Tag: Metal

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Find Your Lantern: A conversation with 36 Crazyfists

You’ve probably heard it said that the best thing about music is the fact when it hits you feel no pain. While that may be true in certain circumstance, I don’t agree with the idea music exists to numb the sensation of pain. That idea infers that music is a temporary fix, serving as a kind of audio bandage over problem we are not yet able or ready to deal with, and that is rarely the truth. Most music, at least in my experience, is created to help understand and cope with pain. It’s not about avoiding the unavoidable, but rather confronting it head-on with open eyes and zero fear.

36 Crazyfists has spent nearly two decades working their way through the struggles of life with a unique brand of hard rock that has won over listeners from around the world. Their latest release, Lanterns, may be the best evidence of this to date. The record captures vocalist Brock Lindow’s journey from the death of his mother to the place where he finds himself today. Along the way Brock encountered divorce, as well as other setbacks, all of which he found a way to work through on this release. 

We spoke with Brock by phone in the weeks leading up to Lanterns’ September 29 release date. In our conversation we discussed the creation of the album, touring new material, and learning to accept the inevitability of setbacks in life. You can read highlights from our conversation below.


HAULIX: So your tour with Devildriver is essentially the start of the promotion cycle for Lanterns, right?

Brock Lindow: Absolutely. We go from this tour, where we are direct support, to a headline run that carries us through the album release on September 29.

Are you the type of band to bring a lot of new material on the road, or has the new album not infiltrated the stage show just yet?

We are actually playing a lot of new stuff on this run. I think we’re playing 4 new songs on this run, in addition to six other tracks. I know that isn’t the traditional rollout for most artists, but it’s what we like to do. When we have new material to share with fans we get out there and share it. Even though people haven’t heard it we still go for it. We have so many damn songs anymore that balancing it all is difficult, but we try our best.

Is this approach to sharing new material new itself, or have you always been one to bring songs people might not know into the live show?

I don’t know about always, but we are not afraid to do it.

We have been talking to a lot of modern legacy acts as of late, yourself included. Lanterns will be your eighth album to date. When you reach your level, where you have long established your presence in music, it seems like your supporters begin looking to you for something different. They aren’t as concerned with a single song as much as the full album. They just want as much new material as you have to offer.

Yeah. I guess we have that same kind of mindset as well anymore. We don’t necessarily set out to write that one song that will change the world or making us millionaires overnight. Those kind of gran illusions have come and gone many, many years ago, if we ever had them at all. The people who have liked our band since day one are a huge part of why this band is still going, so we’re writing music for us and them. As far as hoping radio or televisions picks us up in concerned, we’re certainly not against it, but we also aren’t actively trying to pander to them. We’ve made our career by being true to ourselves and our supporters first. We might not be the biggest band on the planet, but we are guys who you can meet at the bar after the show to have a few drinks. Where we come from, it’s blue collar, and that’s just how people are. There are of course times when you’re in a bad mood and you don’t want to be in the mix of it all, but for the most part the reason we do this is to see and hang out with our community. If there is a beer or hug or handshake out there for us, we want it.

One of the things that has always fascinated me about your band is how you maintain that community while being based in Alaska. The amount of travel you put in really shows your dedication to the fans.

Thanks, man. I don’t want to leave home to hide in the van or the back of the club. I want to get out there and see people.

Speaking of Alaska, do you have a lot of opportunities to perform there? In my previous travel experience it has appeared as though there is not a large number of concerts coming through the area.

We have done some small Alaska runs. We even played Homer, one time, and it was definitely not the most hard rock place in the world. It was a bit more hippie/folk culture, which is honestly a lot of Alaska outside of Anchorage, but they’re all good places. Fairbanks is usually a good show, too. We’re trying to make a tradition out of playing certain places here, and hopefully we’ll make that happen.

I don’t think a lot of people can appreciate the kind of work that goes into concert promotion in Alaska if they haven’t been there. Unlike the lower 48, people have to make billboard, homemade signs, and generally do a lot more work to get the word out, or so it seems.

Yea, for sure. We don’t get too much of that stuff, so I think when we do you have to make it a major event.

When I was reading about the album I learned of the relationships struggles you went through during its creation. As someone who found themselves at the unexpected end of a serious relationship not long ago, I really connected to the feelings captured on this release. Can you talk a bit about tapping into that?

This is one of those things where I am happy you connect to the record, but at the same time it’s unfortunate those things had to happen to us. Everything that I have gone through in the last few years is not unique by any means. It is the same trials and tribulations people face all the time, which in a way made me unsure how deep I wanted to explore those topics on this release. I think there comes a point where you look at your body of work and you wonder if people think everything in your life is miserable because all you do is complain about the same things over and over. I used to feel that way about Staind. I love that band, but after a few records I started to wonder if there was anything good going on in their lives as well.

I actually had a very high brow idea for how to use some metaphors based on native culture to tie into my own journey, but I realized at one point that was going to take a lot more time. I talked to my girlfriend about whether or not I should write about all this and she told me I had to because otherwise I wouldn’t be able to get it out. She was absolutely right. Throughout our career writing has been how I dealt with stuff, so why now – when things are really hard – would I not do the thing that helps me?

I think you pulled it off in a way that does not make it seem like you’re the saddest guy in the world or that your hurting all the time. If anything, coming off the last record I always feel like your albums kind of serve as motivation to keep pushing forward toward better things. This album continues that to some extent, but it also recognizes that even if you feel things are going well that can – often through no fault of your own – get turned upside down when you least expect it.

You have to figure it out. No matter who you are or where you are, shit can turn on you in a moment’s notice. You have to find a way to work through it. Our band, this music, has been a vehicle for me to do that. When you’re around one another as long as we have been there is something about that connection that is special. Something I learned in recent years is how important those connections are, and how without them you’re really on your own. That’s not healthy. You can do it for as long as you want, but it will come out somehow – probably in a way you don’t want it to, like substance abuse. That was not an easy lesson for me to learn, but hopefully it can be for other because of what we’re putting out.

This seems like it ties into well with that Lanterns track “Dark Corners”.

Exactly. I want this material to be something that will encourage me to not retrace my steps. They are little reminders for me. I don’t go back to our old material that often, but when I need to I know they are there. I also haven’t forgotten about the instances that inspired the material, those little bumps in the road that got me to this point.

Being on the other side of the record, do you feel better having gotten these situations and your feelings toward them on tape?

No question about it. Absolutely. Even from the last record, where I wrote songs about losing my mom, was very helpful for me. The weight of this album is different. The last one was stuck in a time vault, but this one is more of a gradual progression out of that period in my life. I look more fondly on these songs just because that period was so bleak. It was hard to lose someone so supportive, especially when it’s your mom. Doing this record, it has definitely been more about the day to day struggle than a specific event or moment in time.

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Monday Motivation: It Lies Within

If you’re anything like me, you probably started the day by recognizing that the start of a new work week had indeed arrived and then immediately began shaking your fists at the sky in anger. Monday is rarely anyone’s favorite day, and from what I have seen firsthand it feels safe to say it’s the one day of the week some people outright hate. I guess to them the arrival of the work week symbolizes the end of their quote/unquote freedom, and as a result they head into the office/factory/restaurant/store with a negative outlook already on their mind. This leads to bad attitudes, which only makes the experience of being at work worse, and for some reason it also seems to make time slow to a crawl. We’re not about that life, and we hope this post can do the same you that the song contained within it did for us.

There are few genres I hesitate to discuss in public forums more than heavy metal. In the last fifteen years the world of metal music has been sliced and diced into countless subgenres for no other reason than the increased ease of new music discovery, but one unfortunate side effect of those efforts has been the battle lines it such subjugation has drawn between metal fans. For some, there is only one true form of metal, and everything else is just heavy noise that wishes it were up to par with the very rarified air that particular fan’s favorite bands inhabit. For others, all metal is mediocre unless it is born from the mind of an artist with decades of experience ticket under their belt. Both schools of thought are wrong, as we believe the subjective nature of music is part of what makes it so endearing, but we learned long ago not to question the tastes and interests of metal fans unless we were prepared to fight.

This realization sucks. It sucks that people who enjoy one area of metal music feel they are either inferior or superior to another area of the same genre simply because some assholes on the Internet decided rock’s numerous subgenres needed to be ranked. As far as we are concerned every genre of music is just as good and horrible as the next, the only determining factor as far as your personal tastes are concerned should be you. This doesn’t mean critics are full of crap, but it does mean that you cannot let the opinions of others dictate everything you do. Critics, at best, are curators to a world of music that has long passed its saturation point. Critics do not know everything, and if you find one who claims to then you should immediately write them off. It is impossible to know everything the vast world of music has to offer, but that should not stop you from taking time to explore as much of it as possible during your short time on this Earth.

With that in mind, my choice for Monday Motivation this week is none other than Michigan metal outfit It Lies Within. Some of you may recall the band and their name from the short time they spent on Victory Records a few years back, but there is much more to this forward-thinking product of America’s murder capitol than an association with a once great indie label. It Lies Within are a band born out of a desire to make metal interesting again, and they have spent the better part of the last half decade fighting for every bit of critical and fan acclaim they have been able to gain. Their continued success is a testament to what can be achieved through hard work and a fierce dedication to engaging with fans on a regular basis. Those who enjoy It Lies Within not only feel close to the music, but the members themselves, as the band constantly works to share their lives and personalities through those that support their music.

Paramount, the upcoming release from It Lies Within that is slated to hit stores this Friday, January 8, is the first great heavy album of 2016. As with every other record in the band’s catalog, Paramount serves as a bold declaration of It Lies Within’s continuing efforts to push the envelope of modern metal with unique riffs, thought-provoking vocals, and an overall quality of songwriting that far exceeds that of their genre peers. It’s not an album everyone will love, but both the band and their fans have already accepted this fact. There is never going to be a record capable of capturing the imagination of every metal fan, but it’s hard to believe anyone with even a passing interest in the world of heavy music finding themselves unable to find something worth applauding on this record. You can use the songs of Paramount to prepare for battle against your greatest foe or to serve as the soundtrack to your next sweat session at your local gym. Whatever the case, know that when times get tough It Lies Within has a song or twelve ready to help boost your belief in the fact you can do anything you set your mind to.

James Shotwell is the Marketing Coordinator for Haulix. He is also a professional entertainment critic, covering both film and music, as well as the co-founder of Antique Records. Feel free to tell him you love or hate the article above by connecting with him on Twitter. Bonus points if you introduce yourself by sharing your favorite Simpsons character.

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Marketing Your Self-Released Concept Album: A Conversation with Silent Line

There is nothing easy about taking on the responsibilities of marketing your new song or album, but if handled correctly the reward for your efforts will vastly outweigh whatever difficulties you faced along the way. That has always been the appeal of DIY promotion, and today there are more artists than ever taking matters into their own hands. Some admittedly have a better grasp on key marketing concepts than others, but I’ve always thought there is something to be learned from every marketing campaign you see. For example, you may not be in a Canadian metal band with a brand new high concept album being prepped for release, but if you take time to understand how someone in that position is dealing with the need to find exposure for their efforts you may learn a thing or two that can be applied to your future promotions.

With that in mind, I want to introduce you to Silent Line, which just so happens to be a Canadian melodic metal band with a brand new high concept LP that is being released later this week. The band has been around for the better part of the last decade, and along the way they have self-released everything they have produced, but this new record marks the first time the group has attempted a concept album. I thought it would be interesting to see how the members are marketing their release, especially given the fact they have no label to help them get the story of their LP in front of influential industry leaders, and thankfully for me the band was happy to oblige my request for an interview. You can find highlights from our conversation below, as well as a sample of the band’s new album.

I said this above, but it bares repeating: Even if you do not have a metal band of your own I can guarantee you that there is something in this feature that will aide you with your next release. Promoting a concept album is one of the most difficult tasks in metal PR, especially for a band that is still working to be recognized on a national level, and what works for the members of Silent Line will almost certainly work for your next release. Pay attention, take notes, and apply the lessons presented here to your own situation. The similarities may surprise you.

H: Let’s start with the basics. While I’m sure there are many Silent Line fans in this world who will read our interview, I’m willing to wager there are a lot of readers who will discover you through this feature. Please take a moment and introduce yourself.

SL:  Hi everyone! We’re a melodic metal band from Edmonton and we’ve been around in one form or another since about 2008. We’re pretty laid back until it comes to our live show, then we’re all business and focusing on making it the best, most professional set we can each and every time. Most of the time, we are planning for the next show or album and jamming whenever we can, our nights usually end with a few dead cases of beer and some greasy pizza.

H: I want to talk about your new album, Shattered Shores, but before we get there I’d like to talk about the band as people. I’m told you originally met in high school?

SL: Yep, we started jamming covers of our favourite bands like In Flames at the local “Rock Jams” which were a glorified talent show specifically for music. They were really amazing experiences at the time and was the only chance we had to play live until we were old enough to play bars. Myself and Randy were in the same grade, Andy was a grade or two below us, and Adam was ahead of us. We were introduced to Adam – who is a bit older than us – through a mutual friend who knew Adam played drums, quite the matchmaker he turned out to be. TL DR; we grew up in a crappy town and our only option for a passtime was to find other people and friends who loved music as much as us and wanted to dedicate their time to practicing!

H: Was metal the genre you immediately gravitated towards, or were their other bands and sounds created before you settled on what would become Silent Line?

SL: We’ve always been pretty set on making metal, it’s what comes naturally to us. We were called “Variance” before we switched our name, but we had the same songs and lineup so it was essentially the exact same thing. Really early on, in 2006, we were yet to develop our sound; at first we had “songs” that were just a bunch of riffs mashed together and didn’t have vocals. By the time we switched our name toSilent Line we had the whole first album written.

H: We might as well address your name now, as I’m sure it’s got many curious. Can you tell us a bit about the story behind Silent Line?

SL: Well… to be honest we are a bunch of video game dorks. On every CD there are multiple references to games we hold close to our hearts. For example, Born of a Dying Star, the song Titan’s Winter is a map from Heroes of Might and Magic III, on our first album, One Body Blade, the song Phoenix Down is from the Final Fantasy series and Attacker Takes Damage is an item stat from Diablo II. Our name doesn’t stray far from this sort of thing, it is from one of the most played games in our lives: Armored Core: SilentLine. Between it and Diablo II, our highschool years disappeared. On Shattered Shores, though, the term “…silent line” is incorporated into the song Erosion and refers to a lack of communication in a desperate time.

H: You’ve been releasing music since 2010 (One Body Blade), but your new LP is the first time you have created a concept album. What initially inspired you to turn your creative focus in this direction?

SL: It’s been something that I’ve personally wanted to attempt for a long time. I’m a huge fan of Coheed and Cambria and, if you aren’t a fan and don’t know, every album except their newest release are all concept albums. I think it makes the album feel more complete and cohesive. It’s like every song fulfills a purpose and belongs to the whole and with a deeper connection than a random assortment of songs that were written at roughly the same time and thrown on a disc. Having a riff or lyric appear in more than one spot connects those two ideas together and, for me, helps me appreciate the artist’s message a little more.

H: With that said, can you tell us a bit about the concept behind ‘Shattered Shores’?

SL: The main idea can be taken in two different ways: one is that we are truly stranded on this island, and the other is that it is a metaphorical island inside of ourselves that we are stranded on.  Either way, we have no memory of how we got there and no idea when it will end. It was written from a dark place, but, as some songs depict, with hope for the future. We wander the wastes alone in seemingly a never-ending remorseless winter broken only to bring about an inferno and there is an ever-present fear inside of us that we can’t identify. For example, the song “Black and White” is about aging and discovering not everything is simple, most decisions you saw as being black or white before are actually shades of grey and much more difficult and complex than you originally thought. Basically, everything is written from an individual’s perspective on this island and their travels and endeavors, but everything could be taken as a metaphor to real life situations. I hope that makes sense, it can be hard to explain the mess that is in my head.

H: It’s easy to understand how some may view that concept as a depressing one, and I guess that is going to be true for any story addressing feelings of isolation, but when listening to the record I get the sense you don’t see it as a doom and gloom narrative. How do you view the parable being shared?

SL: It started out being quite dark, but in the end I view it as a very stiff middle finger to depression. Yes, it is dominated by images and feelings of sadness, melancholy, and hopelessness, but the message is that no matter how bad it seems there is a ray of light somewhere ahead, even if you don’t know it. “Summersong” was written last but carries the concept of hope in times of hopelessness; as we could see the rest of the album coming together, it just felt right and came naturally. “Embrace the End” is similar, and does close the album. It should be an up-and-down experience that in the end leaves you elevated and defiant.

H: What came first, the concept or the songs?

SL: By a very slim margin a few songs came first, but by the second or third song we had the basic idea and the title worked out and everything flowed from there in roughly equal parts.

H: How did you shape the narrative through the music? Was someone in the responsible for making sure your story made sense?

SL: We incorporated a lot of rain and storm effects, they’re always present somewhere in the background even if they aren’t audible all the time. The music is more laid back but more powerful – at least in our opinion – than our last albums. On Shattered Shores we concentrated more on the overall feeling of the songs than the intricacy and complexity of each drum fill and riff. No one was responsible for making sure our story made sense: Andy wrote the lyrics for a few songs and I wrote the lyrics for the others and everything tied together nicely.

H: Member Mike Burton produced the record. Has he produced everything you’ve released? How does having a member with studio access and know-how help the band? Are there any drawbacks?

SL: Fortunately for this interview, I am the one writing it and if there is anyone more adept at shitting on myself than I am, I haven’t found them yet. We’ll start out with the benefits first though. I did indeed produce all our releases, and One Body Blade was my first real project ever, but Born of a Dying Star was co-produced with our old keyboardist Morgan Szucs. The major benefits include a lot of money saved – well, after purchasing all the incredibly expensive studio gear – as well as being able to take your time since you are not on the clock with every note you pick. There is room to be picky and strive for perfection in this sort of environment. If that take had a crappy out-of-tune chord, redo it. If that vocal take was 95% there, scrap it and go for the extra 5%.  Also, the amount of orchestrations, weird effects we experiment with for hours, and Pro Tools witchcraft on this album could simply not be done if we were to send it away for mixing somewhere else. Much of the orchestrations were added one at a time, sometimes subtracted only to be added back again. All of this eats up expensive studio time but since we own the equipment and plug-ins, this wasn’t an issue. We can create our own backing tracks for live use and bounce personal practice tracks for each band member (our drummer Adam would have each track as you hear it on the album but with all of the drums muted). An album with so many moving parts would be hard to communicate our intentions to someone else and would likely end up with us frustrating the hell out of them. As for negatives, the most detrimental point is that you get far too close to the mix and it is hard to be objective. Is that snare good? Does the guitar tone sound as amazing as you think it does or is it actually a wall of angry bees? I’ve always hated my mixes the second I am done with them, nothing is good enough. This album stands out in that we got Jens Bogren to master it, so he was able to provide mixing feedback as well as his magical mastering skills! I am quite terrible at guitar in comparison with so many people I know, so some of the takes were numbering in the hundreds. I’m not afraid to admit that. The only thing I am “good at” on guitar is writing our songs and the occasional sweep-picked lead run. We have been practicing our nuts off though and we are quite able to play all of this live. I think every band goes through a panicked phase when their new stuff is done. “Shit, we have to play that now?” At least for us, every album we make we try to challenge ourselves beyond our current skill level.

H: Shattered Shores is being self-released, which is admittedly what initially drew me to this album. You don’t see many metal bands taking the release of a concept record into their own hands, but with Burton on the boards I get the sense you guys prefer having control of your material. Did you try for a record deal prior to settling on a self-release plan?

SL: We did send our previous albums away to the big boys like Metal Blade, Nuclear Blast, and Century Media to name a few. We also sent press kits and albums away to smaller labels as well. It’s a brutal market out there and instead of waiting around we decided to take matters into our own hands.

H: To be fully transparent, you have hired someone to help promote the record. Is this your first time working with someone in that capacity?

SL: Yes we have! And it is the first time. It’s also the first time we’ve paid for professional artwork and mastering. We’re now wishing we did this before since Jon and all of Asher Media Relations have incredible contacts and have worked their ass off to promote our album. It’s not something we would hide, we know several local bands who have also hired promotional help, it would be impossible to do in addition to the album and still have a life.

H: What have your experiences been like thus far? Has bringing an outsider made a noticeable difference in your reach or exposure?

SL: Most definitely it has, we’ve got some articles and tunes up on Bravewords and MetalNationRadio with more to come, including you sexy bastards at Haulix Blog. But seriously, we really couldn’t have done this on our own, the best way to promote is to hire people who are skilled and have contacts from years of work. We have to support each other, and we are not afraid to pay fellow Canadians and support their careers in music as well.

H: Do you feel it’s better to outsource individual needs such as publicity and retain control of everything than signing a record contract? Is DIY your plan, or do you ultimately hope to sign a record deal?

SL: It’s hard to answer since we have never been on a real record contract, but it goes without saying there are some horror stories involved that make us happy we retain all our material and copyrights. If we had a vetted and reviewed contract in front of us and it would mean we could tour full time and release music, then we would jump on it in a heartbeat. It’s what we’ve always wanted to do after all.

H: What advice would you give to other up and coming artists who may be trying to promote their own unique release?

SL: If you’ve got something you really want to promote then do whatever you can to get it out there. We sat by as our last albums were released and received little coverage since we didn’t do anything except set up a release show. As a band there are only so many things you can concentrate on and achieve at any one time. Don’t spread yourself too thin or compromise on anything.

H: What goals do you have for the coming months, and what would you say is the biggest obstacle standing in your way?

SL: We’re organizing a big release show with some of our fellow Edmonton bands. This means that we are playing the full album Shattered Shores front to back, which is going to be a feat in itself. Planning the show  to be a handful too.

H: Do you have a plan to overcome it?

SL: Lots and lots of practice and perseverance. We just had a practice session on October 3rd and we completely shit the bed on one of the songs, we couldn’t play it to save our lives. The next day we got it nearly perfect after just a few run-throughs. There are always going to be obstacles, there are always going to be failures, but it’s not the end of the world. As the old Trailer Park Boys saying goes, “That’s the way she goes, boys. Sometimes she goes, sometimes she doesn’t cause that’s the fucking way she goes.”

H: Well if good music is a sign of career potential I think you’ll be just fine. Before I let you go, do you have any final thoughts or comments to share?

SL: Thanks so much, the last comment hit us right in the feels. We can’t thank people enough for spending some time listening to our music, even if they’re not fans. The response so far has been amazing, and we need to thank the online magazines, promoters, publicists, and our promo company enough for the awesome job they have done. We just hope that people get as much enjoyment out of listening to our new album as we did making it! Thanks for the great questions.

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Intronaut on streaming royalties: “F**k you, Spotify”

A recent report from the RIAA revealed that the only area of the music industry experiencing steady growth in 2015 is streaming, which has no doubt been aided by the launch of high profile services like Apple Music. The rise of music streaming services has vastly simplified the music consumption process for anyone with an internet connection, but as the members of Intronaut recently revealed the streaming age still has its shortcomings.

Writing to fans from their official Facebook in advance of their new album release, the members of Intronaut took a rather transparent approach to addressing the pros and cons of music streaming services. They wrote:

Six months of streaming royalties = $3.67. Fuck you, Spotify.

If you care to support Intronaut, preorders for digital and physical copies of our record will be up on Friday! We love you guys and can’t wait to see you on the road this fall!

In all honesty, I think every member of this band uses Spotify because it is incredibly convenient. I think we just want you to know that it would help us a whole lot if you folks actually bought our album and came to a show, if you’re interested in supporting us and enabling us to keep coming around to your city.

This message isn’t all that different from the open letters written by other artists to their fans on the topic of streaming over the past year, but there is an inherent sincerity that really gives Intronaut’s words added depth. The fact they acknowledge they too use these services is important, as they reinforce the idea the band does not look down on anyone who does rely on streaming services to enjoy their music. The band wishes more people would buy albums, and they are certainly urging fans to do so, but they also understand that purchasing new music regularly is not something every one of their fans is able to do. Recognizing the fact streaming is perhaps the only way some people are able to enjoy their music tells us Intronaut are not against the idea of streaming, just the way streaming royalties work, and that is where the true problems lie.

How many more posts like this will we have to see before change happens?

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PRO TIP: Think Twice Before Attacking Your Peers

If there is one thing we can probably all agree on about life on the internet it’s that those who fuel the content generation machines that keep the web buzzing with viral sensations love nothing more than drama. It can come in any form, from political to celebrity, as long as its captured on camera or in sound bites. Those bits of media are then uploaded, streamed, remixed, and shared on a plethora of clickbait hungry blogs hoping to grab a few more easy clicks from someone else’s pain. It’s a long-running and admittedly sick trend, but a trend nonetheless, and earlier today one of metal’s best underground acts were found cashing on our collective love for all things dramatic.

Partnering with the fine editorial team at Faster Louder, the member of Thy Art Is Murder released a collaborative feature on the popular music blog detailing the best and worst bands they have toured with up to this point. The list named several artists, praising some and trashing others, all with seemingly no concern for public or professional backlash that may occur. The band highlights 3 genre peers as being ’the worst,’ each of whom have fans around the globe and international touring experience, as well as 3 they consider ‘the best.’ While those regarded in high standing are certainly given some well-deserved praise, the acts the band chooses to look down upon are essentially bullied for an entire paragraph. Volumes, for instance, are referred to as follows:

The “homies.” The billionaire rich kids. Their dad is like some Grammy-award winning producer. Fully don’t like these dudes that much. The last time I saw the singer I told him I was going to beat him up, real bad, to his face.

There is also an allegation of wrongdoing on the part of someone associated with the band, as well as a story of a near physical altercation from a previous tour.

The band given the worst treatment is Within The Ruins, a metalcore act found on Victory Records, who Thy Art Is Murder claim “fully suck.”

While there is certainly nothing wrong with having an opinion or sharing it, the members of Thy Art Is Murder are not doing themselves any favors by conveying their thoughts and feelings in this way. The band comes across as bullies at best, and at worst they appear to be cocky assholes who believe the best way to raise awareness for what they are doing is by stepping on bands who have shared time with them on the road. Nothing could be farther from the truth however, as it is the bonds built through working in music that ultimately propel artists and professionals forward. The music community is surprisingly small, and everyone knows someone who knows everyone else. When you talk poorly or act out of line towards someone or some group, there are repercussions down the line the offender may have never thought possible. Maybe the person who books Within The Ruins also heads up a major festival that now will never work with Thy Art Is Murder, or perhaps they rep a band that would have otherwise served as a perfect tour pairing. Now the possibility of that happening is gone, and for what? A few clicks?

If I had a say in the happenings of Thy Art Is Murder I would urge them to consider finding a new publicist, as the person who encouraged them to create this feature obviously did not have their best interest in mind. The popularity of their rant against other bands will fade within a day, but the damage done from trashing their peers may linger for the rest of their career. The situation could be made better with an apology, but given the brash way the band described those they consider ‘the worst’ I doubt we will be hearing anything akin to “sorry” from them in the near future.

Let this be a lesson to all artists: Tearing one another down is never going to help you get ahead. You might grab a few fleeting bits of attention, but the longterm impact of publicized negativity is rarely good for business. As your mother always said, “If you don’t have anything nice to say then don’t say a word.”

James Shotwell is the Marketing Coordinator for Haulix. He is also a professional entertainment critic, covering both film and music, as well as the co-founder of Antique Records. Feel free to tell him you love or hate the article above by connecting with him on Twitter. Bonus points if you introduce yourself by sharing your favorite Simpsons character.

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Monday Motivation: Fit For An Autopsy

If you’re anything like me, you probably started the day by recognizing that the start of a new work week had indeed arrived and then immediately began shaking your fists at the sky in anger. Monday is rarely anyone’s favorite day, and from what I have seen firsthand it feels safe to say it’s the one day of the week some people outright hate. I guess to them the arrival of the work week symbolizes the end of their quote/unquote freedom, and as a result they head into the office/factory/restaurant/store with a negative outlook already on their mind. This leads to bad attitudes, which only makes the experience of being at work worse, and for some reason it also seems to make time slow to a crawl. We’re not about that life, and we hope this post can do the same you that the song contained within it did for us.

Working in music has provided me with a lot of opportunities to speak with young people about their experiences with music. If you ever get the chance to do this, be it with a sibling or someone else, I highly recommend doing it. Young adults who are still amazed at the fact there is music beyond what their parents enjoy and whatever is currently hot at radio are amongst the most dedicated music fans on the planet. They consume everything, old and new, simply because they want to know what else exists. Some stuff they enjoy, and thanks to the age of streaming they can burn through most artists’ discographies the same day they discover them if they so desire, but the vast majority of material is in one ear and lost in space. It becomes the kind of thing they tell their friends they’ve heard so they don’t risk sounding uncool at the next big party, but in reality they only know that one song someone shared on Twitter that one time. Their video was probably cool.

Anyways, what I love about conversations with young music fans is their willingness to spin practically anything at least once. They don’t put much weight in names or genres, at least not at first, and I believe that allows them to enjoy music in a way far more pure than our consumption as jaded adults. We hear a name, or a genre, or even a track title, and we make judgments. We think, “Oh, this is going to be another one of these artists/bands,” and immediately draw some conclusion. It sucks, and it’s something that is incredibly hard to find a way around. In fact, I don’t have a solution. At 28, my plan is to simply say yes to everything I am able and experience whatever comes my way. Sometimes that results in epic post-rock amateurs doing their best to spin new versions out of ideas everyone who has ever heard Explosions In The Sky could recognize, other times that means experiencing some truly, truly terrible souther hip-hop. It’s a roll of the dice every time, but it’s always an experience that gives me a good story.

A band with a name like Fit For An Autopsy is probably not one you would expect to see accompanying a headline like ‘Monday Motivation,’ but if that is the case then you’ve been several under-appreciating the world of modern metal. For the better part of a decade Fit For An Autopsy have been finding unique ways to express themselves through the heaviest and most aggressive music this side of Sweden’s black metal scene. Critics writing about their music often use descriptive phrases like ’skull-crushingly heavy’ or ‘relentlessly brutal,’ but that doesn’t really do the band and their art justice. That isn’t to say such phrases are untrue, because they often fit the sound of a FFAA release to a ’T,’ but it’s the way the band delivers their take on heavy music that makes their art something everyone should find time to consume.

Without naming any band or artist specifically, there are many in the world of music today who are getting by on having just enough talent to write a good hook or create a catchy riff. Their music is fine, but after one or two releases it becomes clear they are pretty much creating the same sound over and over with only slight variation. It’s as if they believe changing things too much will scare fans and their money away, which is the one thing they fear more than anything else. Creative freedom be damned! As long as people keep asking for the band or artist to be one thing they will never attempt to be anything more because they have no desire to evolve in the first place. The fact they made it big in the first place is a miracle, and they will ride the idea that first made them popular until long after album sales have taken a nosedive.

I don’t hate artists like those described above. In fact, there are many I enjoy precisely because they can be relied upon to create solid albums every time they enter the studio, but I never look to those acts to create records that will forever stand the test of time. In order to create that kind of release an artist or group must challenge themselves, as well as their listeners, by taking bold and unexpected chances with their music. They must throw caution to the wind and see what happens when they attempt to do something other than whatever has been working for them up to that point. It’s the kind of thing that only happens when someone or some group put their careers on the line for the sake of creative expression, and even then there is no guarantee the final results will work in their favor. They rarely do, if we’re being completely honest, but for those who pull it off their is an ever-increasingly window of opportunity for growth and continued success that few ever experience.

Fit For An Autopsy could easily be a band that created the same good, but never truly great album for their entire career and they would have likely found a way to make things work for at least as long as they have now, if not longer. Fortunately for everyone in the world of metal that is not the kind of band they want to be, and with the release of their new album they have final taken the steps and risks necessary to produce something really special. Absolute Hope, Absolute Hell is a thrilling release that captures the brute strength and unabashed sincerity of Fit For An Autopsy’s music in a way no prior creation of theirs has ever been able to covey. It’s proof that being true to yourself and doing what feels right for you is the smart play when forced to choose between creative integrity and financial success. While money may be nice in the short term, there is no feeling worse than knowing you could be doing something better than you are if only you had the gull to make a change. Fit For An Autopsy have no desire to live with regret, so they poured their all into Absolute Hope, Absolute Hell and everyone who hears the album will be better off as a result.

If you’re reading this today thinking there is no way in (absolute) hell you could find inspiration in metal, let me be the first to tell you that you are wrong. Like any style music performed well, great metal has an ability to instill a sense of confidence in its consumer that is possessed by no other medium. It’s as if knowing that the music you’re hearing is what the artist wanted to convey somehow makes it okay for us to do whatever it is we believe is needed in our own lives. I don’t know why life works that way, but it does and I am forever thankful. I am also thankful for Fit For An Autopsy, because it is their latest album that has given me the strength to do what is needed in my own life as of late. I can be a better me because they are working to be a better them, and I think anyone who experiences their new album will feel the same.

This week – be bold. Take risks you have been avoiding for days, weeks, or months and do that thing you know you should. Also, buy the new Fit For An Autopsy album. It’s really good.

James Shotwell is the Marketing Coordinator for Haulix. He is also a professional entertainment critic, covering both film and music, as well as the co-founder of Antique Records. Feel free to tell him you love or hate the article above by connecting with him on Twitter. Bonus points if you introduce yourself by sharing your favorite Simpsons character.

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Concepts And Riffs: A Conversation With Rivers Of Nihil

Some say life is for the living, but in order to truly live I believe life is for the dreamers. The creative people who put no limits on their exploration of the world around them, who take risks when others would play it safe, they are the ones who truly live. They accept that their perception of reality differs from everyone else and they embrace it. They find a way to hold a mirror to their soul and they show it to the world. Things don’t always work out the way they desire, but when their body is lowered into the ground and people throw dirt on their coffin they can rest knowing they tried. When everyone else turned back, they forged ahead and embraced whoever they felt they were meant to be.

This brings me to Rivers Of Nihil, otherwise known as the Metal Blade Records artist you should probably be listening to, but for some reason haven’t gotten around to completely devoting your life to just yet. Their new album Monarchy drops this Friday, August 21, and it is absolutely killer. The growth from The Conscious Seed Of Light to now is undeniable from the very beginning, and the evolution in storytelling, not to mention technical skill, is downright jaw-dropping. We have been jamming the album around HQ for the last several weeks, but you can get a taste right now using this handy stream:

Rivers Of Nihil are at a pivotal point in their career. They are largely a support band in the world of touring, making very little to open for large bands while hoping their brand builds to the point they can one day headline. This means every show is as much about selling the new album as it is simply trying to make people give a shit. That’s a tough balance to manage, especially when your new album is the second in a planned four-part concept album that takes place in a reality that is nothing like the world we know today. Somehow, the band is pulling it off, and with each round of live dates their recognition in metal seems to further develop. We believe they are the future of heavy music, and we know they’re reaching that point by being entirely themselves.

Recently, Rivers Of Nihil bassist Adam Biggs hopped on the phone with us to discuss Monarchy, touring, and the state of metal today. It was a fascinating conversation that shed light on the band’s work in the studio, as well as their hopes and goals for the future. They know they have big plans, but they’re determined to make them. You can read highlights from our conversation below.

H: Monarchy is a great record. I’d love to talk a bit about the concept behind the album, as well as the outside influences that added to its final sound. You have a story that runs through your catalog, but I’ve read there was also a lot of real life influence on this album. Can you shed a little light on the creation of this record for us?

AB: Great question. You’re actually talking to the right guy about this because I’m the guy who writes 90% of the lyrics. The influence from Brody is based on the actual music itself. Brody has always written the majority of our music and I think you can really hear him dealing with some personal struggles as the album progresses. That’s where his role in this album’s sound comes into play.

As for the story of the record, it’s kind of a complicated plot, but it continues a thread that was started on The Conscious Seed Of Light. That album dealt with a bunch of stories from different people who inhabited this planet throughout history as they ascended into a state where they are one with their planet. They become this voice, the conscious seed of the planet. At the end of the record everything unravels when a solar flare kills the majority of life on the planet. Now, millions of years later, there is a new race of life developing on that planet, and that is the story we are telling with this record.

H: I love big concepts. You are essentially the member of the band responsible for maintaining the narrative found within your albums, as well as our ability to follow it. Can you tell us about the challenges you face in telling a story as big and unique as this through music?

AB: It has admittedly been kind of a bumpy road as far as that is concerned. On our first record, there were a few songs I felt really served the narrative well, but there were also tracks from our first EPs thrown in that kind of diluted the story. It wasn’t exactly what I wanted from a concept album, but with this one we got a lot closer. We were able to start from scratch musically, and before we wrote anything I knew the direction I wanted to take with the story. I knew the title, I knew the story I wanted to tell, and I was able to present to the band up front. Brody is going to write what he’s going to write. I don’t rule with an iron fist or anything, but I do tell everyone where I feel certain things need to go in order to tell the story or set a certain mood. I think things worked our pretty well with this record.

H: Could not agree more. I have to say, my favorite part of the record is the middle. The concept as a whole works, but I think you find your stride somewhere around “Ancestral, I.”

AB: Interesting. I was initially worried that part of the record may be a bit too close to death metal for our fans, but what I’ve heard from people who have the record already is the opposite. They seem to dig the heavy stuff, and once the album starts to pull back a bit they go along with it. That kind of feedback is really sick.

H: Is there anything behind the title Monarchy? I have to say, I expected another title along the lines of The Conscious Seed Of Light.

AB: Originally, the title I had in mind was ‘The Monarchy Of The Sun,” which is pretty much the tag line from the title track. I decided to draw back a little bit though, just because I liked the idea of having something short and percussive. Monarchy. Bam. There it is.

It ties into the concept as well. The people living in this society have a Monarchy, and throughout the album we detail the way they live their lives. Hopefully people pick up on that (laughs).

H: I was actually going to bring up the sun because he appears in your new video. How did you manage to wrangle the most popular star in our galaxy to appear in the footage?

AB: You know, we just sent him an email. We told him we appreciated his work and wanted him to appear, and thankfully he got back to us.

H: Did he hang out at all?

AB: Yea, he hung out on set all day. I gave him a high five and it pretty much torched my hand. He had to leave at one point to heat the other side of the planet, but we understood.

H: Let’s talk about the single a bit. What lead you to choose “Sand Baptism” as the track to promote the new album?

AB: From pretty much the first time I heard that song, even in instrumental form, I was telling everyone it was the one we needed to share with people. Something about it just clicks.

H: When it comes to bringing the new material and story elements into the live show, what can fans expect to see this fall? There is something awesome about catching you live because there is a story being shared, and before now your shows basically shared that story without issue because there was only one album of material to pull from. The new album adds more songs, which I imagine only complicates your ability to tell a clear story in a live setting. Is that something you concern yourself with much right now while on the road?

AB: Most of the sets and tours we are doing right now are support slots. That kind of thing is something I want to work on in the future. Maybe after the story is completed we can do something to commemorate our work before moving on to the next thing, but for now when you catch us live you’ll see a collection of tracks from both records.

H: That makes sense for a band in your position. Right now it’s about getting people to care at al. Once that happens, then you can share your story.

AB: Exactly. Once we’re in a position to make a production out of it we will see what happens. Until then, we just want to put on a great show.

Monarchy arrives in stores August 21 through Metal Blade Records.

James Shotwell is the Marketing Coordinator for Haulix. He is also a professional entertainment critic, covering both film and music, as well as the co-founder ofAntique Records. Feel free to tell him you love or hate the article above by connecting with him on Twitter. Bonus points if you introduce yourself by sharing your favorite Simpsons character.

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New Music Tuesday: High On Fire & The Ongoing Concept

Now that the Haulix blog has reached two years of existence we at HQ felt the time had come to add a few fresh ideas to the blog. We love helping writers, artists, and aspiring professionals, but we also love to talk about the amazing clients we work with and the incredible releases they put out week after week. Our Music Monday series has given us a chance to experiment with discussing the music we love to play around the office, and now we’re taking those efforts one step further with New Music Tuesday (soon to be New Music Friday). We know it would take far too long to highlight every client’s new release each week, so we’re going to choose a few select titles each week that we feel everyone should support. These are albums we will be buying ourselves, and we hope at the very least you give them a proper spin before deciding to purchase something else. James may write the column, but everyone at Haulix will have a say in who gets chosen.

High On Fire – Luminiferous (CD/LP, Digital, Stream)

With six solid or even great albums already under their belt, High On Fire have nothing left to prove with their new record, Luminiferous. Still, the California natives do their best to raise the bar for all modern heavy metal bands around the world with this nine-track opus. We have probably spent a month spinning the album on a near daily basis, and there are still times where we have to push back from our monitors, look to the stereo in disbelief, and quietly utter words like “wow” or “holy shit” while certain tracks play. “Carcosa,” for example, sounds like the soundtrack to a road trip through the same barren, war torn futuristic land where the latest Mad Max film took place. It pummels you into a state of metal-induced awe, and that’s before you realize it’s only the second track on the album. There’s nearly another hour to go, and it only gets better from there.

The Ongoing Concept – Handmade (CD, Digital, Stream)

If you listen to our podcast, Inside Music, then you already know that The Ongoing Concept went above and beyond the call of DIY rock when they decided to begin work on their new album Handmade. The band literally built their instruments from scratch, and by scratch I mean a tree they themselves cut down. They built their instruments, wrote an incredible follow-up to their critically-acclaimed debut, and then began making videos on their own to promote the record. One might think these added responsibilities distracted the group from focusing on the quality of their material, but that could not be further from the truth. Handmade swings from anthemic rock tracks, to emotionally-devastating moments of alternative beauty, and back again with seamless perfection. I have no idea why Saloon did not put them on everyone’s radar, but it seems hard to believe anyone will be able to ignore the awesome power of this record. Do not sleep on it.

James Shotwell is the Marketing Coordinator for Haulix. He is also a professional entertainment critic, covering both film and music, as well as the co-founder of Antique Records. Feel free to tell him you love or hate the article above by connecting with him onTwitter. Bonus points if you introduce yourself by sharing your favorite Simpsons character.

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Monday Motivation: Iwrestledabearonce

If you’re anything like me, you probably started the day by recognizing the start of a new work week had indeed arrived and then immediately began shaking your fists at the sky in anger. Monday is rarely anyone’s favorite day, and from what I have seen firsthand it feels safe to say it’s the one day of the week some people outright hate. I guess to them the arrival of the work week symbolizes the end of their quote/unquote freedom, and as a result they head into the office/factory/restaurant/store with a negative outlook already on their mind. This leads to bad attitudes, which only makes the experience of being at work worse, and for some reason it also seems to make time slow to a crawl. We’re not about that life, and we hope this post can do the same you that the song contained within it did for us.

I have a long and strange relationship with Iwrestledabearonce (IWABO). It began while I was still in college when, during the dead of winter, my best and I traveled to a snowy Grand Rapids, Michigan to see then popular grindcore band See You Next Tuesday headline at the now defunct venue known as Skeletones. IWABO were the opening band, and at the time the only song I knew from them was the viral hit “Smells Like Kevin Bacon.” I thought it was good, and that the video for the song was hilarious, but I never thought the band would become a group that meant anything more to me than the dozen other heavy bands I would claim to be a fan of at the time.

Thankfully, I was wrong. So, so wrong.

As IWABO began to rise in popularity, I fell more and more and love with their chaotic take on modern metal. It was both overwhelming and spellbinding simultaneously, tearing through my ears into my brain and tearing up every pre-conceived notion I had about what music could be. Their debut album, It’s All Happening, was my favorite album of 2009. Their next record, Ruining It For Everybody, was even better. It’s as if the band continuously found new ways to cause as much musical chaos as possible while still delivering something that could be considered a song. It was bold. It was loud. It was everything I needed at that point in my life.

By the time Late For Nothing was released in 2013 IWABO were a household name. That is, a household name for anyone who subscribed to the world of metal. They had toured the world several times over, including appearances at many major festivals, and had even found time to release their own movie (A Beary Scary Movie). Frontwoman Krysta Cameron decided to step away prior to the album release, which put a lot of pressure on new addition Courtney LaPlante to impress, but she carried the weight of the position with skill and energy to rival any one of her numerous genre peers. If there was anything to say against the record it would be that it sounded a bit too much like what had come before. Not that diehards complained, but when innovation is at the heard of your sound you must continuously progress in order to maintain prominence in the scene.

Two years, hundreds of shows, and many months spent writing later, IWABO have delivered their best and most cohesive release with Hail Mary (out June 16). The chaos that has fueled the band’s sound from day one is as present as ever, only now there is a distinct influence of metal’s darker side running throughout. This isn’t a black metal record or anything or the sort, but it is relentlessly aggressive, bone-crushingly heavy, and littered with gothic themes that linger in the listener’s mind long after the record has stopped playing. It’s also, at times, the most melodic album the band has release. Laplante’s presence seems to have renewed the band’s passion for experimentation, and that has never been more clear than it is on sizzling tracks like “We All Float Down Here,” or the near-perfect “Doomed To Fail” parts one and two.

The reason I chose IWABO for today’s motivation post is because I think we could all benefit from experimenting more with the work we do day in and day out. You might not be able to disprove everyone’s preconceived notions of what metal is and can be, but you can certainly make it known that you’re a unique individual who sees the world in a way slightly different than every other individual on the planet. If there is one lesson to learn from Hail Mary it’s that constant dedication to being yourself and no one else is the best formula for creating something truly great. Hail Mary can and will outlive the members of IWABO, and as far as I am concerned its the greatest creation they have shared with fans to date. Your next experiment may be the best thing you’ve ever done as well. Don’t hesitate any long. Take a deep breath and chase your dreams. I believe in you.

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MUST WATCH: Season Finale of Metal Injection’s On the Record Explores Record Labels Versus DIY Culture

There was a time not that long ago when the vast majority of musicians believed the only way to get anywhere in the entertainment business was with the help of a record label. This was before the digital age we live in now, of course, back when record labels were viewed as gatekeepers to the world at large because, frankly, they were. Their influence meant everything in relation to a band’s potential for international exposure, and their distribution deals were every artist’s ticket to substantial album sales. That isn’t the case today, or at least it doesn’t always appear that way, and in the latest episode of Metal Injection’s On The Record video series a group of industry professionals finally sit down to debate whether artists today should seek a record deal or focus instead on being the best DIY band in the world.

Sometime I think life was better in the day before it took less than 10 minutes for someone to record a sound, upload it to the internet, and then share that recently created material with everyone in their various social media circles. As a label owner, as well as seasoned music writer who cut his teeth during the rise of social media I have seen the abundance of bands and labels vying for attention increase tenfold over the last few years. There are so many labels operating in equally numerous ways that the question of whether or not to sign is never as easy or obvious as it might have been twenty or thirty years ago. At the same time, I have witnessed many great bands choose a DIY approach over working with a label only to see their career peak at a point of influence and attention far below what everyone believed they were capable of achieving. 

The reason I say all this is because the video below actually finds a way to cut through the noise and create an easy-to-follow narrative that shines a lot of light on the realities of DIY culture, record label culture, album sales, distribution, and fan engagement in the 21st century. It also features a ton of people who rely on or engage with Haulix on a regular basis, which admittedly makes us pretty happy. 

Whether you’re an artist wondering what course to follow with your own career or you’re an aspiring industry professional dreaming of starting your own label, this video should not be missed.

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