In this Slang of Ages conversation, Preston Frazier reconnects with British multi-instrumentalist Joe Bailey to discuss his latest solo album, Torrential Pain. Known for his prolific output and one-man-band approach, Bailey breaks down his songwriting, production, and performance process—from guitar-driven power to intricate harmonies and lush orchestration.

Bailey also teases his limited vinyl release, reflects on his production journey, and shares plans to remix and reissue his early albums for their 10th anniversary. Thoughtful, candid, and darkly humorous, Bailey’s reflections reveal why Torrential Pain might be his most accomplished work yet.

Preston: It’s good to see you again. I know we talked about Splinters, but I don’t think we spoke of Devil in the White City from 2022.

Joe: No, that was before Splinters.

Preston: And between Splinters and Torrential Pain, you and Marc Anthony K did The Weight of the World, right?

Joe: Yes, as The Dark Monarchy.

Preston: You keep very busy with your solo work and The Dark Monarchy. But today we’re focusing on Torrential Pain, six powerful tracks. Talk about how you came up with the concept.

Joe: There wasn’t so much a concept this time, but the lyrics explore familiar territory for me: existential dread and inner demons. Writing this album came naturally and quickly—six of eight songs made the cut. Unlike Splinters, which had many unused songs, Torrential Pain came together smoothly.

Preston: Devil in the White City had an undeniable thematic thread. This one doesn’t, but it still feels cohesive. How did you decide which songs made it in?

Joe: I go by instinct. I record melody ideas—sometimes just gibberish—and if the vocal lines click, I know the song will work. If not, I discard it or cannibalize sections I like. Torrential Pain felt right every time.

Preston: Has your writing process changed since Ghost in 2021?

Joe: Not really, except I write more on guitar now. I used to compose in Guitar Pro and import MIDI into my DAW. These days, the guitar leads the writing and adds riffs I wouldn’t have imagined otherwise.

Preston: Your guitar and bass parts have always been strong. Do you write music first or lyrics first?

Joe: Always music first—except on Devil in the White City, where the story dictated the lyrics first. For Torrential Pain, the music came first, then the lyrics.

Preston: The album sounds lush and aggressive. Any changes in equipment?

Joe: The big change was installing a Sustaniac pickup in my guitar. You can hear it in the solo on “The Silence,” which uses the full harmonic mode. Otherwise, I’ve just continued to refine my production skills.

Preston: Let’s talk about some tracks. “A Rapsody of Sanctum and Disquise,” the album’s epic?

Joe: I knew it would be the epic. I rewrote several riffs and added a vocoded breakdown at Steve’s suggestion, my artwork collaborator. Lyrically, it’s about how music can carry you through dark times.

Preston: “Echoes,” another favorite of mine?

Joe: A homage to Frost, one of my favorite bands. Lyrically, it’s about writer’s block—sitting at the screen wondering what to write.

Preston: The closing track, “Brittle World,” is a great ending.

Joe: That one’s packed with thrash riffs and time changes. Lyrically, it’s about a man consumed by hidden guilt, to the point of breaking.

Preston: And the opener, “Life Runs Out,” sets the mood perfectly.

Joe: It was a last-minute addition, written on piano. Very dark and personal—about grief, loss, and the paths your mood can take.

Preston: Has your vocal approach evolved?

Joe: Yes. I’ve learned to work with my voice and write harmonies more deliberately, often on piano or guitar first. Early albums sound like a different singer.

Preston: Gear-wise, anything else new?

Joe: I added a Schecter seven-string guitar alongside my six-string for lower notes. I also used a death metal kit in EZdrummer—mainly for the snare sound.

Preston: What’s next for you?

Joe: I’m remixing my first album, The End Comes Too Late, and pairing it with a remixed Night and Day for a 10th-anniversary double release with updated production. I’m also slowly working on the next Dark Monarchy album.

Preston: That’s exciting. Any final thoughts?

Joe: Torrential Pain is available on Bandcamp ( https://joebailey1.bandcamp.com/album/torrential-pain) , CD, and soon as a limited vinyl run of 25 copies with bonus items. Give it a listen and a share—it really helps.

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