I'm just happy about life right now, in this moment. I've got some of the best equipment I've ever had either in hand or on the way. and I'm finally learning how to use it. New songs are coming along great, and as weird as it is to say, I work better alone than I ever did with most (MOST) people. My drumming is getting better, recording is not only fun as hell but it's a learning experience. I want to produce the best music possible from my bedroom; that's my mission, dammit. I'm a long way from there, but its gonna happen. Anyway, heres what I have:
SOFTWARE:
Cakewalk SONAR Home Studio 7
HARDWARE:
Toshiba Satellite L305
550G External Memory
INTERFACE:
Lexicon Alpha
MIXER:
Peavey PV6
MICS:
Sennheiser e609
Nady DM70
(2) RadioShack Omnidirectional Mics
on the way: (2) CAD CM217
AMPS:
Randall 120 RHS
GUITARS/BASS:
Ibanez RG350M
ESP/LTD H-250 (discontinued 2007 model)
ESP/LTD MH-53
Schecter Omen 6
Fender Starcaster
ESP/LTD F-104 (bass)
DRUMS:
DDrum Diablo 5-pc
14 in. snare
12 in. rack tom
14 in. floor tom
16 in. floor tom
22 x 20 bass drum
Tama Iron Cobra Jr's pedals
Gibraltar Hardware
Zildjian 18 in. rock crash (2)
Zildjian 14 in. crash
Zildjian 14 in. hi-hats
Sabian 10 in. splash
Wuhan 16 in. China
Thursday, March 10, 2011
Wednesday, March 9, 2011
This or the Apocalypse - Haunt What's Left REVIEW
Ok, yes: I'm unforgivably late to the TOTA party. How did I not buy this album when it came out last year? Beautiful melodic sections and acoustic breaks coupled with pure thrash riffing and syncopated, staccato muted breakdowns? This band is like if August Burns Red and As I Lay Dying had a musical baby. So, you know, its truly breathtaking in its brutal perfection.
The lyrics have to be what catch me about this band the most. They tell some pretty vivid, haunting metaphorical tales delivered by passionate and honest screams and singing. What surprised me was how unorthodox an approach to writing TOTA took in creating this album. Gone are the obvious breakdown buildups, or the predictable solos or patterns; the super catchy and memorable choruses seem to sneak up on the listener.
The guitars and bass seem to all be the same person; by that I mean that they work better as a unit than most any other string units in metal music today. Be it an anthem (Lamnidae), a driving, percussive beast (Charmer) or a more ethereal, epic song (Hellish, my personal favorite), this unit of stringsmen never fails to deliver catchy, stuck-in-my-head-all-day riffs. The lead guitar weaves in and out of the mix with riffs and solos that seem to be classical and modern all at the same time. The rhythm guitar and bass connect every unit of every song with fluid, expert playing that makes for an album that can progress logically from note to note, on every song of this album. The guitar playing on this album is pretty much what inspired me to start playing for real again; its the kind of playing that makes you want to listen to nothing but this album for weeks at a time, which is far from common in modern metal music.
And, as usual, I save the drumming section for last. This whole review I've been secretly trying to find words to describe Grant Mcfarland's playing...I got nothing. Here, you try:
...exactly. It's exactly what this band needed: driving, intense precision-driven rhythm that never lets up. He doesn't beat eardrums to death with an over-abundance of bass beats, nor does he spend the whole song using about 1/3 of his drumset, as is the case with most metal drummers. No, Grant gets the full use out of every cymbal/drum/effect in his arsenal, and makes a a four-piece set sound like it take up an entire building. Flawless.
I hate that I was so behind on finding this gem of a hardcore album. August Burns Red fanboys like myself will tell you: this is something a metal fan must have in their collection. The riffs, the songwriting, the level of musicianship...pick your reason, but whatever you do, buy this album.
Tracklisting:
The lyrics have to be what catch me about this band the most. They tell some pretty vivid, haunting metaphorical tales delivered by passionate and honest screams and singing. What surprised me was how unorthodox an approach to writing TOTA took in creating this album. Gone are the obvious breakdown buildups, or the predictable solos or patterns; the super catchy and memorable choruses seem to sneak up on the listener.
The guitars and bass seem to all be the same person; by that I mean that they work better as a unit than most any other string units in metal music today. Be it an anthem (Lamnidae), a driving, percussive beast (Charmer) or a more ethereal, epic song (Hellish, my personal favorite), this unit of stringsmen never fails to deliver catchy, stuck-in-my-head-all-day riffs. The lead guitar weaves in and out of the mix with riffs and solos that seem to be classical and modern all at the same time. The rhythm guitar and bass connect every unit of every song with fluid, expert playing that makes for an album that can progress logically from note to note, on every song of this album. The guitar playing on this album is pretty much what inspired me to start playing for real again; its the kind of playing that makes you want to listen to nothing but this album for weeks at a time, which is far from common in modern metal music.
And, as usual, I save the drumming section for last. This whole review I've been secretly trying to find words to describe Grant Mcfarland's playing...I got nothing. Here, you try:
...exactly. It's exactly what this band needed: driving, intense precision-driven rhythm that never lets up. He doesn't beat eardrums to death with an over-abundance of bass beats, nor does he spend the whole song using about 1/3 of his drumset, as is the case with most metal drummers. No, Grant gets the full use out of every cymbal/drum/effect in his arsenal, and makes a a four-piece set sound like it take up an entire building. Flawless.
I hate that I was so behind on finding this gem of a hardcore album. August Burns Red fanboys like myself will tell you: this is something a metal fan must have in their collection. The riffs, the songwriting, the level of musicianship...pick your reason, but whatever you do, buy this album.
Tracklisting:
- Charmer
- Subverse
- The Incoherent
- Lamnidae
- Hellish
- Toro
- Backlit
- Hayseed
- Deadringer
- Revenant
Tuesday, March 8, 2011
The Human Abstract - Digital Veil REVIEW
Figured I'd restart things with a brand-new record, and Digital Veil seemed pretty perfect. I've been blasting it for the entire 30 minutes I've owned it, and it's playing right now.And it may be all I listen to for the rest of the year.
This album...wait a minute. Let me build this up a bit: I happened across Vela, Together We Await the Storm a few years back and it just...it was incredible. It still is. I bought shirts, I went to shows, I became an ardent fan. Then AJ left....and my world seemed to end. Midheaven came out, and confirmed AJ's departure was the worst thing that could have ever happened. I loved Tapley as a dude, and a player, but...AJ just couldn't be replaced.
2010: AJ's is announced as returning to THA, along with a new vocalist (thank God) being added to the lineup. My heart skips a beat, and I start creepin on THA in forums and on websites again, salivating at the promise of a new album.
And the reborn California quintet delivered. Will Putney and AJ engineered this beast of an album to perfection. The bass and drums are eloquently layered with the guitars and vocals to create an audio-based sex sandwich for your ears. Richter's vocals bring an entire new form to THA; his range, his delivery, his ability to stay distinguishable, all make for an unparalleled vocal performance in modern metal. His screams are everything a metal vocalist (should) aspire to be, and his clean singing rivals that of just about any other vocalist working right now, in my opinion. The lyrics he delivers seem to match the music and overall mood more so than Nathan Ells' ever did; THA could not have picked a better frontman to replace him, honestly.
Guitars: yes. Thats all that needs to be said. Just...yes. Dean and AJ, reunited, tearing shit up like the good ole days...oh wait, except they aren't. Forget comparing this to Nocturne; it just isn't possible. Dean's flawless riffing builds the foundation for AJ's new masterclass level of soloing and lead playing. Minette and THA reached (maybe even surpassed?) Matthew Bellamy-esque levels of song composition on this album. Dean and bassist Henry Selva are, as always, at the top of their game in terms of playing on this offering. The precision and fluid grace which accompany every note of their playing makes the album just as much as AJ's godlike playing.
And Brett Powell. Good lord, Brett Powell. Under appreciated though he may be (at least to me), his playing impressed me most of all. He is a machine, the eye of a hurricane made of thundering fills and machine gun bass. He is what I and any drummer that has heard his playing want to be when we grow up. From the band's inception to now, Powell has proven his undeniable skill time and again, and Digital Veil is no different.
After all the rumors, waiting and lineup changes (one can't help but wonder what a Tapley/Minette/Herrera beast would have sounded like) Digital Veil is the only proof anyone has that patience pays off. Ever. Make no mistake, ladies and gentlemen: this album wasn't the work of mere musicians, but virtuosos. Buy this album. Download it. Listen to it.
Tracklisting:
This album...wait a minute. Let me build this up a bit: I happened across Vela, Together We Await the Storm a few years back and it just...it was incredible. It still is. I bought shirts, I went to shows, I became an ardent fan. Then AJ left....and my world seemed to end. Midheaven came out, and confirmed AJ's departure was the worst thing that could have ever happened. I loved Tapley as a dude, and a player, but...AJ just couldn't be replaced.
2010: AJ's is announced as returning to THA, along with a new vocalist (thank God) being added to the lineup. My heart skips a beat, and I start creepin on THA in forums and on websites again, salivating at the promise of a new album.
And the reborn California quintet delivered. Will Putney and AJ engineered this beast of an album to perfection. The bass and drums are eloquently layered with the guitars and vocals to create an audio-based sex sandwich for your ears. Richter's vocals bring an entire new form to THA; his range, his delivery, his ability to stay distinguishable, all make for an unparalleled vocal performance in modern metal. His screams are everything a metal vocalist (should) aspire to be, and his clean singing rivals that of just about any other vocalist working right now, in my opinion. The lyrics he delivers seem to match the music and overall mood more so than Nathan Ells' ever did; THA could not have picked a better frontman to replace him, honestly.
Guitars: yes. Thats all that needs to be said. Just...yes. Dean and AJ, reunited, tearing shit up like the good ole days...oh wait, except they aren't. Forget comparing this to Nocturne; it just isn't possible. Dean's flawless riffing builds the foundation for AJ's new masterclass level of soloing and lead playing. Minette and THA reached (maybe even surpassed?) Matthew Bellamy-esque levels of song composition on this album. Dean and bassist Henry Selva are, as always, at the top of their game in terms of playing on this offering. The precision and fluid grace which accompany every note of their playing makes the album just as much as AJ's godlike playing.
And Brett Powell. Good lord, Brett Powell. Under appreciated though he may be (at least to me), his playing impressed me most of all. He is a machine, the eye of a hurricane made of thundering fills and machine gun bass. He is what I and any drummer that has heard his playing want to be when we grow up. From the band's inception to now, Powell has proven his undeniable skill time and again, and Digital Veil is no different.
After all the rumors, waiting and lineup changes (one can't help but wonder what a Tapley/Minette/Herrera beast would have sounded like) Digital Veil is the only proof anyone has that patience pays off. Ever. Make no mistake, ladies and gentlemen: this album wasn't the work of mere musicians, but virtuosos. Buy this album. Download it. Listen to it.
Tracklisting:
- Elegaic
- Complex Terms
- Digital Veil
- Faust
- Antebellum
- Holographic Sight
- Horizon to Zenith
- Patterns
I'm Alive!!
so, yeah. almost forgot I had this thing. Where have I been? Workin on getting a home studio going. I'm about 500 dollars in, and things are finally coming together. But, I've been missing writing these reviews, and analyzing the music I listen to. So, these next few posts may just kind of be vomited out of my mind.
Also, here's one of my songs: (shameless self-promotion, I know)
Enjoy, and get ready to read.
Also, here's one of my songs: (shameless self-promotion, I know)
Enjoy, and get ready to read.
Tuesday, January 18, 2011
After the Burial, In Dreams REVIEW
Let me just say: I'm a huge fan of the oft-hated Sumeriancore trend. So what if most of the more techy, talented bands in modern metal have congregated at one label? Obviously Sumerian and Sumerian Entertainment (the management side of the label) are doing something right when it comes to their family of artists. Moving on:
I picked up the original Berzerker track around 2008, loved it, lost it, then forgot who played it. In 2009 I found the remastered version of Rareform, and loved it even more. Anthony Notarmaso's (lets be honest,) better vocals gave a whole new feel to this incredible album. I was eagerly waiting for the release of In Dreams more than most...and while I wasn't disappointed, I was, well, surprised by the content of the album. Some songs are classic After the Burial (with riffs that require the quadratic formula to decipher) while others seem to fall more into the All That Remains category (and not the good, All That Remains, the cheesy All That Remains that have evolved a little too much for my taste - but thats for another review, right?).
I'm not saying this album didn't blow me away, I just wasn't prepared for the drastic changes this Twin Cities band had ready for the me and the rest of the fans. The addition of clean singing was unexpected, contrversial, and more than anything, a damned good idea. It refreshed the entire band, it seems like. My one gripe? Next album, lets shoot for ten tracks guys. Eight is not enough!! Anyway. I'm gonna start with the vocals: Anthony is incredible. After years of singing someone else's lyrics, he can finally come shrieking out of the shackles of the previous vocalist's inventions and come into his own as the frontman of this band. His range is seemingly limitless; ridiculous lows, high screams that make my throat hurt in sympathy, and mids that are instantly distinctive and understandable. He took his first chance to write his won parts in this band and completely nailed it. Anthony's work on this album sets a standard for modern metal screamers out there, without question.
Trent Hafdahl and Justin Lowe...whats there to say that hasn't already been said about this two? This team of guitar virtuoso's let loose all of their creative ideas on this album, and I do mean ALL of them. The acoustic playing and the clean riffs to complement the more melodic, mature side to the band were delivered flawlessly. The masterful collaboration between these two guitarists is virtually unmatched in today's metal scene. As for Lerichard "Lee" Foral...wow. For a bassist rooted in punk music (which, aside from Rancid, NoFx, and Antiflag usually doesn't showcase bass skill) he fits into this album perfectly. He plays with machine-like precision and definitely found more inspiration on this album; not to mention, the producer (Will Putney - talented dude right there) engineered an album where his bass riffs actually reverberate and stand out. And last but certainly not least is Dan Carle, he of apparently never-tiring limbs. The chug patterns on this album make me both pity and idolize him; honestly, how do guys like him keep their timing straight? Skill. And years upon years of practice.
The vocals, the guitar, the bass and drums, even the engineering just set this album up to start a new chapter in the history of After the Burial. The epic sweeping/shredding/tapping solos, the bowel-loosening dissonant chords and mind-numbing chug patterns all make for an incredible cd. With every listen I find a new way to appreciate this offering. This album may take a few listens to fully enjoy it, but its definitely worth the listen. Extended range guitar lovers, metalheads and ballad-rockers unite: this is the album for you.
Tracklisting:
I picked up the original Berzerker track around 2008, loved it, lost it, then forgot who played it. In 2009 I found the remastered version of Rareform, and loved it even more. Anthony Notarmaso's (lets be honest,) better vocals gave a whole new feel to this incredible album. I was eagerly waiting for the release of In Dreams more than most...and while I wasn't disappointed, I was, well, surprised by the content of the album. Some songs are classic After the Burial (with riffs that require the quadratic formula to decipher) while others seem to fall more into the All That Remains category (and not the good, All That Remains, the cheesy All That Remains that have evolved a little too much for my taste - but thats for another review, right?).
I'm not saying this album didn't blow me away, I just wasn't prepared for the drastic changes this Twin Cities band had ready for the me and the rest of the fans. The addition of clean singing was unexpected, contrversial, and more than anything, a damned good idea. It refreshed the entire band, it seems like. My one gripe? Next album, lets shoot for ten tracks guys. Eight is not enough!! Anyway. I'm gonna start with the vocals: Anthony is incredible. After years of singing someone else's lyrics, he can finally come shrieking out of the shackles of the previous vocalist's inventions and come into his own as the frontman of this band. His range is seemingly limitless; ridiculous lows, high screams that make my throat hurt in sympathy, and mids that are instantly distinctive and understandable. He took his first chance to write his won parts in this band and completely nailed it. Anthony's work on this album sets a standard for modern metal screamers out there, without question.
Trent Hafdahl and Justin Lowe...whats there to say that hasn't already been said about this two? This team of guitar virtuoso's let loose all of their creative ideas on this album, and I do mean ALL of them. The acoustic playing and the clean riffs to complement the more melodic, mature side to the band were delivered flawlessly. The masterful collaboration between these two guitarists is virtually unmatched in today's metal scene. As for Lerichard "Lee" Foral...wow. For a bassist rooted in punk music (which, aside from Rancid, NoFx, and Antiflag usually doesn't showcase bass skill) he fits into this album perfectly. He plays with machine-like precision and definitely found more inspiration on this album; not to mention, the producer (Will Putney - talented dude right there) engineered an album where his bass riffs actually reverberate and stand out. And last but certainly not least is Dan Carle, he of apparently never-tiring limbs. The chug patterns on this album make me both pity and idolize him; honestly, how do guys like him keep their timing straight? Skill. And years upon years of practice.
The vocals, the guitar, the bass and drums, even the engineering just set this album up to start a new chapter in the history of After the Burial. The epic sweeping/shredding/tapping solos, the bowel-loosening dissonant chords and mind-numbing chug patterns all make for an incredible cd. With every listen I find a new way to appreciate this offering. This album may take a few listens to fully enjoy it, but its definitely worth the listen. Extended range guitar lovers, metalheads and ballad-rockers unite: this is the album for you.
Tracklisting:
- My Frailty
- Your Troubles Will Cease and Fortune Will Smile Upon You
- Pendulum
- Bread Crumbs and White Stones
- To Carry You Away
- Sleeper
- PromisesKept
- Encased in Ice
Monday, January 17, 2011
For Today, Breaker REVIEW
It's been a stupid amount of time since I was regular with my blogs, so lets not waste any time, eh?
Facedown Records is one of my all time favorite record labels. Not because of the guitar I won from them (via my Plea for Purging preorder) or their apparent love for dogs (who roam their offices freely) but simply because of their incredible family of artists who share the same (or similar ) religious beliefs, yet retain a singular sound. Impending Doom sounds nothing like A Plea for Purging, who sounds nothing like the subject of this album review, For Today.
And speaking of Breaker? I loved it. The thought-provoking spoken word interludes between the brutal, technical and uplifting tracks that include the best syncopated combination hardcore, shred and punk metal. Mattie (vocals) holds nothing back with his lyrics, which unabashedly call for the listener to do more than just follow the words of God, but to open their own mind, listen to the teachings and act accordingly. His screams are passionate, but delivered in such a way that one can actually understand whats being said. The clean singing (gang vocals and otherwise) are as beautifully layered as always. The stringsmen (Ryan Leitru and Mike Reynolds) of this band constructed some jaw-dropping licks and scalar runs on this album. These impressive chops are married to some chug-heavy breakdowns that still manage to be fresh and interesting amidst a scene where palm muting open chords has become the rule, rather than a creative expression.
Lets not forget the drums and bass. As my three readers may have noticed (I have three, right? I don't wanna sound cocky when I really have two.) I usually hold a special love for the rhythm section of the more technical bands I listen to, and this album was no different for me. David Morrison is a professional drummer at his best on this offering; his work here could stand out on its own. Its heavy, its fast and a perfect complement to the technical brand of metal his counterparts have written. The accents, the bell hits, everything just bleeds pure rhythm and groove, which is a welcome change from the current scene trend of abusing the bass drum for ten tracks. Bassist Brandon Leitru deserves special mention here as well: even on the previous album, Portraits, his tracks were mixed to where the listener could pick him out and enjoy a master at work. On Breaker he gets a little more melodic, especially on the interlude The Breaker's Encounter, which features a beautiful little bass lick.
Whether you share the faith of this talented quintet or not, this is music you simply can not afford to miss out on. Fans of any kind of metal can get into this album, period. Put away any close minded ideals and just jam to this; I did, and it led me to some of the best music 2010 had to offer.
Tracklisting:
Facedown Records is one of my all time favorite record labels. Not because of the guitar I won from them (via my Plea for Purging preorder) or their apparent love for dogs (who roam their offices freely) but simply because of their incredible family of artists who share the same (or similar ) religious beliefs, yet retain a singular sound. Impending Doom sounds nothing like A Plea for Purging, who sounds nothing like the subject of this album review, For Today.
And speaking of Breaker? I loved it. The thought-provoking spoken word interludes between the brutal, technical and uplifting tracks that include the best syncopated combination hardcore, shred and punk metal. Mattie (vocals) holds nothing back with his lyrics, which unabashedly call for the listener to do more than just follow the words of God, but to open their own mind, listen to the teachings and act accordingly. His screams are passionate, but delivered in such a way that one can actually understand whats being said. The clean singing (gang vocals and otherwise) are as beautifully layered as always. The stringsmen (Ryan Leitru and Mike Reynolds) of this band constructed some jaw-dropping licks and scalar runs on this album. These impressive chops are married to some chug-heavy breakdowns that still manage to be fresh and interesting amidst a scene where palm muting open chords has become the rule, rather than a creative expression.
Lets not forget the drums and bass. As my three readers may have noticed (I have three, right? I don't wanna sound cocky when I really have two.) I usually hold a special love for the rhythm section of the more technical bands I listen to, and this album was no different for me. David Morrison is a professional drummer at his best on this offering; his work here could stand out on its own. Its heavy, its fast and a perfect complement to the technical brand of metal his counterparts have written. The accents, the bell hits, everything just bleeds pure rhythm and groove, which is a welcome change from the current scene trend of abusing the bass drum for ten tracks. Bassist Brandon Leitru deserves special mention here as well: even on the previous album, Portraits, his tracks were mixed to where the listener could pick him out and enjoy a master at work. On Breaker he gets a little more melodic, especially on the interlude The Breaker's Encounter, which features a beautiful little bass lick.
Whether you share the faith of this talented quintet or not, this is music you simply can not afford to miss out on. Fans of any kind of metal can get into this album, period. Put away any close minded ideals and just jam to this; I did, and it led me to some of the best music 2010 had to offer.
Tracklisting:
- The Breaker's Origin
- Devastator
- The Advocate
- The Breaker's Valley
- Seraphim
- Arm the Masses
- White Flag
- The Breaker's Encounter
- Phoenix
- Psalm of the Son
- King
- The Breaker's Commission
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