![]() Q: Inhuman would be how I would describe the production on a lot of technically proficient heavy bands’ records these days.Ī: Yeah, it kind of sounds like they recorded it at half-speed and sped it up (laughs) reinforced all the drums and that kind of stuff. But it’s not really over-the-top, over-produced, so that’s kinda what we were aiming for there. And that’s come through in the recording we’ve gotten some good feedback that it sounds nice and punchy and tight. All music these days it edited to an extent, but we didn’t want to edit the shit out of it. It’s really edited and that kind of stuff. A lot of the stuff these days I think is a bit over-produced, like it’s really super tight, unnaturally tight. With the production on the album, again we want to keep it, say, a bit real. ![]() If it’s just punishing tech wank over and over it just gets really boring, and it’s shit. It’s made it more fun, interesting and good to listen to. That’s what we’ve really tried to do, and hopefully that comes through in the songwriting. We really want to write good songs have good riffs and hooks and things like that. Although we are pretty tech-y, we all practice and things like that, we didn’t really want it to be a showpiece for how good we think we are on guitar or whatever. I guess that’s a bit of a thing for us in the band. Is that something the band is mindful of when writing?Ī: Yeah man, totally (laughs). Q: I find a lot of tech-death bands these days place far more emphasis on complexity or impeccable production values than actual songwriting. So we’re not really genre snobs or anything like that. I get into indie (laughs), some of the other guys like dance music and whatever. We all listen to different stuff as well. So they’re the main influences for this band. A lot of people say we sound like The Tony Danza Tapdance Extravaganza. I guess you can kind of hear that through the sound. Also Between the Buried and Me more tech-y, brutal and punishing bands. Q: Who are some of your main influences these days then?Ī: I would say bands like Psycroptic, Ion Dissonance and Dillinger Escape Plan. So we’ll continue to evolve the sound a bit I suppose. We’re starting to write for the next album now we’re actually about four or five songs in, or we have the skeletons of them anyway. Over time I suppose we’ve just matured a bit more and different influences in the band. ![]() Really mechanical, stop-start, dissonant, almost like a djent-y – when then that was blowing up – sound to it. Some of the early stuff we put out on the internet had that real flavour to it. The newer stuff is a bit more organic kind of death metal sound now. I guess early on it had that slightly more punishing industrial vibe, which we’ve kind of moved slowly away from. Q: It sounds like the name of a Fear Factory song actually (laughs).Ī: (Laughs) Yeah, totally. So that’s kind of where the name came from automaton just because it’s robotic and spazzy. Well, not a lot of it, we used some of it. He used to play around with something called the twelve-tone scale, which is an atonal kind of scale and a lot of the early music was based on that music theory, I suppose. The name comes from Arnold Schoenberg, who was a composer in the ‘40s. It started with Shayne (Johnson), the other guitarist and Nelson (Barnes) on drums, and we grew to have another guitarist, myself, and a guy on bass and vocals. Then we slowly started jamming with a few more members. The band kinda formed when a few local Brissy metal bands broke up and started as a bit of an internet project. Q: Can you tell us a little about the band’s history?Ī: We’ve been around for about three years now. Guitarist Damien Boorman chatted with Loud about the reception afforded the new album, hanging out with Killswitch Engage and the state of the music business. The band also won the prestigious opening slot at the Brisbane leg of this year’s Soundwave Festival via triple J’s Unearthed competition. Following the release of a debut EP in 2011, they recently unleashed brutal debut LP Vela.
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