Kill The Music stopped in St.Pete not too long ago to attend the annual Summer festival, Vans Warped Tour, read below to see what exactly went down.
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CLOSE YOUR EYES have teamed up with Alternative Press to stream their forthcoming album, Line In The Sand, in its entirety starting Friday, October 25th through Sunday, October 27th. Are you looking for melodic, punk influenced hardcore anthems that you can believe in? This is the album that you have been waiting for. Listen to the full stream now.
CLOSE YOUR EYES have released two new digital tracks, “The End” and “Frame and Glass”, from their forthcoming album, Line In The Sand. Purchase both songs now at iTunes, AmazonMP3 and your favorite digital retailers. Their headlining tour dates with label-mates ISLANDER which will be covering the Midwest and southern US can be seen HERE.
Metal juggernauts DEMON HUNTER are excited to announce their summer tour plans just a few short weeks after the impressive debut of their mammoth new album, True Defiance.
The band, set to storm Europe next week, will bring their power stateside when they headline select dates of the upcoming Scream The Prayer tour this June with support by EMERY, SLEEPING GIANT, MYCHILDREN MYBRIDE, CLOSE YOUR EYES, HUNDREDTH, THE GREAT COMMISSION, GIDEON, A BULLET FOR A PRETTY BOY and YOUR MEMORIAL.
DEMON HUNTER will then follow that up with a victory lap – appropriately titled The True Defiance Tour – from July until August with support from BLEEDING THROUGH, CANCER BATS, THE PLOT IN YOU and WILLOWS.
True Defiance, the band’s sixth album, smashed its way into the charts last week when it bowed at an impressive #36 on the Billboard 200. The highly anticipated album also landed at #3 on the Billboard Hard Rock Chart, #14 on the Billboard Rock Chart and #1 on the Billboard Christian Rock Chart.
The chart position is the band’s highest debut on the Top 200, edging out the previous best set by 2010’s The World Is A Thorn, which bowed at #39.
Now in its second week on the charts, True Defiance, is showing staying power by remaining in the Top 100, clocking in at #96 in its second week.
Produced by Aaron Sprinkle (ANBERLIN, EMERY) and mixed by Jason Suecof (ALL THAT REMAINS, TRIVIUM), True Defiance finds DEMON HUNTER continuing in their hard rock evolution while embracing the components that have always formed the backbone of their music: true metal, dark rock and balladry. The album marks a vital new chapter in the celebrated history of DEMON HUNTER, who are currently marking their 10th year of writing, breaking and erasing the rules of hard rock. Not ones to rest on their laurels, however, the members have created an album that not only lives up to their own lofty standards, but sets a new high-water mark for what DH is capable of.
European Tour with DEADLOCK, NIGHTRAGE and INSENSE:
April 30 Kouvola, Finland @ Vappugospel *
May 1 Stuttgart, Germany @ Universum
May 2 Luzern, Switzerland @ Schüür
May 3 Bochum, Germany @ Matrix
May 4 Brussels, Belgium @ Magasin 4
May 5 London, UK @ O2 Islington Academy2
* Just DEMON HUNTER
SCREAM THE PRAYER (Headlining Following Dates):
June 22 - Nashville PA @ Rockettown
June 23 - Douglasville, GA @ The 7 Venue
June 24 - Jacksonville FL @ Murray Hill Tavern
June 26 - Charlotte NC @ Amos Southend
June 27 - Richmond VA @ Kingdom
June 28 - Baltimore MD @ Sonar
June 29 - Shirleysburg PA @ Creationfest Northeast
June 30 - Dayton OH @ The Attic Club
July 1 - Joliet IL @ Mojoe’s
THE TRUE DEFIANCE TOUR:
July 26 - Portland OR @ Hawthorne Theater
July 27 - Sacramento CA @ Ace of Spades
July 28 - SoCal @ TBD
July 29 - Phoenix AZ @ Marquee
July 30 - Albequerque NM @ Sunshine Theater
July 31 - Dallas TX @ The Door
Aug 1 - Houston TX @ Warehouse
Aug 2 - Midland TX @ Rock The Desert
Aug 3 - Denver CA @ Summit
Aug 4 - Salt Lake City UT @ Complex
Aug 5 - Boise ID @ Knitting Factory
Close Your Eyes has officially released a statement stating why they departed with their vocalist Shane Raymond
"Recently, there have been many rumors and assumptions about us due to our cancellation of the Symptoms & Cures tour. We regret having to cancel but it was something we needed to do for personal reasons. We appreciate the patience and support from all of our fans. Unfortunately, we have to confirm that Shane will be leaving Close Your Eyes. Touring as much as we do with few breaks in between can be difficult on anyone. The fact of the matter is, Shane has had troubles with his voice and vocal performances due to stress and physical strain. Simply put, he can no longer continue being our vocalist. Touring isn’t for everybody. Some realize it early on, others later. Shane realized he didn’t enjoy touring long ago, but still pursued the road with us despite the mental and physical struggles that came with it. We love Shane and hope for the best in whatever he does from here on out. We hope all of our fans can understand this difficult decision. We appreciate all of the support over the years and still hope to have continued love and devotion from all of you as we have to you.”
-Darion
Jamie King has been responsible for quite a few albums most notably, a majority of Between the Buried and Me’s records. He recently recorded Wretched’s third full-length album, Son of Perdition and took some time answer questions over email.
State your name and profession please.
Jamie King - Audio Engineer/Producer
Most people don’t know what the main job of a producer is. Can you briefly explain what you do?
To me, producer refers to the person that produces the desired product by the client. Most often in my case, it’s just about making the recorded material sound the way the client wants. With “producers” that work with major labels, the job is often to actually help the artist write, rewrite and/or orchestrate the material to make it as marketable as possible as well as making it sound as marketable as possible. What is marketable is usually dictated by current trends.
Are there any common myths about producing that just aren’t true?
One common myth is that a producer always get into the creative aspect of the artists material. In metal and other non-commercial style, this is rarely the case. Most “producers” just make the record sound the way the client wants sonically.
Can you describe how it feels to be associated with the number of hits that you’ve worked on?
I feel lucky to have worked with some bands that have gone on to be successful. I don’t think any of the bands have any hits. It’s really just a luck thing with me. I record anyone and you never know who will become successful and not. There have been a lot of bands that I’ve worked with that I thought would be successful that weren’t and there are bands that have become successful that I would have never thought.
Does the way you work on production vary on genre? I know you’ve done BTBAM, Close Your Eyes, and Motionless in White, which all have a very distinct sound from each other. How does the band’s sound change your process?
Yeah, each project is different for me. I’m not known for a specific sound as many producers. I just do what the client wants which often require a different approach with production. A band like BTBAM wants all natural real performance recordings. This require more time and effort tracking as were a lot of clients want the more processed sound that is popular these days which is less tracking and more production editing. You have to actually engineer tones with real recordings as were the more processed stuff is easier as you can use pre-processed drum samples and guitar amp emulators.
Have there ever been any incidents in the studio where you felt you couldn’t work with the band? Such as bands just fighting over every little detail? No need to name names, but do you have any stories?
I’m pretty good and working with any client. They’re definitely clients that are more pleasant to work with than others. Some don’t take stuff serious enough and some over analyze everything. Either can make for an unpleasant time. It’s all about balance as far as I’m concerned. There’s a certain quality that needs to be achieved for a record to sound “real”. Beyond that, it’s all about whether the budget allows more and/or there’s a demand for better. There has been a few instances where I’ve sent people home relative to not being prepared and/or just being belligerently drunk, haha.
What are your thoughts on the continual volume increases in the industry, where music has just gotten louder, or more crushed, at the expense of dynamic range?
I think levels should just be set as a standard and left along. Something that allows for some dynamics. There’s not a lot of dynamics in heavy music so it’s not terrible with heavy music for it to be loud. I just know that it’s irritating to be listening to iTunes and have to turn tracks up and down. I know most consumers would prefer matched levels even if they do tend to pick louder by comparison. They just don’t realize that it’s the same if they turn it up or if the mastering engineer turns it up. Just less dynamics and more fatiguing to listen with everything crushed. Some heavy styles does sound more punch and brutal if crushed so the dynamics aren’t always the issue. They should still be set to the same perceived volume for the new standard of iTunes listening.
What’s your favorite and least favorite part about producing?
My least favorite part of producing a record just depends on the record. If they players aren’t good, then it’s tracking. If the orchestration isn’t good then it’s mixing. If there’s a crap load of bad melodic vocals, then it’s tuning. If there’s a lot of bad dynamic prog drumming, then it’s drum editing. If there’s super sloppy guitar tracking, then it’s guitar editing. Just depends on the performances really. If there’s good performances across the board, I don’t mind any of it.
What kind of artists do you prefer to work with?
I like to work with any clients that are cool and good performers. I’d rather work with cool and reasonable clients that aren’t good performers over good performers that aren’t cool and/or reasonable although.
Is it true you’re working with BTBAM on their upcoming album? How is it working with Tommy and the rest of the guys?
Yeah, BTBAM are schedule to come in in May. We’ve been working together so long that it’s like family getting together for a project. Just like hangin out with friends and making music as it should be. It’s always enjoyable with then as they are great people and great players. Just a little stressful for me as I don’t want to let them down and the stakes are getting higher and higher with those guys. Stuff needs to get better and better so it pushes me to keep improving my skills and gear.
Last question: what’s one book and one band you’d recommend to anyone that listens to the music you’ve produced?
I hate books; they are often off base for a lot of styles and just can’t teach you some stuff that you just need to see and hear being done to understand fully. There’s a band called Tetrafusion that I recorded recently. Def. check those guys out. Great player and music and great people!
Norma Jean announce PIZZA RIOT 2011 tour dates with Oh Sleeper, Close Your Eyes, Stray from the Path, and Lower Than Atlantis.
Tuesday, November 29th 2011 Savannah, GA at City Church Savannah
Wednesday, November 30th 2011 Montgomery, AL at Iceberg Lounge
Friday, December 2nd 2011 Austin, TX at Emo’s East
Saturday, December 3rd 2011 Corpus Christi, TX at House of Rock
Sunday, December 4th 2011 Odessa, TX at Dos Amigos
Monday, December 5th 2011 El Paso, TX at Open Gate Church
Tuesday, December 6th 2011 Tempe, AZ at Clubhouse
Wednesday, December 7th 2011 Lancaster, CA at Industry Theatre
Thursday, December 8th 2011 Anaheim, CA at Chain Reaction
Friday, December 9th 2011 Fresno, CA at Club Retro
Saturday, December 10th 2011 Bakersfield, CA at Jerry’s
Sunday, December 11th 2011 West Hollywood, CA at Key Club
Tuesday, December 13th 2011 Oklahoma City, OK at The Conservatory
Wednesday, December 14th 2011 Memphis, TN at TBA (Check back)
Thursday, December 15th 2011 Chattanooga, TN at The Warehouse
Friday, December 16th 2011 Asheville, NC at The Orange Peel
Saturday, December 17th 2011 Columbia, SC at New Brookland Tavern
Sunday, December 18th 2011 Atlanta, GA at The Masquerade