Polaris have unveiled the video below for their new song “Overflow” The track is the third of three that the band filmed with their late guitarist Ryan Siew, who tragically passed away in June. The song is from the band’s upcoming third album Fatalism, which is scheduled for a September 01st release date.
Daniel Furnari, the band’s drummer/lyricist, offered:
“This is one of the much more personal and vulnerable tracks on the record lyrically, whereas the other two singles took a wider, more outward perspective. I feel like the meaning of the song is fairly self-explanatory, and I think a lot of people will naturally interpret it through the lens of their own experiences. But essentially, for me, it’s about the struggle of fighting off a panic attack and the impact of that struggle on others.”
“‘Overflow‘ was another track that came about from one of our writing retreats, so I guess that system was really paying off at this point. We were pretty deep into the process at this point, I think this was actually the final track to make it onto the record. Jake had been pumping out simple chord sequences in an effort to break away from the busier, riffier stuff we’d been writing, and Ryan came in with this super catchy sliding lead over the top, which became the basis for the chorus and the central motif of the song. Stylistically, where Inhumane explored a sort of nu-metal direction and Nightmare was a straight up metalcore track in the truest sense, I’d say ‘Overflow’ is much more of an alt-rock track.”
“I think my favorite part of this song is the direction the second verse takes, particularly when it picks up the energy for a moment. Rick wrote this verse development that really leaned into the sound of bands like Basement and Balance & Composure, which we both love, so it’s always satisfying when we find a way to somehow incorporate that alongside the heavier stuff that we more regularly do.
Finding a way to get a big heavy section into this song without it feeling out of place was also a challenge and I love that we managed to shape this combination of sliding powerchord accents, crazy programming and bass and drum moments into a type of breakdown we hadn’t accomplished before.”