Auction For The Promise Club have released a video for their track See Through which is taken from their latest album Silence.
Check out the video below
Auction For The Promise Club have released a video for their track See Through which is taken from their latest album Silence.
Check out the video below
With only a week left in February, deathcore fans all around the world are getting excited for one of the most anticipated albums of the year – Suicide Silence’s self-titled. Due out on the 24th, Suicide Silence fans are intrigued to know what the new album is going to sound like after the singles Doris and Silence took a different path musically so we got the chance to speak to lead guitarist Mark Heylmun about everything going on in the camp.
Firstly, are you looking forward to the release of your new album?
We can imagine it’s a lot of stress writing and recording a new album as a band of your size, do you have any rituals when in the studio to keep focussed?
“Not exactly anything has been a main stay. If anything we are always trying new methods to up our creativity. Everyone in the band is different, so we all just do our own thing, try not to party the night before studio seasons, keep a clear head, encourage each other and listen to each other.”
A lot of fans were surprised when Suicide Silence released the new tracks and they were completely different to what they’d heard before. They’ve progressed from their old sound and changed up a few things and included some surprises. Mark spoke about the choice in progression “I think we made the choice mid last record? It wasn’t a sudden decision by any means. We have always been wanting to do something different and test ourselves. This place in time felt the most fitting”. When speaking about exploring the path of clean vocals, he went on to explain “A large portion of our favourite music isn’t death metal. We love it and aggressive vocal styles but for the most part there are death metal bands we love but overall there’s more music out there that influences us. We also don’t want to be the one trick ponies, we can do more than just what’s expected of us”.
Talking of clean vocals, as you’ve seen the ‘teehees’ in Doris have been discussed about a lot on social media; what do you think about this?
“I think the main thing is that if people don’t like what we’re doing then hopefully we inspire them to make something they are proud of or inspire people to do something that expresses themselves freely. I think the music I didn’t like when I was young probably shaped and inspired me as equally as the music I loved”
Carrying on with social media, it’s been seen that there’s a lot of tension online between yourselves and other deathcore bands, especially Thy Art Is Murder. What started this, and why is it carrying on?
“Eddie used their name in a general way basically saying that deathcore is a tired sound. If someone gets butt hurt because of it that’s their fault, it wasn’t even the band that got offended it was a kid on the internet. Internet kid hit up Marshy and he hit up Eddie, Shaun hit me up, and CJ went on the internet and fed into the beef. There’s no real beef and if they wanna call us sell outs so be it. They can “make deathcore great again” or whatever… but the way we see it is we don’t wanna “‘make deathcore the same again”. We helped shape the deathcore formula over a decade ago and we’re just trying to push the boundaries of it, we’ll never quit pushing ourselves.”
Are you looking forward to touring the new album? What do you think the general response will be?
“We’re leaving tomorrow for tour, everyone is pumped. The new songs sound amazing. I honestly think when people get this record and listen to it as a whole they’re really gonna dig it. It’s really hard to hear a band do something so different and appreciate it based off two songs. All reviews and responses from magazines and anyone who has listened to the whole record are blown away and are really wondering why the responses is so array on the internet. Plus, live – these songs sound amazing”.
What do you think of the petitions against the album release?
“We aren’t fighting it, it’s pretty funny. I think if anything that site that posts that as news is a disrespect to the music world. They also post about Metallica having a bad time at the Grammys, dropping our name in a post about a missing person, people dying. They don’t seem to care about the well-being of artists or the music, they care more about trolling music fans to click their garbage headlines. It’s not journalism, it’s just another form of trolling – So they can fuck off!”
Going back to touring, do you find hardcore fans accept Eddie as a suitable vocalist for the band, or do you still find people that aren’t happy however support the band for the music?
“Overall people chant Eddie’s name at shows and give him praise. I think people who disapprove of him are more squeaky wheels and what they say resonates sometimes more, kind of gives the hardcore fans more reason to love him”.
How you feel about the fans that have stuck with the band since the beginning despite changes in both line-up and style?
“Well our true fans are the ones who are sticking with us, they’re all open minded and not fans of scene – they’re fans of music. They saw this coming and saw us changing over the years so subtly and I don’t mean the kids who think we’re ‘metal-core or whatever’; I’m talking about the fans who pay attention to us as individuals. We are not close minded elitists, we are all different musicians with a wide amount of influences. The people who are saying ‘fuck you’ for doing something different aren’t fans of Suicide Silence, they’re fans of a scene and a look they associate with us and they can listen to whatever they want, that’s all good. I still think they shouldn’t be afraid of change. It’s like they will hate your record if it sounds like the previous one and hate the next one because it’s too different”.
Talking about the release, aside from the implementation of clean vocals, how does this release compare to previous albums? Is the whole of the new album in this new change of direction, or do you still have some ‘classic’ Suicide Silence deathcore tracks.
“It’s closest to The Cleansing to be honest. We recorded it live and jammed these songs till they were something we were proud of. We ditched the click track and played like a real band again. We kinda lost that along the way trying to be perfect and we’ve always been a ‘love’ band, the feel of us playing together is exactly what we’re about.
‘There’s some really off the path tracks even further from our original sound and there is some extremely heavy ass shit on there. I promise that if you didn’t like ‘Doris’ or ‘Silence’ and you give this record a chance – there will some shit you love.”
What are the common misconceptions about deathcore as a genre?
“A big misconception is that deathcore wouldn’t even exist without Suicide Silence. We started out in 2002. More people are talking about deathcore now because we did something different than in quite some time, so deathcore can thank us for giving it more life than we already have been over 15 years”.
What’s the best show you’ve ever played and what’s your favourite venue anywhere in the world?
“I think the charity show we did for Mental Health America at the Observatory in OC in December 2015 was the best. There was great vibes and no pressure – just giving fans a show and raising some money for a great cause. I don’t have a favourite venue honestly.”
We thank Suicide Silence for taking their time to speak to us, especially with a heavy tour incoming. They release their self-titled album on February 24th on Nuclear Blast Records.
Auction For The Promise Club have released new track “Moonlight” from their upcoming album “Silence” due for release on the 9th June.
Check out “Moonlight” below
Check out Auction For The Promise Club on Youtube below for all their music videos and more
Auction For The Promise Club links
What is arguably going to be the most controversial record in its musical field, Suicide Silence are here to show off their versatility and show off something else that the fans will most likely criticise. With it now seeming the band going into a direction and create something they have always wanted to, have they made something that will good light or will it be just another backlash to add to their list?
The first two songs on the record are the tracks that people have already heard and are banging their heads against the desks in pain. ‘Doris’ starts off with a very strange intro to the album as a whole, but once the track kicks in it flows a lot more groovy in its album writing. The live recording of the entire album is a main feature throughout with the band having some off the cuff touches. Whilst the ‘tee-hee’ vocal parts can be a bit off putting, the more noticeable cleans have a decent tone on them and once the bass sections flows through, the sound on that is such a nice flavour to the song. The guitar effects can take away at some points with the flanger/phaser sound being a weird placement. As it flows straight into the next track ‘Silence’ the heavy intro is a mosh pit waiting to happen and gives a throwback to their older material. Then the verses have a distinct nu-metal sound within its walls and as the vocals flow really nicely on some of it, at points it can feel a bit off putting. With the KoRn/Deftones names thrown around as comparisons for sections, it does come off but at the same time it feels a bit upsetting comparing these disingenuous sections to those bands.
‘Listen’ opens up the unheard songs with the bounce of the drum patterns and the distortion of the guitars, which at some point feel muddy at time. The bass and vocal heavy sections feel full of raw emotion and punch through, and feel when the guitars start chugging, it has that moment of feeling like some angsty metalcore with the high screams getting a bit eye wincing at points. Then there are these parts that have some uncouth chanting singing bits in the background with the more spoken word element having a sprinkle of seasoning to the otherwise already salty dish. The ending minute of this track feels ripped out of the ‘Issues’ era of KoRn music, dubbing a nice nostalgic feel. Arguably one of the better tracks on the record is most likely the softest song you’ll ever hear from the band. ‘Dying In A Red Room’ is beautifully written and gives a much darker tone without having to utilise so much of their heavier accolades. The Deftones influence is much more apparent in this track and even with a taste of the band Tool coming into full effect. The only downside of this song is the ending when the sound of Eddie’s vocals make him come across like a dying computer.
With the band asking for less feedback, ‘Hold Me Up Hold Me Down’ kicks off with some feedback before the guitars kick in and bring something that is an enjoyable listen, but as the song goes on, the bands structure seems to fall off the rails, with the style of vocals that Eddie does over one section feeling really out of place and makes you lose interest in the track and with an album that has quite a huge chunk of four and a half to almost six minute tracks, being something that grips the listener is something you really want. What might surprise a lot of listeners is that there is a monstrous breakdown with some of the most disgusting low vocals being produced and the guitar tone working effectively. The fact that this breakdown goes on for half of the song feels like a lack of creativity, which is amazing coming from an album that encompasses so much unique elements from so many genres. There will also be the fans who will get off on the pig squeals and blast beats, and rightly so.
‘Run’ is a definite throwback to the 90’s way of writing and music style with the structure of its guitars and drums with the clean vocals, like in DIARR, work a lot more as a whole when you think about how they are writing their music. The guitars are what make this track a more enjoyable experience with the tone that they use having such a great flow within it and overall becomes another enjoyable track. ‘The Zero’ uses key changes to a bit of its advantage, with about 3 different keys being used overall. The clean vocals start to fall off the rails again with the odd grunt addition and the pattern he uses not feeling like it flows with the track for most of the song. The panning of the guitars get a bit more of a pulsating motion in the verses and the instrumentation push a bit more, with the choruses being a very solid listen, especially with the screams. The ending of the tracks poses a bit more of an exciting side of the band, with the guitar buildups muted and tremolo picked with the selected drum pattern helping put a few more wheels in motion.
The final two tracks are the bands final clasps and with ‘Conformity’, it starts to show off the more enjoyable side of their softer material and with the addition of the acoustic guitars, it adds a more seductive element to it. Once again, the instrumentation builds so much around it being a great track and the clean vocals for 85% of the track really give an argument to them pushing more of that side of them and whilst the track has notions of the calmer side of Metallica in the linear parts of it all as well, unfortunately the time aspect of the track feels a lot more dragging than it does gripping. The final track goes on a heavier tirade and has a more death metal aspect to it much like ‘The Cleansing’ album era. The old school fans of the band will definitely be gripped to this track with its ferocity and its stylistic approach with the blast beats and pounding triplets. ‘Dont Be Careful You Might Hurt Yourself’ is undoubtedly one of the heaviest tracks on the record and closes the album on a very tribal note, with the whistling and the sounds of clinking instruments.
You have to applaud the band. They have made something that is the path they want to go and invoke a lot of stylistic endeavours that will no doubt be great in their future releases. The fact of the matter is though that the live recording, a certain amount of clean vocals, some parts of the guitar tones and the overall attraction of many influences turn this album into a bit on an audible calamity. The band have set a new bar for themselves musically, but it honestly won’t be hard to beat.
Legendary nu-metal band Korn are coming back, and they’re back with a bang.
After their appearance at Donnington for Download Festival the band have kept fairly quiet, so it may have come as a shock to many this morning as album details and the first single were released.
The album will be titled The Serenity Of Suffering and will be released on 21st October via Roadrunner. See the artwork below:
The track released with the details is titled Rotting In Vain, which is accompanied by a video starring Sons Of Anarchy actor Tommy Flanagan. Frontman Jonathan Davies said of the song “Rotting In Vain was written about being in that black place, being in situations that I don’t like in life, be it relationships or feeling when you’re stuck and you’re just being abused or you don’t like where you’re at, and you just sit there and rot. It takes you years and years to figure out how to claw your way out. That’s where Rotting In Vain came from. That’s the vibe that inspired the song.”
Watch the video below: