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“This is part of a group of songs that we discussed before going into the studio, the idea being that there would be some tracks in the four-, five- and six-minute range. We didn’t want an album with only four songs on it where everything’s 14 minutes long. It was important to have some variety, like on the Awake album, which had songs in the five- and six-minute range.
“The Enemy Inside is a great example of a song that hits you, it doesn’t meander, and it has all of the compositional elements that make us unique. It has the metal parts, the prog parts, the solos, interludes, choruses – it’s all there, but in a more concise way that packs a powerful punch.
“I wanted to write a fast-moving song on the seven-string with a big riff, a huge chorus and really fast, angular movements. The irony is that we never intended for it to be a single, but it just kind of hooked everybody from the beginning. I always thought it would be a deeper cut on the album, more technical and fast, sort of a Panic Attack vibe. But it just turned out to be really catchy.
“There’s a bunch of different parts to the solo. I try to always keep it interesting, and I want everything to have a musical purpose. The solo comes in a little late; it goes right into the final chorus. It was sort of my job to come out of the previous vocal and get us to the end.
“There’s an open G string thing that I do, with a big intervallic skip from these high fretted notes to the G – it goes back and forth in a kind of piggyback thing. So I’m playing two high-fretted notes and then open G, then two high notes lower on the neck and open G. Then I play two high notes, higher than the second two but lower than the first two, and then open G. It sounds pretty cool when you do it all together.”