The Dillinger Escape Plan new album One Of Us Is The Killer
The Dillinger Escape Plan the insane mathcore outfit we all know and love/hate have just released their new video for “When I Lost My Bet“, which can be seen below. “When I Lost My Bet” is from Dillinger’s fifth full-length album, entitled “One Of Us Is The Killer“, due to be released on the 14th of May 2013 through Dillinger‘s own Party Smasher Inc., in partnership with the North American leg of Sumerian Records.
The album “One Of Us Is The Killer” was recorded in Southern California with longtime producer Steve Evetts (Glassjaw, Suicide Silence), with additional production being done at guitarist/co-founder Ben Weinman‘s studio. The albums Mastering will is to be taken care of by Tom Baker (Deftones, Nine Inch Nails).
One Of Us Is The Killer by The Dillinger Escape Plan
The Dillinger Escape Plan frontman and vocalist Greg Puciato spoke to AOL’s Noisecreep about the bands time in the studio and the recording process for new album: “Dillinger [Escape Plan] is a different beast in tracking than most normal bands. Even Steve has told me that there’s no other band that he has recorded that requires this amount of attention to detail. We take a longer amount of time to do one thing than most bands take to do ten. At this point, talking to Ben about it, we only do this once every three years on average so ten years from now I don’t want to look back and think, ‘Fuck man, we should have finished that one three weeks earlier!’ Who cares? You want it to be right and you want it to be the thing that was the closest to what your vision actually was.”
Greg Puciato continued regarding the direction of the new Dillinger Escape Plan material: “I can hear [the influence of old punk and hardcore records] a lot. I can definitely hear that in some of the riffs, which are really aggressive. It’s not a blatant hardcore record or anything like that. I actually think this is the most all over the place and weirdest record we’ve ever written. It’s the first one since I joined the band where Ben has sent me songs and I’ve been like, ‘What the fuck is happening? This sounds like a beehive!'”
The new record from Dillinger Escape plan is bound to be insane no matter which way you look at it, good or bad. Whether you appreciate the complex musical structures and in your face carnage, or it just sounds like a wall of noise. “One Of Us Is The Killer” is bound to get some kind of reaction from the general music loving public at large. What are your thoughts on the new Dillinger Escape Plan album, are you excited, do you not even care? What do you think of their new video? Let us know in the comments section down below.
Dragonforce have never really been one of my favourite bands, although I certainly appreciate what they do, and enjoy their music to some extent, perhaps mostly for the novelty of how stupidly fast it is. So as such, although they aren’t constantly in my CD changer or current playlist, I do keep track of their current activities. So when I saw the article on Blabbermouth about them entering the recording studio to record their new album, I thought it would be interesting to check up on. According to blabbermouth the British epic metallers have completed writing the follow-up to last year’s “The Power Within” album. The album was the first to feature their new and current vocalist Marc Hudson.
Herman Li interview by Metal Traveller
Dragonforce’s guitarist Herman Li said “Right now, everyone in the band is itching to get into the studio to record probably the most epic Dragonforce music ever written.” He continued “With so many ideas flying around and songs already written, we decided to team up with producer Jens Bogren to help us take the Dragonforce sound to the next level and beyond!”
Metal Traveller asked Herman Li how difficult it was to integrate Marc Hudson into the band as the new vocalist: “I don’t know if it was easy or hard, but we definitely spent a lot of time to make sure he integrated well in the band. Before he joined the band, we jammed, we rehearsed, we went to the studio and recorded some demos together — just to see how it’s like, to understand his personality.” said Li.
“After he joined the band, we didn’t want him to be like, ‘Hi, Marc, welcome to the band, record the songs in studio and see you on tour.’ You have to be a real family, so we jammed and rehearsed a lot, and that really helped him to integrate the band. The first show he had to play with the band was with Iron Maiden, in front of 20,000 people. I didn’t tell Marc until the warmup gig two weeks before.”
When questioned about Marc’s involvement in the composition of “The Power Within”, Li said: “Most of the music was already composed when we were auditioning him. After he joined the band, we had to change the voice a little bit to get the best out of his voice. We found out that he can sing very high, but also really low at the same time. So in certain songs, we explored his low range, like ‘Seasons’ or ‘Give Me The Night’, on which he goes from low to high. Then we tried to explore the high register, like in ‘Holding On’.”
Into The Recording Studio
From what I’ve read it’s been a pretty wild ride for Marc the new front man of the Dragons, since he came into the fold in July of 2011, he has now played over 100 Dragonforce shows in 32 countries around the world, including big ass arenas with the like of Iron Maiden. Not to mention a full scale headlining world tour to support the last record. Pretty amazing stuff if you ask me.
So now that Hudson has all this new experience under his belt, traveling the world and touring for the last 2 years. I’m fairly certain him and the rest of the Dragonforce crew are dying to get back into the studio and let their new ideas flow. Dragonforce have chosen Fascination Street studios in Örebro, Sweden to to start laying down tracks for the creation of their next record. Set to start recording sometime in May, the project will be headed by producer and allround musical force to be reckoned with Jens Bogren.
Jens is known for his work with the likes of Opeth, The Devin Townsend Project, Daylight Dies, God Forbid, Iron Mask, Amon Amarth, Katatonia, Soilwork and Symphony X, to name a few. I have no doubts that Bogren with help Dragonforce to record a monster of a record.
Bring Me The Horizon’s fourth Studio Album Sempiternal
Terry Date: Production
David Bendeth: Mixing
Bring Me The Horizon
Bring me the Horizon is a Metalcore/Post Hardcore band from Sheffield UK, currently made up of five members. Oliver Sykes (Vocals), Lee Malia (Lead Guitar), Matt Kean (Bass Guitar), Matt Nicholls (Drums), Jordan Fish (Synth & Keyboard). They have released four studio albums since 2004 when they formed.
Bring Me The Horizon
Sempiternal is the New album from Bring Me The Horizon, which was officially released yesterday [2nd of April 2013]. Before now, I’d never paid much attention to BMTH, I heard various bits and pieces from their last three offerings over the years and honestly it just didn’t really grab me. I didn’t think it was bad, but nothing made it stand out for me. With this album that has been flipped on its head. I’ve been listening to this album a lot in the last few days, via their now “self-destructed” preview on www.sempiternal.info. I’m really impressed on many levels. I heard the band starting the move into exploring more melodic ideas in the predecessor of Sempiternal: There Is A Hell, Believe Me I’ve Seen It. There Is A Heaven, Lets Keep It A Secret. But this time I think they took it one step further and to a whole new level. I made the decision to purchase it after only hearing the first few tracks, so I visited Amazon and bought it there and then. Sempiternal is probably the first album I’ve ever bought on its release date. Saying that, I actually feel quite ashamed, being such a big music fanatic and that until now I’ve never purchased an album on the day of its release is pretty bad. Oh well, it now seems that BMTH have taken my virginity on that one. I feel 14 again! 😛
CAN YOU FEEL MY HEART
Sempiternal kicks off with CAN YOU FEEL MY HEART which pulls in with a strange melodic “ah” sound cut into a choppy staccato melody via what sounds like excessive autotune. At first it struck me as odd, and didn’t sit with me well, but it quickly grew on me as an essential hook of the track. The first thing you notice about this track is that although Oli Sykes still screams in a hardcore style vocal, it’s been altered from the flat monotone sound that had never really got my attention, into a more melodic and much more exciting style. Even more of a surprise came when I heard him sing in a completely clean tone, I will admit I’m not familiar enough with the previous album to know if Sykes attempted any sort of melodic vocals there, but for me this album is the first time I had heard him stray from the path of standard hardcore vocalists. The track has an almost dubstep feel to it, which I can only imagine was helped along by the addition of BMTH’s new Keyboard man Jordan Fish. With booming synth under Lee Malia distorted guitars, layered with a thick dashing of autotune and halftime drums. Does a sense of Skrillex’s collaboration with Korn comes to mind? It does for me. This track has definitely been added to my list of favourite tracks from 2013 so far.
THE HOUSE OF WOLVES
The second track on Sempiternal is THE HOUSE OF WOLVES which is a much more energized track, with a punchy hardcore punk vibe to the opening riff. Complimentary fast paced drumming from Matt Nicholls soon kicks in and Oli Sykes comes crashing in screaming the words “Show me a sign, show me a reason to give a solitary fuck about your goddamn beliefs. I’m going blind, but one thing’s clear. Death is the only salvation you’ll feel” although I think “Goddamn” is slightly cheesy and might have been better off being worded slightly differently, it fits and shows the angry intention of the track and its anti-theistic theme. It lets you know Oli has got something to be seriously pissed about. The melodic style chorus really adds a great dimension to what could have been a pretty a straight forward hardcore musing. When the song hits the breakdown/middle eight with the awesomely catchy hook “And when you die, the only kingdom you’ll see, is two-foot wide and six foot deep!” You really can’t help, but want to sing/scream along. The track continues to rage until the end blasts out in a blaze of glory.
EMPIRE (LET THEM SING)
Track three is up next, titled EMPIRE (LET THEM SING) which introduces Mr. Sykes screaming almost completely solo with only a small amount of soundscaping to add subtle atmospherics to his tone. As the intro progresses, a distorted guitar is introduced slowly into the left speaker as it fades up to the climax “Let them sing, let them SING!” unleashing some almighty mosh pit inducing riffage layered with dark symphonic overtones that is sure to create chaos and cause injury to a notable percentage of their young and boisterous fan base. Littered with beautiful soundscaping and amazing production values this tune really gets the blood pumping and the heart beating, with a healthy dose of head banging for good measure.
The opening of SLEEPWALKING wouldn’t raise an eyebrow placed on a Linkin Park album with it’s reverb soaked pad sounds and futuristic vibe that is intertwined throughout most of LP’s music. In fact the whole song feels very Linkin Park even the vocal melody and lyrics hints at influences that make me recall fond memories of Hybrid Theory and Meteora from my teens. That certainly doesn’t take away from the sense of euphoria that it induces upon impact, oscillating the membranes of my eardrums. The sound is sweet and full of succulent flavour, I will easily say this is one of the best/catchiest tracks on the album. The hook “It’s like I’m sleepwalking” gets caught in your brain like a genetically engineered bio weapon, designed to be as infectious as the common cold and as deadly as a strain of Ebola. A strain of Ebola that’s having a really fucking bad day. In a word this track is simply “Killer!” if this was released in the age where we still didn’t have the option of buying separate tracks unless released as single, (i.e. the Internet) this track would be worth the purchase of the whole album alone.
GO TO HELL, FOR HEAVEN’S SAKE
In my opinion Bring Me The Horizon have always had a clever sense of humour with their song titles and present many wonderful distortions of cultural references, although not strictly humourous, it certainly has a little tongue in cheek twist to the title GO TO HELL, FOR HEAVEN’S SAKE. This is another great offering from the Sheffield based 5 piece. Another track with an intro that probably wouldn’t sound out-of-place on a Linkin Park album. Sykes voice comes in with his more usual hardcore style over some very satisfyingly punchy toms and bass pedal work. Then comes a heavy pre-chorus before dropping out for a short moment of silence, where only a gentle bass synth rumbles in the background while a soft spoken vocal leads with the very bizarre lyric “When did the diamonds leave your bones?” which I either don’t know the particular reference or is meant to be purposely cryptic and lends itself to a sort of Deftones-esque void of logic. A beautifully gritty chorus with a melodic scream “I’m burning down every bridge we make, I’ll watch you choke on the hearts you break, I’m bleeding out every word you said, Go to hell for heaven’s sake” is superbly catchy and infection. My only gripe in this song is the use of the word “make” instead of “made” not only would it have sounded better, but it doesn’t quite make sense with the first part of the line sounding like it belongs in a past tense. How can Mr. Sykes be burning down bridges he hasn’t MADE yet? Or am I missing the point, and it’s actually a very clever micro black hole in logical thinking again? Only the boys from BMTH could answer that I guess. Other than my meaningless insignificant gripe, it’s a great track with lots of energy.
SHADOW MOSES was the first track I heard from Sempiternal, I had no idea that BMTH was about to release a new album, but while scrolling through the limited choices on Xbox live’s music channel, I decided to give it a try. I was instantly taken back by the new melodic style that Bring Me The Horizon had brought to the table. A sound that I hadn’t heard from them before, and when the killer heavy riff kicked in I was totally hooked. I probably raped the replay button at least 6 times before my other half decided she was getting pissed off at me for being a hog with the Xbox controller. So I went downstairs to find the video on YouTube and listen some more. I must admit I did laugh at all the comments on the video’s YouTube page about Oli Sykes sounding like he’s screaming “This is Sandpit Turtle” instead of “This is Sempiternal” during the middle eight of the song. But if I’m honest even if that’s what he was singing it wouldn’t affect the quality of the track. Although nothing to really do with the album in terms of how it sounds, the strange effect used in the music video for this song did become quite nauseating after a while. Overall though it was a wise choice to represent the album before it’s release, simply because it kicks a lot of ass!
AND THE SNAKES START TO SING
This track took a little longer to grow on me than the others before it, not because it’s any less of an awesome tune, but after 6 seriously pounding tracks, it felt like the low to the high I was only came a little too quickly. But after a few runs through the album, it’s certainly found it’s place, and it’s exactly where it belongs. Bring Me The Horizons new reverb drenched ballad is by far the most mellow track on the album and is very rich with Deftones influences from the album White Pony. Surprisingly it’s mostly what sounds like Sykes impersonating the Deftones frontman Chino Moreno with his overly breathy melodic whispers. It all works very nicely, the only real bad point of this track is the some of the snare rolls sound very unnatural against the background. Probably not Matt Nicholls (Drummer) or the bands fault, most likely whoever did the drum replacements, was being lazy with recreating any of the subtle dynamics that Nicholls probably intended. That’s just my opinion though, as a producer myself I felt it made the drums sound programmed and very over-produced. Still I wouldn’t say it takes away from the song in any major way.
SEEN IT ALL BEFORE
Up next we have SEEN IT ALL BEFORE, Sempiternal’s eighth track. The band push off with a very mellow lead in, which lends itself nicely to the previous track, but quickly changes direction into a fast paced riff that has an almost 80’s pop rock vibe to it. Although I can’t quite put my finger on what. On this track Oli brings back some more of his Deftones overtones in his vocals. This song has a nice use of dynamics throughout the duration of its short and sharp 4 minute lifespan. The chorus has a sweet catchy screamed melody that compliments all aspects of the sound spectrum flowing through the listeners speakers. At the end of the song it drifts out on a soft passage which slips into the night and disappears into a faint echo, before flatlining completely.
By the very high standards of Sempiternal as an album, thus far. In terms of lyrical merit I don’t feel ANTIVIST delivers its message as thoughtfully as the rest of the album. Although it isn’t a bad thing to come down from your pedestal to say what you mean without remorse, or beating around the bush. The style of the lyrics sounds like they were only used for their apparent shock value. Obviously not shocking to anyone who is intelligent enough to understand words are only as offensive as you let them be. But to me it sounded somewhat forced, it felt like the sole intention of this track was designed to make the overprotective parents of teenage girls want to write angry letters, and post them to worthless newspaper columns. It lets the track down a bit, but that being said the somewhat cheesy, but still insanely catchy hook “Middle fingers up, if you don’t give a fuck! Think you’re changing anything? Question everything!” is a lot of fun to sing to. It still contains some great hooks, and the the carnage of djent style guitars after screaming the word’s “I think you’re a CUNT!” does have a certain appeal to my own inner rebellious child that likes to come out when I’ve had too much to drink. TMI?
CROOKED YOUNG is another track based on an anti-theistic theme. This time it’s probably more obvious, with the line “Fuck your faith!” being a much more direct way of sticking a middle finger up at organised religion and the god fearing folk of planet Earth. The track comes belting in with a mix of Matt’s fast paced drumming and low mixed guitar work from Lee Malia and Matt Kean’s bass, which gives way to a classical sounding piece of string music complementing the instrumentation in a very satisfying way. After the intro section, the sound drops into a more classical sounding Bring Me The Horizon sound that many fans with be familiar with. The song slows its pace with sections of more reverb soaked symphonic compositions that add a lot of atmospherics to the songs. The lyrical content of this track, although still containing some elements of the shock value from the previous song, feel much more polished and well thought out. Eventually the song builds to a climax and then burns out like a candle on crack!
HOSPITAL FOR SOULS
The eleventh hour is upon us and also the eleventh and final track of the album. HOSPITAL FOR SOULS begins with a soft ambience that rings out under Oli Speaking about how hard it is to change, and learning valuable life lessons. The musical style of this number goes back round full circle with a dubstep style intro of slow thumping drums and bass overloaded synth that could kill a small rodent at fifty feet. Sykes showcases a fairly long scream (for him) of the lyrics “Watch me BURN!” repeated several times throughout. Although not more than about 5 seconds long, from the live performances I have seen of Oli, I’m interested to see if he’s able to pull it off. His screams sound great on record but live his technique rags his throat very quickly. The vocal has obviously been majorly tampered with in places, but it’s hard to tell if it’s just an artistic choice or not, the effect is littered on many accented screams throughout the entire album, so it’s more than likely it’s simply for artistic reasons. The track then goes on to settle down into a prolonged mellow buildup before the album chimes in with the final hook laced with gritty guitars and more orchestral overtones playing in the background, which add a lot of character to the soundscaping. Soon after, the track wraps up the curtain drops, the band takes its bow and as quickly as it had started, it was all over again. At least for now!
Final Thoughts on Sempiternal
I would personally put this album on par with albums like Hybrid Theory and White Pony, the latter of which is probably helped by the fact Sempiternal was produced by Terry Date who did many of Deftones albums. Although it’s hard to see Sempiternal as being the same kind of game changer as Hybrid Theory in terms of impact on the music industry. I do believe the quality of the songs is of the same calibre and mass appeal without pandering. If you don’t like LP that probably sounds like an insult, I could imagine many BMTH fans disliking the comparison, but Hybrid Theory was and still is a great album which brings back many fond memories, as I’m sure Sempiternal will for many, in successive generations. I think this album will stand the test of time far better than their previous works, but ironically only time will tell if I’m right. So we’ll have to wait and see. Overall I would give this album a solid 9/10.
What’s your favourite track on the album? Are you already a Bring Me The Horizon Fan? Or are you like me and feel this latest album is enough to make you change your mind about them? Have you bought their album? If so how do you feel about it? Let us know in the comments below.
Thanks for reading guys, I know it was long, but I had a lot to say about the album.
Stay Metal \m/
You can purchase Sempiternal here
. Also go check out the official video for Shadow Moses below.
Kirk Hammett on stage with Anthrax at the Regency Ballroom in San Francisco
Metallica guitarist Kirk Hammett is probably one of the most well known heavy metal guitarists of all time. Anthrax is a band that are recognised as one of the great pioneers of the genre. So when these two monstrous forces collided on Thursday (28th of March 2013) at the Regency Ballroom in San Francisco, it was certainly a spectacle to behold. And better yet we have footage of Kirk Hammett strutting his stuff alongside his fellow rock legends from Anthrax. This is the second awesome guest appearance we’ve talked about this week on our blog. Also both at the same venue. Very unfair. I’ll go make sad faces in a corner and cry because I don’t live nearby. Anyway I digress, Kirk’s appearance delivered a thunderous cover performance of AC/DC’s classic rock anthem “TNT” which is Anthrax’s newly released “Anthems” EP. You can watch the fan-filmed video footage of Kirk and Anthrax below.
Anthrax drummer Charlie Benante Spoke to Music Radar recently, where he talked about the band’s recent cover version of AC/DC’s classic track “TNT” “This was Joey’s [Belladonna, vocals] track.” He said “We already had ‘Whole Lotta Rosie’ recorded, but he wanted ‘TNT’. I can see why: his voice totally lends itself to this track.” He said smiling.
“AC/DC is probably one of the greatest bands ever.” Claimed Benante enthusiastically “They came in with a certain sound, and they’ll end with that same exact sound. They never altered it; they just stayed true to what they were. To me, that’s an honest-to-goodness rock ‘n’ roll band.”
Anthrax share the stage with Kirk Hammet for AC/DC’s classic anthem TNT
Benante continued “It would have been obvious to pick something off of ‘Highway To Hell’ or ‘Back In Black’, and so we didn’t. [laughs]” Benante then went on to talk about his dedication to keeping the track as faithful to the original as possible “I studied every Phil Rudd lick, and I did not go overboard with anything. I played exactly what he played on ‘TNT’. You can’t do a fast drum fill on the song — it’ll stand out as being out of place. I laid it down, pulled it back, and that was that.”
Anthrax’s long-awaited, eight-track EP “Anthems”, pays tribute to some of the band’s favorite acts from the 1970s. The EP sold relatively well at around 8,500 copies in the United States, during its first week which went on to debut at 52nd on The Billboard 200 chart.
Anthrax’s latest full-length offering, entitled “Worship Music”, sold a massive (by today’s standards) 28,000 copies in the United States in its first week of release to land at No. 12. Which out performed their last record by by almost 3 times the amount of units sold and charted over 100 places higher. A big positive move for the band.
Five Finger Death Punch (5FDP) have released new studio footage for their time in Las Vegas’ The Hideout Recording Studio where they are currently working on their fourth full length studio album due to be released in the summer of this year. Overseeing the recording sessions once is Kevin Churko, a Canadian musician, record producer, songwriter, sound engineer and The Hideout’s owner. Kevin Churko is known for his work with artist such as Ozzy Osbourne and In This Moment amongst many others.
This very short video clip of Ivan Moody from Five Finger Death Punch highlighted in a dim red light doing a screaming vocal take, can be see below:
As an added bonus we have included a YouTube clip containing a small sample of the new 5FDP track “Here To Die”, which has been taken from the band’s forthcoming fourth album. Get your teeth into it with the YouTube clip below:
Five Finger Death Punch have been making waves across the world of popular metal having sold more than half a million copies of each of their first three studio releases, can they do a forth? Or better still can they up the ante and sell over a million? It certainly seems to be a rare feat in today’s world of Metal Music. In fact Music in General. I say more power to them. If you’re not already a Five Finger Death Punch fan, why the fuck not? Because they write some killer tracks! Go check them out.
Trollfest “True Norwegian Balkan metallers” have decided to go all out pop mad with this strangely infectious cover of Britney Spears’ Toxic. The video stars the band on a black curtain background with stumpy legs being puppeteered from behind them. It is certainly a strange sight to behold, but it certainly fits the mood of the cover songs silliness. Watching the drummers legs go double pedal mad is a big highlight for me. I literally LOL’d. The track is a promotional video for Trollfest’s upcoming 12-inch picture vinyl “A Decade Of Drekkadence”, which the band is releasing in celebration of its 10th anniversary.
Check out the video below:
“A Decade Of Drekkadence” features 16 tracks which include a completely new song, three acoustic versions of Trollfest’s signature tracks recorded during a live Trollfest performance at Metalcamp in 2012. Three covers, two B-sides and Trollfest’s never previously released demo from 2004, a piece that will no doubt please many hardcore Trollfest fans. Each Picture disc includes information on how to go about obtaining an MP3 format version of the “A Decade Of Drekkadence” album. Obviously for those who only wish to own the records as a collectors item, and would rather listen to the music on modern technology. Admittedly you wouldn’t want to have to leave the house with a vinyl record player strapped to your backside. If you could even figure out how to build a portable battery pack for it.
Swedish cartoonist Jonas Darnell and designer Terje Johnsen, have gone all out for the designs of Trollfest’s new picture disc, which includes illustrations of various characters created by Darnell from the Trollfest’s album releases over the last 10 years. Making appearences are the iconic metal duck from the “Villanden” album and the hellhound from the track “Helvetes Hunden Garm” a big fan favourite at Trollfest’s live shows.
“A Decade Of Drekkadence” will appear in time for the band’s first North American tour in March, when they will hit the road with Enisferum, TYR, Heidvolk and Helsott for the Paganfest Mexican, American and Canadian tour.
“A Decade Of Drekkadence” track listing:
01. På Beruselsens Vinger (new song)
02. Gods Away On Business (TOM WAITS cover)
03. Toxic (BRITNEY SPEARS cover)
04. Drekkadag (DREKKAMERATENE cover)
05. Selvforherligende Vås (B-side from “En Kvest For Den Hellige Gral”recording)
06. Drekkaekspedisjon (B-side from “Brumlebassen”recording)
01. TrollfesT (På Veg Til Vorspiel) (Demo 2004)
02. Drekka Konkurransen! (Demo 2004)
03. Drekka Mer!!! (Demo 2004)
04. …Skogsfest… (Demo 2004)
05. Nachspiel In Ein Baum (Demo 2004)
06. Heimferd (Demo 2004)
07. Brakebein (acoustic re-recording)
08. Rundt Bålet (acoustic re-recording)
09. Karve (acoustic re-recording)
10. Gitarharding Bromleskandinav (song from the Brumlebassen teaser)