Posts Tagged “Fanbase”

David E. Gehlke of DeadRhetoric.com recently conducted an interview with FATES WARNING vocalist Ray Alder. A few excerpts from the chat follow below.

DeadRhetoric.com: The band has been active on the live front since the release of “X”, but did it ever cross your mind that as a recording entity, FATES WARNING may never record another album?

Ray Alder: Yeah, it definitely crossed my mind. People were doing their side-projects all over the place, and it was never discussed or anything that “We might not get around to doing another album, it’s been so long.” It was always in the back of my mind that we would, though. Jim [Matheos, guitar] and I are pretty proud in that way and don’t want to just fade away. I knew we’d get around to do another album, it was just a matter of when. All of these fucking side-projects, but here we are now and I’m completely happy.

DeadRhetoric.com: You had a stretch where REDEMPTION was your main thing, obviously.

Alder: I think I did four albums with REDEMPTION. Jim was doing OSI, and they seemed like his main thing. It was never meant to be that way, but I had the opportunity to tour and record with REDEMPTION and I don’t want to sit around and do nothing.

DeadRhetoric.com: There’s been a lot of patience from your fanbase. You haven’t totally fallen off the map. There’s genuine interest in another FATES WARNING record. Did that help with getting the album together?

Alder: I think it’s nice and great. We never completely went away, and even if we weren’t touring the States, we were touring in Europe. We’d always go over there and do a few shows and do three-week tours — maybe subconsciously so people wouldn’t forget about us over there. [laughs] Our European fans knew that we were always around; it was American fans that probably feel a little left out. It’s nothing personal – it’s a lot harder to tour in America than in Europe. Everything is so far away and expensive, while in Europe, shows are usually no more than four or five hours away.

DeadRhetoric.com: Going back, you joined the band in ’88, so that’s 25 years. The storyline of you replacing [John] Arch is well-known at least from his vantage point, but how about yours?

Alder: I remember being completely intimidated and scared. I was a young kid. They were my favorite band in the world and I had never even left Texas and the only reason I left was to go to Connecticut to audition with those guys. I remember getting off the plane and having dinner…it was the weirdest thing ever, scary. I got through it and did a good job, and [Metal Blade‘s] Brian Slagel came in and I remember thinking, “Oh God, Brian Slagel!” Now, we’re great friends. It was exciting and new, and I had no idea where it was going to go, but I didn’t care. It’s funny because music wasn’t my dream — I was just doing it in local bands, but once I started, it was amazing.

DeadRhetoric.com: Do you remember what songs you auditioned with?

Alder: “Quietus”, a part of the from “Beyond The Ivory Gates”. I remember I recorded that on a four-track.

DeadRhetoric.com: Your voice back then was so high…

Alder: [laughs] It was so ridiculous. I was trying to do the John Arch thing, and that was the ’80s — everybody was doing it, so I thought it should do it too. As I got older, and before my voice started to change, I just didn’t want to sing high anymore. Chris Cornell, he can sing high now and he doesn’t sound silly to me. It’s not operatic; it’s screaming… I love his voice. Then you have other singers (mimics falsetto)…

DeadRhetoric.com: See, you still got it in you.

Alder: I think my voice has changed because I didn’t want to be over the top; probably because of the cigarettes and booze. [laughs]

Read the entire interview at DeadRhetoric.com.

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Syracuse, New York-based hardcore veterans EARTH CRISIS have entered Red Booth Recording in Rochester to begin recording their next album for an early 2014 release via Candlelight Records. The CD will reportedly be mixed by Chris “Zeuss” Harris, who has previously worked with SUICIDE SILENCE, ALL THAT REMAINS, SHADOWS FALL and SOULFLY, among others.

No hardcore or metal fan can be unaware of EARTH CRISIS or the contributions the band has made to heavy music since their founding in 1989. Championing the weak and the voiceless, the band has over 200,000 catalogue sales to date, according to Nielsen SoundScan. Regardless of passing trends, the five-piece has maintained their vision, dedication to their craft (and causes), and most importantly respected their fans in the 20-plus years of their performing career.

Founded by vocalist Karl Buechner, EARTH CRISIS has enjoyed two chapters in their musical journey. From 1991 to 2001, the straight-edge, vegan band would cultivate a global fanbase. Enduring numerous line-up changes, van accidents, and the natural up-and-down of music industry fads, the band released five full-length albums, two EPs, and two live albums before saying goodbye before a sold out audience at the sixth annual Hellfest in 2001. Six years later, the band would reunite and perform at the Maryland Metal And Hardcore Festival January 2007. It would open the door to additional performances in the U.S. and Europe, later leading to the band’s headline appearance at 2008’s Firestorm Fest. A rejuvenated EARTH CRISIS would later record two albums, “To The Death” (2008) and “Neutralize The Threat” (2011). Each followed by extensive international touring. Revealing a bit about the new album and its focus, Buechner conveys: “Lyrically this new record is going to focus strictly on an animal rights/anti-vivisection theme. Of course, this is what the band is known for, but we’ve actually never solely dedicated an entire album to the topic.”

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John Parks of Legendary Rock Interviews recently conducted an interview with vocalist Biff Byford of British heavy metal veterans SAXON. A couple of excerpts from the chat follow below.

Legendary Rock Interviews: You have been on a real creative tear lately, with the last couple albums being some of the best-reviewed and -received work you’ve ever done. Is it at all possible that some of that court battle over the band name somehow reinvigorated you or added something, passion-wise or aggression-wise, to your approach these days?

Biff: Ummmm…. I suppose maybe it did before. I suppose we wanted to unleash the beast and be sure that the last album was great and all that. I suppose it does push you a little bit further, but not really now at this point. We just like writing albums and we wanna keep making albums that people like. Our style of music is pretty unique to SAXON; we don’t really sound like anyone else.

Legendary Rock Interviews: “Call To Arms” was a really nice return to form and really rallied the fanbase, including here in the States. Was it hard to set out to top that with “Sacrifice”?

Biff: Yeah, it was actually. “Call To Arms” was a great album, a great collection of songs, but I wanted to come at “Sacrifice” from a little bit of a different angle. I wanted it to be a little heavier and more from the heart rather than the head, so, yeah, it was a task but there’s certainly a lot of passion in these songs. I worked quite hard with our guitarist on the choruses and melodies and the twin-guitar parts. I think because I was producing the album, I was in a little bit more control and felt I could take the band into more of a live direction. We really worked on the songs in terms of how they sound when we’re playing as opposed to just working on them to make them sound good in the studio.

Legendary Rock Interviews: I think you are almost a little unassuming or humble. Lots of bands put out albums as an excuse to tour or fulfill a contract but this is just a complete album of great, no-bullshit songs. Was there anything left on the table other than what made it to the bonus tracks and special editions?

Biff: Yeah, there are a few things that are on my home studio, some songs we didn’t use that might surface on the next album, but nothing really complete or finished in any way. Mostly a lot of ideas, you know. It didn’t take too much time to find the ten songs which made the record. The guys were jamming around and I was playing bass on a few of the sessions and I waited a little to do the melodies and lyrics; I just had some basic ideas about the songtitles. When we’d go to rehearse, I would really work hard with the guys to come up with melodic choruses, which is really what “Sacrifice” is: a lot of heavy riffs with very melodic choruses. That’s really a trademark SAXON thing.

Legendary Rock Interviews: Was it a challenge to work on these re-recordings for the bonus tracks? “Crusader” and “Just Let Me Rock” are pretty well-known songs, but I think this version of “Just Let Me Rock” is much better than the original.

Biff: Yeah. The original version of “Just Let Me Rock” was during a really weird time for the band really. The whole MTV era changed everything, and I think things were a bit lighter then, but the new version proves it’s still a cool song. The lyrics are great and it’s about our old manager ripping us off, so I think it deserves the heavier treatment. [laughs] The original sounded like some kind of groovy rock song and this is much more to the point. The orchestration on “Crusader” is pretty interesting. I think we may do that with “Dallas 1pm” as well.

Read the entire interview at Legendary Rock Interviews.

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Born of Osiris are streaming their new record Tomorrow We Die Alive, which is out August 20 (so yeah, it's out)! If there were ever a record the band released to divide their fanbase, it's this one. Just so we're clear here, I absolutely love this record; it's a logical progression from what they did …

The post BORN OF OSIRIS Stream Tomorrow We Die Alive In Full! appeared first on Metal Injection.

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Norwegian Grammy winning noise-metal-punks Årabrot will release their self-titled sixth LP through Fysisk Format in North America on September 3rd, following the European release on August 19th. The following press release was issued about the album: “Årabrot follows the band’s greatest success story to date, the 2011-released Solar Anus LP. With more uncaged power than ever, the album surprised even Årabrot’s own diehard fanbase; suddenly biblio-pornographic lyrics had become popular culture, as had Steve Albini’s sparse production technique

The post Arabrot Announces Self-Titled Album Details appeared first on Daily Heavy Metal News.

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If there’s one thing I can compliment about August Burns Red, it’s their consistency. They have released a new LP every two years since their first back in 2005 (the recent holiday album not included). They’ve been a reliable source for metalcore done the right way and have definitely amassed a good fanbase because of …

The post Album Review: AUGUST BURNS RED Rescue & Restore appeared first on Metal Injection.

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Recent updates to Soundcloud have given many bands a boost in the size of their fanbase and improved music discovery. Is it time you joined?

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The progressive metal aficionados at New Jersey-based Sensory Records this week announce the pending release of the newest album from Italy’s Kingcrow, “In Crescendo.” The following press release was issued about the album:

“While working in a mostly progressive metal direction in the earlier days, Kingcrow has increasingly expanded the scope of their sound to encompass elements of rock, nowadays rounded-out in a culmination of strong atmospheric component similar to Riverside, Porcupine Tree and Pink Floyd but also bearing a heavier, metallic semblance to Opeth and Dream Theater. This is boldly present on the band’s fifth studio full-length, In Crescendo, the new album encompassing nearly an hour over eight epic movements. Produced by the band’s own Diego and Thundra Cafolla at Sound Under Pressure in Rome, the massive album was then mixed by Giampiero Ulacco and mastered by Alan Douches at West West Side Music.

“Over the past two years Kingcrow has expanded the band’s fanbase through European tours in support of both Redemption and Jon Oliva, in addition to performances at ProgPower Europe and ProgPower USA. Plans for a U.S. tour are being devised for 2013 in support of In Crescendo.”

Sensory Records, a division of The Laser’s Edge, will release “In Crescendo” in North America on February 12th. Stay tuned for further updates as the new album nears release and as Kingcrow takes to the road in the New Year. The album’s track listing is as follows:

1. Right Before
2. This Ain’t Another Love Song
3. The Hatch
4. Morning Rain
5. The Drowning Line
6. The Glass Fortress
7. Summer ‘97
8. In Crescendo

Kingcrow consists of:

Diego Cafolla – guitars
Ivan Nastasi – guitars
Diego Marchesi – vocals
Thundra Cafolla – drums
Francesco D’Errico- bass
Cristian Della Polla – keyboards

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Indonesian brutal death metal act Tenggorokan has signed with Wretched Decay Records for the release of the band’s first full-length album in the second quarter of 2013. Wretched Decay Records comments:

“Tenggorkan have built up a huge fanbase on their own soil since their first appearance in 2005. In 2011 the EP The End of Earth was let loose to the masses and brought a bigger following which has seen them supporting the likes of Dark Funeral very recently.

“Making the decision to sign to an International label for their debut is what they think is best for the band….to get their music to even more people…to build more fans!!”

Further details on the album will be announced as they are made available, and you can find more info on Tenggorkan via Facebook.

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Ichabod has released new album “Dreamscapes From Dead Space” digitally, and the album will see a CD release via Rootsucker Records/Black Lotus Entertainment on October 30th, 2012. You can now stream the full album through the bandcamp player below, and the track listing is:

1. Huckleberry
2. Looking Glass
3. Baba Yaga
4. Epiphany
5. Hollow God
6. All Your Love
7. 108
8. Return of the Hag

Dreamscapes From Dead Space by Ichabod

The following press release was issued about the album:

“Following more than a decade of perpetually mutating and expanding their unique style of rock/metal, Boston-based Ichabod release their most progressive album to date with Dreamscapes From Dead Space this month.

“Conceived and founded in 1998, Ichabod quickly formed an immediately diehard audience with several awesome demos before the turn of the century. Sporadic but steady live shows have constantly helped the band retain a solid fanbase, and since 2000 they’ve summoned forth four massive and ever-expanding studio full-lengths, culminating with the diversified 2012, released by Rootsucker Records in 2008.

“Amidst praise of 2012 from internationally-based media outlets, vocalist Ken MacKay decided to part ways with Ichabod. Remaining members Greg Delaria (bass), Dave Iverson (guitar), and Phil MacKay (drums) inducted longtime friend John Fadden as new throat to help them finalize their newest material, what was then penned as the band’s swansong. Fadden’s style brought on newfound inspiration for the entire unit, and the band recruited friend Jay Adam on second guitar. Instead of disbanding, Ichabod forged an entirely new path of musical exploration.

“Ichabod’s fifth full-length, Dreamscapes From Dead Space, visits new territory for the band’s already expansive sound, melding elements of their sludge/doom metal roots with a more prog/psyche ‘70s vibe, adding a lot more rock to how they already triumphantly roll. Featuring nearly fifty minutes worth of otherworldly, free-flow, heavy-ass rock, recorded, co-produced and mixed by Glenn Smith at Amps vs. Ohms Studio in Cambridge, Massachusetts, with final mastering done by Nick and Rob at New Alliance East Mastering. The artwork bears original paintings by Mike Kent and layout but Aaron D. C. Edge. Dreamscapes From Dead Space showcases the broad range of a proficient musical force in a renaissance era.”

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