The results of a day spent drinking copious amounts of vodka, normally results in midnight confessions at the base of the porcelain god.

For The Banditos’ Corey Parsons and Steve Pierce, day drinking produced the band’s first single, “Fine Fine Day” off of the group’s sophomore release “Visionland.”

“We ended up with a couple of cases of Tito’s vodka after South-by-Southwest,” Parsons (guitar/vocals) said. “We didn't know what else to do with them, besides drinking them. It was around the time we were writing for the album. Steve and I stayed down in Alabama, out in the middle of nowhere. We tried to write some songs, and that one worked out somehow. There are always a few that don’t work out. Luckily we have six members, so if one of us has a shitty idea, it has to go through five other filters.”

“Fine Fine Day” is the opening track off the album that is both a wave to the past and a nod to the future. “Visionland” explores new territory that was briefly hinted at on the band’s 2015 self-titled debut.

“I don’t think it was intentional,” Parsons said. “The songs on the first album, we wrote a couple of years before the first album came out. Those are some of the very first songs we wrote. We didn’t really set up to create any type of album. We are kind of all over the place. We have pretty eclectic taste in music. We don’t set any rules to make a certain type of album.”

Helping to contribute to the philosophy of not setting rules is the band's intense touring schedule. Over the last four years, Parsons estimates that the group has had about two-and-a-half weeks off of the road. So little time not traveling the interstate byways of the country leaves less time for writing new material.

“It was kind of difficult,” Parson said. “We had half of the album together, just from the sporadic down time that we had. When we would get together to practice before tours, we would start working on new stuff. We had two weeks off before we went into the studio where we finished three songs and wrote another three songs. We did finish a song in the studio.”

Also, helping influence, the sound of the new album were producers/engineers Israel Nash and Ted Young.

Nash has been releasing records since 2009, with 2014’s “Israel Nash’s Rain Plains” garnering critical success and a broader recognition.

“It is funny; we ended up running into (Nash) in Oslo, Norway. He had played a show, and we were playing down the street at a club. About a month prior, I had heard his music and was really into it. It is not that often that I hear contemporary music, and I’m really into it. He was hanging out, watching our show. Afterwards, we started talking, had a couple of shots, and he was telling me about his studio. We were looking for a studio, so we just kept in touch. It ended up working out. I’m really happy it did.”

The band spent nearly three weeks at Nash’s studio in Dripping Springs, Texas.

“It was great. We were on Israel’s ranch out in Dripping Springs. His studio is out there, and we lived there. You never really know how it is going to go when you are working with someone new. It felt like family. We clicked. He was around, making suggestions. He played on a couple of songs.”

While Nash offered suggestions and played on the album, Young was a wrangler for the six members of the group.

“Ted is great engineer and producer as well. He knew how to handle us. We are six different personalities, and that is no easy feat.”

The title “Visionland” comes from a gung-ho amusement park venture that went bust in Bessemer, Alabama where Parsons and some of the band grew up. Parsons sees it now as representative of the current times and practices.

“Visionland' was this theme park that opened up in Bessemer where half of us grew up. I was around eight or nine years old. It was an amusement park opening in our hometown. I couldn’t dream of anything cooler. The city dumped a shit ton of money into it. They didn’t really take care of it. It was in a really bad part of town. It just fell apart, half of the rides didn’t work. There were a lot of robberies. It ended up shutting down five years later. Then the city went bankrupt.

“It always stuck with me. I think it is symbolic of our times now with all the false promises and delusions of grandeur.”