Track By Tracks: Baby On A Rampage - Forgive My Figure (2026)

Ash Lee (lead guitar and lead vocals): Forgive My Figure is our most musically and melodically complex release so far. It's definitely grown from our previous influences and sounds, traveled away from the basic metal sound, and become more complex and more melodic. With a lot of the riffs and a lot of the choruses and bridges, I was able to portray much more emotion just through the writing of the music before even adding lyrics. All the songs tend to have the familiar dark, angry, super heavy verses, and then those big melodic, very vocal-heavy choruses that kind of explode with a lot of energy and like a big wall of sound. It’s a lot of ear candy is the word I like to use for it. And then also we grew a lot with vocal melodies and harmonies, and adding more guitar harmonies and all that ear candy kind of fun stuff. We've grown a lot, and I think it sounds bigger and more complex than the last record, even though we used more instruments on our last album. I think we were able to make the EP sound even more interesting just from the amount that our writing has grown. 


Our last record was noteworthy because all the songs had a different feel, and there were a lot of diverse styles and sounds in there. The EP doesn't vary as much now; it’s what our sound has grown into with more of an identity. All the new songs are different, but it’s more similar in the overall character and sound of the band, like the band has found our sound. I've heard some established industry people describe this new EP as surprisingly mature, particularly since we’re still all teenagers.

Scott Proctor, our co-producer and engineer on this EP, is the backup singer for Five Finger Death Punch, and one of his specialties is backup harmonies, as he has a real ear for it and layering sounds. Also, I came in with a lot more shit than the last album, because I've been exploring a lot, and so I came in with a lot of melody, and one thing Scott helped me with was actually getting rid of some of them. I had some parts that were way more dense, but it ended up just making the overall impact feel less powerful, so Scott helped me get rid of a lot of unnecessary stuff that I was putting in, which was very helpful. Especially with “Reclaim” and “Failure of One’s Name,” he did a lot of stripping on that one, and I think it makes the songs a lot better.

Track by Track:

1. Intro:

2. Immaculate Teeth:

Lyra Renninger (drums): “Immaculate Teeth” was a way for me to express my frustration with the current landscape of American politics. So many of the issues at hand are a facade, a distraction to empower oligarchs while suppressing minorities. The theatrics of politics have continued to cause nothing but grief, and that’s reflected in this song.

3. My Tragedy:

Lyra Renninger (drums): “My Tragedy” is an exploration of the allure in self-destructive behaviors, juxtaposing the attempts to free oneself from the cycle of harm with the contentedness felt inside of those damaging choices. It’s a reflection of my own turmoil: when faced with the option to escape, it’s much easier to remain and cope, rather than plunging into the cold unknown.

4. Reclaim:

Ash Lee (lead guitar and lead vocals): When I wrote the song, I was definitely bothered by the genocide in Palestine, and it's very much a song about standing up and taking back, or kind of a call for some sort of revolution, like metaphorically, to take back a government position. Talking about the colonization history of the United States government, and how they're constantly funding other governments before putting their own people at the forefront of their concerns. I mean, it's about a lot of different kinds of government overreach, and the later sections are about the genocide of native people and their taking land, and it’s definitely an environmental song.

Musically, “Reclaim” was not a departure but an evolution, and the arrangement is more complex, more like a journey with the different sections conveying different feelings. The verses and the main part of the song are dramatic and dark, or it's like yelling orders, and then after the clean part, that build is very emotional and hopeful sounding and big and open. It might portray a spiritual or even a religious feeling for some people, even though it wasn't necessarily written with that intention, but I think that was a positive outcome. The song almost has an anthem-type quality, and the crowd responds really well when we play it. There's something that's resonating with people in that song.

5. Failure of One’s Name:

Lyra Renninger (drums): “Failure of One’s Name” is a song inspired by my personal experience as a trans woman and coming to terms with my identity. For so long, it existed as a piece of me that existed in the dark, only manifesting when I felt thoroughly concealed. It represents the darkest moments that shaped who I am, and those that led me onto the path towards healing.

Ash Lee (lead guitar and lead vocals): For me, this song is about finding oneself after a big loss of that sense of self. In my interpretation of the song, the feeling of losing someone, like when my uncle died; he was a very important person in my life, and then feeling like you've lost a huge chunk of who you thought of as being you. The song is a journey of trying to figure out how to find yourself and feel whole by yourself. And using mentors and other people to help you get there, but really realizing and understanding that the struggle is to find your whole true self by yourself, and it's not reliant on other people.

The title of the song at first was a random work-in-progress name that I came up with in front of Scott just to name it and to move on. Because we didn't have a name for it, and Scott was giving me shit and called me a failure, and I was like, “Failure of One’s Name.” It’s not mysterious; that's just how it was named. It was like, literally, we had failed to name it, so we called it “Failure of One's Name.”

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