In an industry obsessed with immediacy, some songs take their time. For The Fismits, the new single ‘Scars’ arrives after a journey that began more than three decades ago. Written during the early-1990s creative partnership between Mark Biagio and Bruce Barrett in their band The Mind Theatre, the track has lived quietly in rehearsal rooms and live performances before finally receiving its definitive studio recording. Now serving as the first glimpse of the upcoming EP ‘Falling Joy’, the song opens a new chapter for Biagio’s independent indie-alternative rock project. We spoke with him about the long road to ‘Scars’, the evolution of The Fismits, and why some songs only reveal their true shape with time.

‘Scars’ has been described as a song nearly three decades in the making. Can you take us back to the moment it was first written and what the song represented to you and Bruce Barrett at the time?

“I would be lying if I could recall exactly when and how. I do recall that when I played the guitar line, and it was in the first jam session with the song, I was like, ‘This is it, I'm keeping it and I don't care what you all say.’ Most of Bruce’s songs were close to his heart and often about real life experiences, and this was no different. I would have had a seat at a window on the story in the song, so it meant a lot then, and still does, to both of us. However, probably on the day of the first jam, knowing our work ethos, this was probably just another great sounding song that was added to the set. I don't recall us high fiving each other on how amazing this track was. There were no pats on the back.”

The track has lived many lives on stage before finally being recorded. What changed in the recent sessions that made you feel it had finally found its definitive form?

“I think it found its Fismits form, which is no more definitive than its previous form, or the form it may take in the future. I just needed to own my version of this song. That meant experimenting with key changes, lyric changes and a few other things, with the hope that it started feeling right. Once it did, I stayed there and it kept getting better.”

You’ve mentioned that the key, phrasing and vocal approach were crucial in shaping the final version of ‘Scars’. What was the breakthrough moment in the studio when it all suddenly clicked?

“I think it was when I said to myself, ‘What bass line would Flea play on this? Play that, Mark.’ Well, I can't play like Flea, but it took my brain and my fingers somewhere else and then I got excited.”

The origins of this material go back to your time in The Mind Theatre in the 1990s. How much of that creative energy still exists in your work today with The Fismits?

“Well, for this EP, all of it. I still have the same energy for these tracks as I did in 1995. So, tackling this with energy was easy. Channelling that energy into other Fismits projects is not quite the same. With the EP, I was riding an already created wave. With my own songs, starting the wave can be challenging and requires a different source of energy. Once the ripple starts, then you go with it.”

Over time The Fismits has evolved from a three-piece band into your primary solo creative outlet. How has that shift changed the way you approach songwriting and recording?

“It has not changed my approach. What I miss is the ability for the members to railroad my idea and try their own interpretation. I also miss the pick-me-ups I would get when I was not super confident about a part, lyric or idea.”

The upcoming EP ‘Falling Joy’ revisits songs written decades ago but avoids the feeling of nostalgia. What was your guiding philosophy when reinterpreting this older material?

“As these songs had not been released, I had the opportunity to reinvent them and just go for it but not lose the original theme or emotion. That was harder than I thought, and only once I was able to stop playing them as they were originally done could I really reinterpret them. Each song had a different theme I chose to protect. Something like ‘Scars’ had a few closer boundaries than the other tracks.”

Sonically, ‘Scars’ carries a subtle intensity and a distinctive rhythmic feel. Was that odd-time structure always part of the song, or did it evolve through the years?

“That was always part of the song, something that threw the rhythm section a bit. I just played my bits over it, not even realising that it has an odd time.”

Your production approach on this project is very hands-on; recording, producing, mixing and mastering yourself. What advantages does that independence give you creatively?

“I think the advantages are that I don’t have to convince someone else of something. Another is that I am forced out of my comfort zone into things I either must learn or figure out. The disadvantage is the creative collaboration, where you describe a bass line to your bassist and he delivers something else that works better. I do miss that.”

The EP is also set to introduce other songs like ‘Independence’ and ‘When’. Without giving too much away, how do those tracks expand the sonic or emotional scope introduced by ‘Scars’?

“’0Independence’ is quite a journey away from the Fismits sound and that of ‘Scars’. Also, the boundaries that I chose to stay within were more based on an idea for the track that Bruce and I discussed back in the 90s. So, I threw the rule book away for this one and literally threw everything at it but kept the idea. ‘When’ is a bit closer to the Fismits sound but turned up to 11.”

The title ‘Falling Joy’ suggests a mix of warmth and reflection. What does that phrase mean to you in the context of revisiting your musical past?

“Falling Joy” is a line from another Bruce track. I thought it was relevant on a few planes. It has the tangible connection, but it also has that element of confusion. Is Joy falling because it's broken, or is it falling like rain?

Looking back over your musical journey, from early bands to The Fismits today, what keeps you motivated to continue releasing new music independently?

“I love to create music. Music is never ‘background’ to me, and even though I find myself not being able to do it in a professional capacity, I still ensure I make time for it.”

Finally, as listeners discover ‘Scars’ and anticipate the rest of the EP, what do you hope people take away from this chapter of The Fismits?

“I hope they see or hear a sound that's evolved and connect with it on their level and listen as often as they like.”

With ‘Scars’ finally stepping out of the shadows of its long history, Mark Biagio and The Fismits are opening the door to a body of work shaped by memory, persistence and creative independence. As the first single from ‘Falling Joy’, the track offers just a glimpse of a project that reconnects past and present through music that has quietly endured for decades. With more singles on the way and the EP set to arrive soon, this is clearly a moment where old songs find new life, and where a long story finally gets to be told.

Your support makes stories like this possible!

Underground Press relies entirely on your generosity, enabling us to report on the entertainment industry, free of charge and independently. Your contribution ensures millions worldwide can continue to visit our site for amazing content from around the web.
*Currency in South African Rands (ZAR)