still ingested.\u00a0<\/strong><\/p>\n \n\tEDWARDS <\/strong>Yeah, I don\u2019t know what it was exactly, but I\u2019m hoping it was bread mix at this point. (Laughs.)<\/p>\n \n\tWas that story ever going to be retold for this doc? Or would that have been overkill given all the other related stories?\u00a0<\/strong><\/p>\n \n\tEDWARDS <\/strong>Yeah, it didn\u2019t come up, maybe because it had already been told. I haven\u2019t thought of that story in a while. I knew a hundred percent that it was not a drug that was going to get me high, and yet it was like Russian roulette.<\/p>\n \n\tCarson Daly introduced me to you guys via KROQ, and oddly enough, I also heard about the break-up from him when he was brand new to MTV in 1997. Did anyone reach out to him for the sake of the doc?<\/strong><\/p>\n \n\tANDREWS <\/strong>He hung around back then. He was at a lot of our shows, and he introduced<\/a> us a few times when we played live. But then his career took a different path and we lost touch with him.<\/p>\n \n\tSCOTT<\/strong> I\u2019ve tried to reach out to him a couple times and had no luck. I\u2019m still really good friends with Zeke Piestrup from KROQ. We used to hang out with Carson a lot at the old Opium Den, and that\u2019s kind of where we first met him.<\/p>\n \n\tSpeaking of KROQ, I also remember hearing your appearance on Loveline.\u00a0(Note: Spanning nearly four decades, Loveline was a popular call-in radio program that offered relationship and medical advice.)<\/strong><\/p>\n \n\tEDWARDS<\/strong> The Loveline thing is funny. I was home alone at my house in whatever [mental] state I was in, and I was listening to KROQ. All of a sudden, Loveline came on, and it was with Failure.\u00a0<\/p>\n \n\tANDREWS & EDWARDS & SCOTT<\/strong> (Laugh.)<\/p>\n \n\tEDWARDS <\/strong>It was you guys [and guitarist Troy Van Leeuwen]. You hadn\u2019t even told me about it.\u00a0<\/p>\n \n\tSCOTT<\/strong> We were in the midst of breaking up.<\/p>\n \n\tANDREWS<\/strong> Yeah, it was the peak.<\/p>\n \n\tEDWARDS <\/strong>Yeah, I had no sense of anything. I was just shocked. I couldn\u2019t understand why I hadn\u2019t been told about it. I guess you just didn\u2019t want to deal with me.<\/p>\n \n\tANDREWS<\/strong> Well, it was actually the manager [Warren Entner].<\/p>\n \n\tSCOTT <\/strong>We had also just done the \u201cEnjoy the Silence\u201d cover, and that was a big clusterfuck. So we were meeting our last few obligations.<\/p>\n \n\tANDREWS <\/strong>There was discussion of not doing it.<\/p>\n \n\tSCOTT<\/strong> Yes, there was, and I think we were told, \u201cYou have to do it. It\u2019s Loveline.\u201d<\/p>\n \n\tANDREWS<\/strong> Yeah, Warren was pretty concerned.<\/p>\n \n\tEDWARDS<\/strong> I was just so unaware of the state of things, and I was just shocked that you guys would do it.<\/p>\n \n\tSCOTT<\/strong> It\u2019s surprising that we did it, because, in the background, things were already coming off the tracks.<\/p>\n \n\tEDWARDS<\/strong> But I was completely unaware of that too.<\/p>\n \n\tYou reunited in 2013 after 16 years away, and overall, you guys have now been able to rewrite your legacy in a way that so many of your contemporaries were unable to do because of tragedy. Is it a relief to no longer ask yourselves, \u201cWhat could have been?\u201d\u00a0<\/strong><\/p>\n \n\tANDREWS <\/strong>Yeah, that\u2019s part of the reason why we put so much effort into this documentary. It was to clarify our story and maybe get some closure on some of the regrets and mistakes.<\/p>\n \n\tEDWARDS<\/strong> I\u2019ve never really asked myself that.<\/p>\n \n\tSCOTT <\/strong>After the band broke up, I had a pretty thorough descent into hell. And part of what I needed to do to get out of that and become at peace with everything was by reconciling the past. So when Ken called me [in 2013] and was like, \u201cGreg and I have been hanging out and writing music,\u201d I didn\u2019t really have to struggle with that kind of stuff. It almost seemed like it should have happened that way. I had literally just dropped the proverbial rock on having such strong feelings about what could have been or what if and all of that garbage. Those questions do nothing but hold you back. You can\u2019t move forward if you\u2019re living in those questions. So it was something that I had to deal with long before the band even got back together, and it definitely made getting back together a lot more free and enjoyable, without having to be constantly dragged around in this new relationship by the baggage of the past.<\/p>\n \n\tANDREWS<\/strong> I\u2019ve always thought that if we had gotten more radio airplay or more success [in \u201896 and \u201897], it might not have been a good thing.<\/p>\n \n\tSCOTT<\/strong> Be careful what you wish for.<\/p>\n \n\tEDWARDS<\/strong> Yeah, I probably wouldn\u2019t be here. In terms of the work that we created [in the \u201890s] and the work we\u2019ve continued to create and the way it\u2019s been received by the fans, there\u2019s just no regret there. It\u2019s done everything I could ever hope for. There could be more people that are aware of it, but the actual art that we\u2019ve created has even outperformed what I could ever hope for.<\/p>\n \t\t\t\t\t\t \t\t\t\t\tFailure\u2019s Greg Edwards (left), Kellii Scott (center), Ken Andrews (right)<\/p>\n \t\t\t\t\t\t\t\t\tGrandstand Media & Management<\/p>\n \n\tYeah, you\u2019re one of the few revivals that isn\u2019t resting on laurels and operating as a legacy act. Your new music is a logical next step from where you left off in \u201896, and I probably listen to the new stuff more than the old stuff now, granted I had 20 years with the \u201890s material. Are you surprised at all that you\u2019ve been able to make music that\u2019s just as vital?\u00a0<\/strong><\/p>\n \n\tANDREWS <\/strong>I\u2019m surprised. What I\u2019m the most surprised by and the most inspired by is the whole different generation of kids who discovered Fantastic Planet and the newer albums simultaneously. They didn\u2019t really know anything about the band breaking up; they just thought it was a band. So to be older now and see younger versions of ourselves discovering our music is so gratifying. And to walk out on stage and see those young faces is a gift that I was not expecting.<\/p>\n \n\tI\u2019ve been reading the tea leaves for the last six or seven months, and it appears you\u2019re on the verge of finishing your seventh record. The second era of the band will officially have more output than Failure 1.0. What can you say at this juncture?\u00a0<\/strong><\/p>\n \n\tANDREWS <\/strong>We\u2019re finishing it. That\u2019s definitely true. We\u2019ve got a good solid album worth of songs, and we\u2019re mixing. When I\u2019m at this point in the process, I don\u2019t have a ton of objectivity on where the album fits in the timeline of the band. I just know it feels good, and I know I like the songs. But it\u2019s hard to know how it\u2019s going to land for people.<\/p>\n \n\tAre the segues between songs back?\u00a0<\/strong><\/p>\n \n\tANDREWS <\/strong>There\u2019s some extended intros, but they\u2019re not defined as \u201csegues.\u201d<\/p>\n \n\tSCOTT<\/strong> We don\u2019t actually use that word on the record.<\/p>\n \n\tEDWARDS<\/strong> When we made our first three records, there was zero concern to the running time because vinyl was gone. Nobody bought vinyl, nobody pressed vinyl, and a CD could handle 74 minutes. But now, vinyl is a real thing again. It\u2019s a real thing that we think about when we\u2019re making a record. All the classic Beatles records are right around 38 or 40 minutes, and that\u2019s what vinyl can handle before you start losing frequency response. So segues can really eat up that time on vinyl. Do you want to have a few nice segues? Or do you want the songs to sound full and big?<\/p>\n \n\tANDREWS<\/strong> I like the challenge of making a concise record that fits on one vinyl disc. I guess it\u2019s because so many of my favorite albums did that, and while it is an arbitrary technological number, it influenced the creativity and how people thought about records: \u201cWhat are you going to start side B with?\u201d That was a big consideration. And because we\u2019ve had so much success with vinyl in the rebooted version of the band, it\u2019s just something that\u2019s on our minds.<\/p>\n \n\tAre you done reinterpreting the <\/strong>Golden<\/strong> b-sides \u00e0 la \u201cPetting the Carpet\u201d and \u201cPennies\u201d?<\/strong><\/p>\n \n\tANDREWS<\/strong> I don\u2019t know if we\u2019re done, but I feel like we\u2019ve maybe picked some of the best ones. So we\u2019re not revisiting the past on this record, although we are actually rehearsing some of those older songs right now and reinterpreting them for an acoustic set [at 6\/26\u2019s documentary premiere].<\/p>\n \t\t\t\t\t\t \t\t\t\t\tFailure\u2019s Greg Edwards, Kellii Scott and Ken Andrews perform an acoustic at the premiere of Every Time You Lose Your Mind: A Documentary About Failure<\/p>\n \t\t\t\t\t\t\t\t\tLynora Valdez<\/p>\n \n\tLastly, Greg\u2019s sister, Julie Edwards, commented in the doc about the one-two punch of \u201cHeliotropic\u201d and \u201cDaylight\u201d to conclude <\/strong>Fantastic Planet<\/strong> (1996). What\u2019s your favorite run from the newer material?<\/strong><\/p>\n \n\tEDWARDS<\/strong> \u201cLong Division\u201d<\/a> into \u201cBad Translation\u201d into \u201cHalf Moon,\u201d those three [from Wild Type Droid] transition really nicely.<\/p>\n \n\tANDREWS<\/strong> We really spend time on sequence. In fact, we\u2019re still haggling over sequence on the new record. It\u2019s like songwriting for us. We really listen to the transitions and feel the pacing. It\u2019s very important to us.<\/p>\n \n\tSCOTT<\/strong> In the Future\u2019s \u201cForce Fed Rainbow\u201d and \u201cThe Pineal Electorate\u201d would be mine. \u201cForce Fed Rainbow\u201d<\/a> is one of my favorite songs of all the new stuff, and I believed that even more when we played it live for the first time on our last tour. It just crushed me every night. I actually think the last four songs on In the Future \u2026 are equal to the last four songs on Fantastic Planet.<\/p>\n \n\tBesides those two, I also appreciate The Heart Is a Monster\u2019s transition of \u201cA.M. Amnesia\u201d into \u201cSnow Angel.\u201d<\/strong><\/p>\n![\"\"](\"https:\/\/www.hollywoodreporter.com\/wp-content\/themes\/vip\/pmc-hollywoodreporter-2021\/assets\/public\/lazyload-fallback.gif\")
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