8-Track takes a band with a storied history and identifies eight songs throughout their career that define their strengths as a band, musically, lyrically, and conceptually. Read previous installments here . Where to begin with Every Time I Die, Buffalo’s favorite party animals? A career that has thrown out more filthy guitar licks and jarring breakdowns than a kegger at the Red Bull headquarters can’t quite be summarised in eight tracks; not quite anyway, but we’ve given it a go for our latest installment of the 8-Track feature here at Heavy Blog. Over seven albums and fourteen awesome music videos later, this mathcore/metalcore/hardcore/riffcore band have amassed a following that is just at home at Warped Tour as it is in that shitty venue in your hometown where people are scared of entering. As usual, we’ve picked tracks that we feel best showcase this band across the years. We disagree on the best and worst albums and we can’t even agree on the best tracks from some of these albums, but we tried. We gave it our all, just like this band do with every show and every release. If you haven’t heard Every Time I Die before, this is a great god damn playlist for you to get stuck into. Enjoy. Everyone seems to forget about the first album from these guys. While it’s still very rough and does not sound like they do now, noticeably lacking the “southern hard rock” charm they’ve worked into their sound, it does make for some damn fine metalcore/mathcore. The album is chock full of bangers, but none more so than “The Logic Of Crocodiles”. The beginning is standard mathcore, but then it builds into this really awesome breakdown towards the middle of the song that absolutely rips. It’s a shame these guys don’t really play too many songs from this album live, because it definitely could be turned into an anthem and become a staple. The most noticeable thing about this track is how harsh Keith’s vocals are over the entire thing. It sounds at many times as if he’s straining while screaming, which adds to the the sheer intensity of the song itself. There’s also some very cool chugging that goes on in the song, which is abrasive from beginning to end. Trust me, if you’ve never visited their back catalogue, now’s the time to do so, and you can begin with this piece of history. -Spencer Snitil As unique and abrasive as ETID’s early career was, it didn’t take long for it to catch on. Hot Damn! is considered the band’s breakout record, and with tracks like “Ebolarama,” it’s no mystery why the album caught on. Jordan Buckley’s guitar work bears a catchy mix of mathcore spunk and just the right amount of Southern charm to concoct infectiously aggressive riffing throughout the entire track. And while Keith Buckley’s vocals are commanding as always, it’s never clear which way he’ll stretch his larynx next. He’ll be moaning an eerie drawl one moment before launching into a manic roar the next. Of course, the highlights of the track – like every great ETID track – are the moments when the whole band lines up for a full-throttle romp, channeling the unbridled energy of their live performance. Ozzfest may be no more, but the band surely tore up the stage back in the day with tracks like “Ebolarama,” when they first started introducing themselves to audiences as their newest favorite band. – Scott Murphy Can we all take a moment to look back on Guitar Hero 2 and appreciate what that game did for so many of (pre?)teens in our discovery of metal? Dethklok, Shadows Fall, All That Remains, and of course, Every Time I Die were included as bonus tracks to the game’s “official” setlist. Thanks to this game, Every Time I Die were brought into the mainstream for many would-be metalheads in the form of “The New Black,” an almost uncharacteristically catchy and anthemic rock and roll tune that downplayed their hardcore roots in favor of party-ready riffs and the sassiest of hooks. The group have since gone on to become mainstays in the genre — a no doubt creating masterpieces along the way — but “The New Black” maintains as the group’s most iconic track, and for good reason; revisiting this song will leave it stuck in your head for days on end, so get comfy. -Jimmy Rowe At this point in Every Time I Die’s somewhat lengthy and unquestionably respectable career, no song perfectly encapsulates their signature sound quite like the intro track to 2007’s The Big Dirty , “No Son of Mine.” With both this record (and song alone) the band came steamrolling back after the oddly-flat mixing job that plagued 2005’s Gutter Phenomenon and positively pummel for the next three minutes. This track also boasts some of the finest Keith Buckley-isms in the land, including such greats like “leave your drunken accident at the prom,” “shoot that dog if we can’t afford to feed,” and the world’s finest breakdown accompaniment ever, “don’t ever say rock and roll.” Keith’s cryptic and often scatterbrained lyrics can probably be interpreted a number of ways, but his delivery and conviction is incontestable. Back this bizarre frontman up with some off-time, Botch -esque mathcore that’s as heavy on the dissonance as it is accessibility and you’ve got yourself quite a winning recipe. The song seems to begin collapsing about two-thirds of the way through, constantly pushing the band’s heaviness to new heights. It’s a remarkable opener, and it’s one of the band’s live staples for a reason. There were very few bands even attempting this sound back in its time, making “No Son of Mine” all that more unique in context. -Kit Brown Another fat, Southern sounding track crammed full of dirty guitar licks and Buckley poetry, “We’rewolf” is easily the most memorable track from The Big Dirty. The audacity required to kick off a track with straight cowbell hits is reason enough to give the party boys a clap on the back, but there is far more to this particular rager. At surface level, “We’rewolf” is a track written from the perspective of the perennial party animal, one I can empathise with down to a tee. “It’s a full moon, denim is tight and my flannel shirt is freaking out”. A real lyric in a real song and one that could only be taken seriously in sandwiched between dirty ETID riffs and a country lick that Muse DEFINITELY ripped off in “Knights Of Cydonia”, the scumbags. On arguably their weakest release, this track will always help dust off the air guitar skills of anyone shotgunning a beer or drinking a bar out of tequila. Things I love to do, especially with ETID blasting; it just makes sense to get shit faced listening to this track. -Matt MacLennan Biting sarcasm and a poet’s lyrical ability have always been trademarks of the Every Time I Die sound, and on their fifth studio album, New Junk Aesthetic, the band finally managed to hone those traits to a razor’s edge, such as is displayed on “The Marvelous Slut”. The track is a biting commentary provided by the band’s own vocalist, Keith Buckley, as well as The Dillinger Escape Plan’s Greg Puciato who helpfully chimes in during the choruses. In a way, it sums up nearly everything Every Time I Die is, speaking of their rather insane partying on the road (the “slut” Buckley refers to is himself, in reference to his own habits) all laid over the classic, southern-tinged metalcore attack that fans have come to expect. If anything, this song is a definitive crash course in the catalog of ETID, offering up all of their key elements in healthy doses all while still being compacted into a nice, two minute chunk for easy listening. -Jake Tiernan “Revival Mode” always sounded like an early Every Time I Die track slowed down to me. Seriously, imagine it played a good bit faster and it could be a B-side from Hot Damn!. The leering, creeper of a riff that lurches in and out of the track is almost dissonant, ties in with the vocal line on some of the notes and eventually gives way to an organ grinding verse that continues to keep the creep factor alive. On an album full of rambunctious rippers, this seedy track still blows up and into a big ETID refrain with a classic Keith lyric; “I need to pay the judge”, well, don’t we all eventually? While the band experimented with slow burning tracks right up until Ex Lives (and further, on From Parts Unknown), this is the first time that they perfectly balanced that finely tuned aggression with the nasty side of pop music. Finally, the guitar solo that ties up the final movement of the track is just phenomenal and is an example of how to get a guest musician to really raise the game of a track. -Matt MacLennan In my books, From Parts Unknown was one of 2014’s best. Although the album in its entirety has finally found its way out of my heavy rotation, I often find myself coming back to certain tracks – far and away the most notable of which is “Moor”. With its minimalistic opening, characterized by a marked piano motif over top of which Keith Buckley croons along with an eerie sense of calmness, Moor presents itself at first as an anomaly in relation to both the album, and, on a larger scale, to ETID’s entire body of work – that is, of course, until the track abruptly explodes into the aural barrage of pummelling power chords and fierce bellowing for which ETID have come to be known (and adored). The sudden impact only serves to magnify the mood conveyed by the callous lyrics spat by Buckley, who sounds at times as though he’s on the brink of coming unglued: “All I want is his head and this horrible fucking world will be wonderful again / There’s so much beauty and love and when I eat his beating heart I can bring it back to us.” No sooner is this line uttered in a final desperate croak than the track once again falls off into the simple piano-accompanied croon exhibited at the song’s start – only this time the calmness strikes as twice as distubring following the violent episode that is the song’s midsection. A final note in the lower register hangs in mid air to conclude the song, leaving the listener to whether wonder the madness that just hit them had really actually happened. -Elizabeth Wood -HB
Posts Tagged ‘live’
Essential Records RED ’s latest album ‘Release the Panic’ was recently unleashed and hit the Top 10 on the Billboard album chart in its debut week. The disc, which features the hit single ‘Perfect Life,’ marks the first time the band has worked with producer Howard Benson ( Halestorm , Papa Roach , P.O.D .). The band is also in the midst of Winter Jam Tour 2013, an annual Christian music festival featuring artists in many different genres. After that tour wraps up, they plan on embarking on a headlining run in April. Loudwire recently caught up with RED guitarist Anthony Armstrong to discuss the album and tour, staying connected with his faith, the first time they heard a RED song played on the radio and other topics. How did the songwriting and recording process for ‘Release the Panic’ compare to previous RED albums? They are all pretty comparable. We spent about a year and a half writing this record. A lot goes into it. Picking a producer was a challenging process. Once we got that locked in, we started the pre-production process. How did you decide on working with producer Howard Benson? He wasn’t the only guy that was on our radar. We did several interviews and talked with different producers. Howard spelled it out pretty clearly for us as far as what the process would be with him. You don’t waste a lot of time with Howard. A lot of things get done. We took about 2 1/2 months to make the record and actually moved out to Los Angeles for a while to work with Howard. He made it very clear that he’s not the best at everything. That’s why he has a team of guys. He’s not the best ProTools guy, so he has the best ProTools guy in the business. He’s not the best amp engineer, but he’s got the best guy in the business. He said the process would work really well for us, and he was right. We got in the studio and it was all about the music, not wasting a lot of time on the side trying to get things worked out. If something went wrong, he had a guy there to fix it and get us ready to go. It was cool. How do you think the band’s sound evolved on this album? Each record is its own thing. You go into it wanting it to have its own identity more than anything. That’s what we wanted with this record. We didn’t want it to be another “Until We Have Faces,’ another ‘Innocence & Instinct,’ another ‘End of Silence.’ We wanted it to be its own thing, and I think we accomplished that by taking some production elements out, to try some new things. The whole idea behind making this record with Howard was to get to the point. Let’s not be so dramatic and poetic when we don’t need to be. It’s about getting to the point faster and making it memorable. Were there more electronic elements on this album? I wouldn’t say electronic. It’s mostly programming elements. You’re not hearing as many symphonic elements. You’re not hearing as much piano or strings. These things have always been in our music, you’re just hearing more of them out front more than ever. People say we’ve “gone electronic,” but we’re doing nothing different on this record as far as that is concerned. Like I said, it’s a mix thing. We just decided to bring it out and make it more prominent in the mix. You’re currently in the middle of the Winter Jam Tour. How has that been going so far? This is the fourth time we’ve gotten to do Winter Jam, and that’s definitely a highlight for us. It’s a great tour, and a great time to release a record. Playing in front of thousands of people every night is definitely going to help record sales and help generate new fans and give everybody a chance to hear the record. You have to be in people’s faces for them to get a taste of what you’re going for. Winter Jam affords us that opportunity. It’s the biggest tour in the world during the first quarter. It’s great for any band. You’ve also developed quite a production to accompany your live show. We’ve kind of painted ourselves with that brush, and it’s something we look forward to. We have created more of a theatrical element to our band. We’re big believers that there has to be a visual element to carry along with the music. We have focused on that with our live show. We’re working on our new set right now. It’s a whole new fresh look We want to show the fans what we were going for and give them something to visualize along with the new songs. When you’re playing with such a diverse linup in Winter Jam, how difficult is it to win over the crowd, many who may not be familiar with your band? It’s a challenge. There are people covering their ears, people cowering in their seats in the fetal position (laughs). They aren’t there for the hard rock element. But our meet and greet lines are wrapped around the arena. We know that there is a need and a want for this type of music. We’re here to do our thing, and I think there are a lot of kids that relate to this type of music. Winter Jam is a great place because there is every type of person that comes to this show. What do you have coming up after Winter Jam? We’re going to take 10 days off, then we start our headlining run. We’ll be doing a brand new show in support of the new record. RED appeals to many different audiences; rock, metal, Christian, secular. How do you balance all those different marketplaces? I think the balance comes from not labeling ourselves. We don’t call ourselves a Christian band. We don’t call ourselves a mainstream band. We’re just a band. People find comfort in throwing a label on a band. We just set out to play shows It’s easy for us because we know exactly what we’re there for and what we’re doing. Every band has to learn how to tour, learn how to be on the road, learn how to be professional. When you were starting out, who were some of the bands that helped you learn? I feel like we went through band boot camp. We went through a lot of growing pains on those early tours that we were on. Bands like Sevendust, Breaking Benjamin and guys like that had crews that had been on the road for 15 or 20 years who weren’t willing to put up with greenhorns. They whipped us into shape really quick. It was a matter of us staying humble. There’s a pecking order and you have to earn respect. It worked out well for us. We just kept our mouths shut and worked our butts off. If you listen and learn, your band grows. Being on the road so much, how do you stay connected to your faith? It’s difficult for anyone to be on the road, even if you’re doing devotionals and group discussions and Bible study. On Winter Jam, we have ‘Jam Church” on Sundays. On a tour with ten bands, you’d be surprised how many guys aren’t at Jam Church. You have to make the time, you have to put in the effort to stay connected. One of the things the pastor on this tour says every night to the audience is that I have this iPhone, but if I don’t plug it in, it doesn’t work. If we don’t plug our faith in, how is it going to work? How are we going to be useful in the right moment? We just have to make the time. Because the four of us are like-minded and believers, if one person isn’t motivated, the other three are and can provide encouragement and accountability. These days RED songs are on the radio all the time. Take me back to the first time you heard one of your band’s songs on the radio. We finished our first four songs. We were in Franklin, Tenn., about 10 to 12 miles away from downtown Nashville. A local rock station played what they called “the local buzz” on Sundays. We had given them our four songs. That Sunday night we got together and went up to the top of this power station on the top of a hill in Franklin to hang out. The guy on the radio said he didn’t know where these guys came from, but I think they have a bright future, and then he played our song ‘Breathe Into Me.’ I can’t tell you the feeling when he started playing it. We were so overwhelmed with excitement. We thought we had made it and were on top of the world. As young and green as we were, we didn’t realize how much work we had ahead of us. Watch RED’s ‘Perfect Life’ Video
Neurot Recordings Neurosis singer and guitarist Steve Von Till was the guest on Full Metal Jackie’s radio show this past weekend. He spoke about the band’s new album ‘Honor Found in Decay,’ as well as creating music independently and on their own time. Read Full Metal Jackie’s interview with Steve Von Till below: It was five years between albums before ‘Honor Found in Decay’ was released late last year. Creatively, how has that time between albums broken down? Is it a lot of time spent consciously thinking about new music or is it more about living a life of adventure that will ultimately manifest itself musically? It’s more about just surrendering to the flow – it’s complete chaos, we have no set method and it’s definitely not time spent in the brain trying to conceive. This music comes from the heart and soul and it’s really just finding the time together over the years that are the hard part because we live quite spread out but most of it’s just waiting for it to demand attention. It must be kind of cool not having people say, “Oh you have to put out this many records in this certain timeline,” so you sort of have creative freedom to let it come when it’s ready. Absolutely, I mean we all work day jobs and have families and we run our own record label, so there’s no external pressure and that’s the way we like it. This music is so important to us as a form of expression that we really feel the need to keep it pure and the only way to really keep it pure is to keep all external influence out. ‘Honor Found in Decay’ is now being released on vinyl. What’s more obvious about Neurosis in that format compared to digital? I think that’s the era we come from, the album time – where you sit and you put on an album and you absorb the whole thing while holding the artwork in your hand and reading the lyrics and just surrendering to it. I still love that format best myself, I think it sounds best and more natural, there’s more soul in it. Would you consider yourself a purist when it comes to the styles of music that you listen to and recording and everything? No, because you always go for what’s convenient too. I’ve got an iPod, probably like everyone else, but I still prefer to sit and play an album if I can. What kind of stuff are you listening to these days? All across the board, lately a lot of Joy Division and Amebix. Visual presentation has always been such an integral part of Neurosis. You very recently announced discontinuing that element of the band; what made such a drastic change necessary at this point in the band’s career? We always feel the need to push our boundaries and evolve and to go to new places we haven’t been and we’ve had visuals as part of our live performances since 1992. It just felt like it was time for a major change in that way. We started to feel that maybe it was a bit of a burden or that time has caught up to the multimedia aspect of what we’re doing and it no longer feels vital at this point – at least not the way we were doing it. It was time to just destroy it and put it away for a while and see what else comes new. Right now we’re enjoying just being completely liberated and playing under bright light and going for it. Who exercises greater influence over what you do musically: other bands and musicians or the non-musical people central to your life? I’d say the entire world probably influences us but it definitely has nothing to do with what other musicians are doing. I think music is the least influence on our music in some way because when you’re trying to find something original even though we’re all music fans and we love music and listen to a lot of music – when it comes time to create Neurosis music we have to let all of that slide and dissipate and not have other people influencing it. Everything we see, everything we hear, everything we feel must influence some aspect of what we’re doing – it’s probably our emotional world and the world around us that influences us the most. How do you feel about Neurosis being an influence to so many bands today? That’s pretty much the biggest honor that we could have. We think about what our musical heroes meant to us and how we play this really unique, strange, self-centered, self-absorbed music and the fact that anybody else likes it is kind of amazing. The fact that it might go out in the world and be a positive influence and inspire other people to pick up guitars or find their own true musical path or artistic expression, that’s just a great feeling. What can we expect from the band this year? We’ll definitely be playing a few more shows around the United States and we’re hitting Europe in the summer and we’ll just see where it takes us. Full Metal Jackie will welcome Kvelertak frontman Erlend Hjelvik to her program this coming weekend. She can be heard on radio stations around the country — for a full list of stations, go to fullmetaljackieradio.com .
Columbia / Null Corporation How to Destroy Angels have a wealth of new details concerning their first full-length album today. While we already knew that the album from Trent Reznor ‘s band would be titled ‘ Welcome Oblivion ‘ and would be arriving on March 5, the group has now revealed the artwork (seen at left) and a full track listing for the new disc. Included in the new album are several tracks from the band’s recent EP, ‘ An Omen ,’ including the past singles ‘ Keep It Together ,’ ‘ Ice Age ‘ and ‘The Loop Closes.’ The EP’s ‘On the Wing’ also makes an appearance on the album, as well. How to Destroy Angels intend on releasing the disc in both CD and vinyl formats, with the latter including the bonus cuts ‘The Province of Fear’ and ‘Unintended Consequences.’ In addition, How to Destroy Angels have unveiled ‘How Long?’ as their latest single. The Mariqueen Maandig-led track is more of a moody, contemplative cut from the point of view of someone trying to move beyond a troubled past without unveiling themselves to others. The group also revealed a futuristic video for the track directed by Shynola. In the clip, a young man appears left to fend for himself amidst a treacherous and dark landscape until he happens upon another man just trying to survive as well. The video may be seen below. How to Destroy Angels are expected to tour in support of their upcoming release and will make their live debut at Coachella . Watch How to Destroy Angels’ ‘How Long?’ Video How to Destroy Angels ‘Welcome Oblivion’ Track Listing: CD: 1. ‘The Wake-Up’ 2. ‘Keep It Together’ 3. ‘And the Sky Began to Scream’ 4. ‘Welcome Oblivion’ 5. ‘Ice Age’ 6. ‘On the Wing’ 7. ‘Too Late, All Gone’ 8. ‘How Long?’ 9. ‘Strings and Attractors’ 10. ‘We Fade Away’ 11. ‘Recursive Self-Improvement’ 12. ‘The Loop Closes’ 13. ‘Hallowed Ground’ Vinyl: 1. ‘The Wake-Up’ 2. ‘Keep It Together’ 3. ‘And the Sky Began to Scream’ 4. ‘Ice Age’ 5. ‘Welcome Oblivion’ 6. ‘On the Wing’ 7. ‘Too Late, All Gone’ 8. ‘The Province of Fear’ 9. ‘How Long?’ 10. ‘Strings and Attractors’ 11. ‘Recursive Self-Improvement’ 12. ‘Unintended Consequences’ 13. ‘We Fade Away’ 14. ‘The Loop Closes’ 15. ‘Hallowed Ground’ [button href=”http://loudwire.com/nine-inch-nails-trent-reznor-offers-insight-into-how-to-destroy-angels/” title=”Next: Trent Reznor Offers Insight Into How to Destroy Angels” align=”center”]