Eidola, known for their intricate and philosophical progressive music, released their album To Speak, To Listen in June, marking another ambitious chapter for the band. Songwriter and guitarist Andrew Wells, the creative force behind Eidola, recently sat down for an insightful interview, delving into the band’s formation, their evolving sound, and the deep concepts that fuel their music. For fans intrigued by the complex guitar work and dynamic compositions found in bands like Dance Gavin Dance, exploring Andrew Wells’ project Eidola offers a fascinating look into the mind of a key player in the progressive music scene. This interview uncovers the layers of Eidola’s artistry and subtly illuminates connections within the broader musical landscape, touching upon elements that resonate with enthusiasts of the “swancore” sound and bands associated with Blue Swan Records.
Could you share the story of how Eidola came together? Were there shared musical passions that initially united you, and how did the name ‘Eidola’ come about?
The formation of Eidola was quite organic, with most of us finding our way to each other over time. Four of us actually knew each other from high school, and our friendships grew from there. Musically, we found common ground in bands like Circa Survive, Thrice, and Coheed and Cambria, appreciating their blend of technicality and emotion. We also bonded over artists like Snarky Puppy and Intervals, showcasing a wide range of influences. Choosing the name ‘Eidola’ was a process in itself. We initially considered Jagannatha, even writing a song titled Eidola. Ultimately, ‘Eidola’ felt more representative of the band’s essence and project, so we made the switch.
Coming from Provo, Utah, which has been noted as a burgeoning hub for progressive music, what’s your perspective on the local scene? Is it truly growing, and what are the opportunities and challenges for progressive bands in Utah?
Being based in Provo, we’re definitely part of the Utah music scene, and we know Advent Horizon well – they’re great. There’s definitely growth in the progressive music scene here, but it’s still developing. One challenge is that even established progressive post-hardcore bands sometimes skip Utah on tours because audience turnout can be lower compared to larger markets. However, there’s an incredible amount of artistic talent in Salt Lake City and Provo. Some bands thrive locally within this niche. I believe Utah has the potential to become a significant artistic center with the right venues, promoters, talent, and a collaborative spirit. The scene has the potential to be much bigger.
Eidola’s music is technically intricate and impressive. Can you describe your songwriting process? Is it primarily driven by one writer, or is it a collaborative effort?
Thank you! We definitely pushed ourselves technically on the new album. I serve as the primary songwriter for Eidola, but the process is very collaborative and democratic. I usually bring song structures and guitar parts to the band, often with lyrics and melodies already in place. Matt Hansen then develops the drum parts around this framework and handles initial editing. From there, we bring it to the rest of the band, and everyone contributes to shaping their individual parts and the overall arrangement.
To Speak, To Listen is the third album in a conceptual series. Could you elaborate on the overarching concept that ties your albums together and how To Speak, To Listen fits into this narrative?
For deeper insights into the conceptual framework, I’ve done track-by-track breakdowns for our last two albums, as well as a detailed two-hour podcast specifically for To Speak, To Listen. These resources really dive into the trilogy and the future direction of the concept. To Speak, To Listen is a very personal and practical progression for the concept, while simultaneously revisiting themes explored in our previous records.
Each Eidola album has a distinct sonic identity. Did you start with a grand conceptual idea for the trilogy, or did it evolve organically? How would you characterize the sonic evolution across your albums?
While we had initial themes and concepts in mind, the larger narrative arc has definitely evolved through experience and time. Sonically, The Great Glass Elephant was very much an exploration. The production was quite raw, and while the core ideas were present, we were still finding our footing as a band. We were drawing from influences like Portugal. The Man, The Doors, and Black Sabbath, while also venturing into more contemporary sonic territories. Degeneraterra marked a significant step forward as our first experience with professional production in a proper studio. Our vision became clearer, our technical skills improved, and our songwriting, while still experimental, became more focused. Sonically, that album is chaotic, bombastic, and incredibly ambitious. With our latest album, To Speak, To Listen, we took a reflective approach, analyzing our previous work and identifying areas for improvement, refinement, and more direct expression. We continued to push our technical boundaries to create a challenging, dynamic, and cohesive piece of art that explores recurring motifs from our past while pushing our sound into new directions.
Your lyrics often delve into heavy philosophical and existential themes. What are your primary philosophical influences, and would you consider Eidola a band with a message to convey?
Lyrically, our songs are deeply rooted in existential themes and concepts. Some of my key philosophical influences include Aldous Huxley’s Perennial Philosophy, Ram Dass’s Be Here Now, and various interpretations of The Bhagavad Gita. These texts explore consciousness, existence, and the human condition, themes that deeply resonate within our music.
The production on To Speak, To Listen, handled by Dryw Owens, is exceptional, particularly given the technical complexity of the music. How did Dryw contribute to shaping the album’s sonic landscape?
Dryw’s contribution was invaluable, and I’ll be sure to share this interview with him! Working with him was fantastic in every aspect. Sonically, this album was a significant undertaking, and we felt Dryw was the perfect person to bring our vision to life. Our working dynamic was incredibly smooth and collaborative from beginning to end.
Eidola is on Blue Swan Records, founded by Will Swan of Dance Gavin Dance, and he produced your previous album. What has your experience been working with Will Swan and Blue Swan Records? What are your thoughts on the term “swancore” that’s often associated with bands on the label?
Working with Will has been a great experience. I’ve known him for some time now and have had the opportunity to write, record, and tour with him. We have a strong working relationship, and he’s been very supportive of Eidola. Regarding the “swancore” label, I see it as just that – a label. It’s a way for people to categorize bands, which is a natural human tendency to simplify things. However, I don’t necessarily apply the “swancore” label to Eidola because I believe we are forging a distinct path, even within our scene. Over-labeling into sub-sub-subgenres can be limiting. It creates both positive and negative preconceptions. Some might immediately support a band labeled “swancore,” while others might dismiss them as derivative. I believe it’s healthier for the artistic community when people evaluate bands based on their subjective connection to the music and their objective view of the art, rather than relying on genre labels. The association with Will Swan and Blue Swan Records, however, has undoubtedly provided a platform and connection to fans who appreciate the intricate and experimental nature of bands within that sphere, including those who are fans of Dance Gavin Dance.
Finally, some crucial questions:
-Virtual reality where all wishes are granted, or the real world?
The real world, definitely. I must be a glutton for punishment!
-Shirts always too big, or always too small?
Always too small. It’s motivation to keep working out!
-Eat anywhere for free, or travel anywhere for free?
Eat anywhere for free! I’m a huge food enthusiast. It’s one of the best parts of touring, and free food everywhere would be amazing – I’d constantly be exploring new restaurants.
Buy Eidola’s latest album, To Speak, To Listen, here.
