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WITHIN TEMPTATION-The Heart of Everything
































Members:
Sharon den Adel - vocals
Robert Westerholt - guitar
Ruud Jolie - guitar
Jeroen Van Veen - bass
Stephen van Haestregt - drums
Martijn Spierenburg - keyboards

With the rise of gothic metal, dozens of bands have combined crunchy power chord volleys with ethereal vocals and orchestral arrangements, but none have done so as convincingly or with such a keen grasp for symphonic arrangements as Holland's Within Temptation.

Formed by chanteuse Sharon den Adel and guitarist Robert Westerholt in 1996, Within Temptation have become superstars across Europe over the course of three studio albums. Now, with a new deal with Roadrunner Records and their epic new album, The Heart of Everything, the band seems destined bring its majestic, emotion-swept music to new heights.

"We pushed ourselves to make these songs the best that we could," says Westerholt of the new record. "We wanted to have a more organic feeling and more energy than ever. I think our last one, [2004's The Silent Force], went a bit too far in one direction; at times the orchestra pushed away the drums and guitars. This time we tried to get the guitars more prominent and have more riffs. It still has a big feeling and there's still plenty of classical parts, but I think we did it without losing the power of the band."

The Heart of Everything, Within Temptation has never sounded more powerful or alive. The first single "What Have You Done," featuring Keith Caputo of Life of Agony, which see-saws between caustic guitar crunch and gothy, gauzy textures, is the perfect marriage of melodic rock and metal. The equally powerful track "The Howling" showcases Den Adel's trademark haunting vocals and soaring melodies, while the glacial "Frozen," features heartrending vocals and staccato string bursts and "The Cross" which starts like an intro to a film score, segues into a winding, dramatic number that's equal parts Richard Wagner, The Gathering and Kate Bush.

"Our biggest goal besides writing the best songs we can was to give this record more energy than the last one," says singer Sharon den Adel. "I used my voice in a different way on every song. Sometimes it's high and melodic, almost classical, and in some songs it's lower with power."

"We made very careful choices when we were writing these songs," adds Westerholt. "We didn't use orchestra everywhere and we also cut down a bit in the layering of the arrangements so they were more efficient and had less choruses so they could work better together with the band."

While Within Temptation was more selective about their compositions and less effusive with their classical elements, they experimented as much as ever, adding mandolin to "The Cross," cello to four tracks and working with the Prague Orchestra instead of individual players or synthetic strings.

"We like to try different things and when we're writing a song, we never know where that inspiration comes from," adds Den Adel. "It's always very spontaneous and that's what makes the music unique."

The band chose the album title The Heart of Everything because the songs address feelings and ideas that exist under the surface and can't be excavated without introspection. "So often, we live our lives without thinking," Westerholt explains. "We just do things because we're born in a certain environment and people are expecting certain things from you. Sometimes its important to look within yourself and discover what really makes you happy and what's important to you."

In their search for self-discovery, Within Temptation address a variety of subjects, including the futility of war ("Our Solemn Hour"), the strength of unconditional love ("Forgiven") and personal hardships faced by certain bandmembers ("The Cross"). Books inspired some tracks, like "Hand of Sorrow." Others were based on films.

"We wrote ‘The Heart of Everything' after watching ‘Braveheart,' says Westerholt. "And ‘The Truth Beneath the Rose' is based on ‘The Da Vinci Code' and is about the idea that belief is sometimes used to justify sins. On the other hand, it may be more important with belief that it's your own belief and you can stand behind it instead of following the belief other people may want to put upon you."

Within Temptation started writing the new songs at the end of 2005 and fine-tuned the material until late 2006. "We take our time to make our record," explains Den Adel. "We are not easily satisfied with ourselves, and the recording process is very time consuming because we record many instruments and sounds on our record beside the usual band stuff."

"Actually, this was our fastest follow-up," adds Westerholt. "So I think this was our easiest album to do. However, no album is ever really easy because there are big ups and downs in the writing and recording process. But in comparison to the other ones, this one felt the best."

With good reason. The Heart of Everything recaptures everything Within Temptation has thrived upon while taking their music to newer, more thrilling places. And in the process, through all the melancholy atmospheres, cinematic riffs and angelic vocals, the band delivers its most pragmatic and proactive message to date.

"If you want to make something out of your life, it's in your own hands," Westerholt says. "Life can sometimes be pretty rough and not very easy, but still you have a lot of power within yourself and there's always the possibility to bend things your own way."

MESHUGGAH-Catch 33





















Band Members

Jens Kidman - Vocals
Fredrik Thordendal - Guitars
Marten Hagstrom - Guitars
Dick Lövgren - Bass
Tomas Haake - Drums




Meshuggah was formed in 1987 in Umeๅ, Sweden. I do not know anything about the personnel of that time, but guitarist Fredrik Thordendal, bassist Peter Nordin and vocalist Jens Kidman all played on their debut EP of 1989. At that time, Jens Kidman played the guitar as well. Umeๅ has a healthy scene, and a lot of people are involved in rock music. According to Jens Kidman there are a lot of good bands from Umeๅ, "probably because there is not a lot to do". The fact that there is a university in Umeๅ might also strengthen the rock scene. A lot of people play in bands, but few of these are known outside the town. The majority of the musicians wanting to get anywhere with their music leave town. Many of the session musicians in Stockholm are from Umeๅ, according to Mๅrten Hagstr๖m.
It is quite easy to hear some of Meshuggah's early influences on their first release, "Psykisk Testbild" from 1989. (The title translates to something like "Psychological Test-Picture".) I would mention Metallica as a major influence. The music of this EP is simpler and more straight-forward" than their more recent material, but some of their more progressive elements are present in the form of time-changes and polyrhythmics, and Fredrik Thordendal's lead playing stands out.
Tomas Haake joined on drums before Meshuggah recorded their first LP, "Contradictions Collapse," which was released in 1991. The band had signed a recording deal with the German record label Nuclar Blast, which specializes in metal releases. The songs on this record are much longer and more complicated in both structure and rhythmics. The record company did nothing to promote the album, which consequently sold badly. Between this record and the next one, guitarist/vocalist Jens Kidman decided to concentrate on the singing and left the guitar duties to Mๅrten Hagstr๖m. Hagstr๖m had played in a band with drummer Tomas Haake way back when they were in the sixth grade! He feels that the song title "Building a Big Building" from that time accurately characterizes that band...
The new lineup recorded the EP "None" in 1994; in my opinion, their best and most focused release. It was not until now that the record label realized that the band had a certain sales potential, but a couple of accidents forced the band to remain silent for the rest of that year. Fredrik Thordendal managed to cut off the tip of his left middle finger (he is a carpenter). The fingertip was sewn back on, and he is now able, to a certain degree, to play with it again. As if this wasn't enough, not long afterwards Tomas Haake mangled his hand in some sort of grinding machine. Several months passed without much practice. The EP "Selfcaged" was recorded in April and May 1994, but the release was delayed by a year due to the accidents.
January 1995 saw the band returning to the public, when they left off for a short European tour organized by the record-label. Shortly after returning back home they recorded the album "Destroy Erase Improve," and then they were off again on a two month European tour supporting the American band Machine Head. Halfway through this tour, bassist Peter Nordin became ill and developed problems with the balance nerve in his inner ear. He was chronically dizzy, and constantly felt like he was falling. He had to go back home to Sweden, leaving the band on tour without a bassist. The bassist of Machine Head offered to help out, but Meshuggah decided to try out as a four-man band again. At some shows, Fredrik played the bass through his guitar rig, at others they went with just two guitars (with Mๅrten playing through a pitch shifter, shifted one octave down). When Fredrik handled the bass he even played his leads on it, taking care of tapping, etc. "Destroy Erase Improve" was released in May 1995, this time with more proper marketing by the record label. In the autumn of 1995, they did a short tour with Clawfinger throughout Scandinavia and Germany. The first couple of shows were done without a bassist - Peter Nordin had now left the band. A replacement bassist joined the band for the show in Hamburg; this was Gustaf Hielm (formerly of Charta 77). During that fall, Meshuggah also went on a month-long tour with Hypocrisy.
During 1996 Fredrik was busy working on his solo album. He also appeared on the debut album of Swedish super-duo Mats & Morgan. Meshuggah did record a demo in the summer, the tracks on this demo are unbelieveable (as always) - but the tape seems to have gotten lost somewhere...
Early in 1997 Fredrik was still busy on his solo album, which was released in March through UAE in Scandinavia, and in Japan in April. The occasional gig was done, a few of them in their hometown of Umeๅ. Swedish Television recorded the Umeๅ gig in February, and one track from the concert was broadcast the following week. In May, the band relocated to Stockholm to live closer to their management and the record industry in general. A new EP was recorded, with one new track, "Sane," and three versions of the opening track, "Future Breed Machine," from their latest album, "Destroy Erase Improve." The "The True Human Design" EP was released that autumn after numerous delays from the label company. Around the same time, Fredrik's solo album, "Sol Niger Within," was released in the USA. Towards the end of the year the planning of the next album started.
Gustaf Hielm joined the band as a permanent member in January 1998 after more than two years as a session member. The fan club that Peter St๖ckli from Switzerland started released a cool 36-page booklet with lots of photos and info on the band. Unfortunately, the fan club was not a viable operation, due to financial problems, and it eventually died. In February, "Nuclear Blast" released the repackaged "Contradictions Collapse" album, with four tracks off of "None" added. Quite a bastard product, but at least now new fans could check out the earlier material. Also, rumours of the next album kept popping up here and there from the label company. The title "Chaosphere" was known as early as May, when the recording started. Immediately after recording the album, the guys went to the USA for a short tour. After a few delays (again) "Chaosphere," the Meshuggah masterpiece in brutality, was finally released in November. Tomas Haake's characterization of the album, "DEI was beatiful and gay, while Chaosphere is not!" was the prevailing feeling. Some felt that they had left their dynamic and progressive elements behind, while others thought they were only progressing naturally and focusing on their original sound. Meshuggah did a thorough tour of Scandinavia with Entombed right after the album was released.
1999 started with a booked and later cancelled tour of the USA, but eventually things straightened out, and Meshuggah went overseas with Slayer. Their new album and the live appearances got them a lot of good press in the USA. Guitar, drum and metal mags; Meshuggah was really making an impression. In the summer of that year, there were some gigs here and there in Sweden. Already at the start of 2000, rumours of a new album appeared. But in the summer the reports straight from the band said that the "songwriting isn't that dramatic, but we're getting there slowly." While waiting for the new album, the fans could enjoy the "Rare Trax" album, a collection of demos and impossible-to-find recordings, like the "Psykisk Testbild" EP. This album took nearly a year to get released and wasn't available until the autumn of 2001, so that only meant more waiting for the fans. And again, the label company fumbled and released the CD without the promised video tracks, so the CDs had to be recalled and replaced.
Gustaf Hielm left the band in July of 2001. It is not clear why, or whether he was really kicked out, but it seems it was due to internal issues with the band. In any case, he is still around with them, so this all seems to be more of a technicality. Meshuggah joined Tool for a great tour of the USA, playing for some 100,000+ persons in total. Not until March of 2002 did there seem to be any substance to the rumours of the next album. Three tracks were recorded as a demo, showing the next level in Meshuggah's evolution. The tracks were recorded in Meshuggah's home studios with programmed drums (based upon the impressive Drumkit from Hell, in essence Tomas's entire drumkit sampled). The recording of the actual album started in May, and was finished in 5-6 weeks. Again the guys went to the USA immediately after finishing the recording in order to play with the Ozzfest tour. Meshuggah impressed the crowds, not to mention the other bands at the festival.
The album "Nothing" was leaked by someone close to the production chain onto the Internet in early July. The leak wasn't very well known, so any damage seems to have been quite limited. A month later, the record was released and it displayed a very mature and convincing Meshuggah, now focusing on groove and sound. The production was clear and brutal, beyond anything ever heard. And the new 8-string guitars took the sounds to even deeper levels of crushing brutality. A band constantly evolving, Meshuggah once again divided their fans into the "ecstatic" and the "slightly disappointed". Following the release, Meshuggah once again went on tour with Tool in the USA at the end of 2002.
















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KILLSWITCH ENGAGE-As Daylight Dies



















Members:
Adam Dutkiewicz - guitar
Joel Stroetzel - guitar
Mike D'Antonio - bass
the Howard Jones - vocals
Justin Foley - drums
No shortcuts. No compromises. No BS. From their modest beginnings in New England's hardcore scene to their current status as one of the most influential and inspirational forces in modern music, Killswitch Engage have played by these three simple rules. With their new, fourth album, As Daylight Dies, KSE are proving that if you keep playing the game your way, you'll eventually change the rules for everyone else. "We never consciously went out of our way to be different," guitarist Adam Dutkiewicz says from the band's home base in Westfield, Massachusetts. "When we started this band, we just wanted to play cool riffs and scream and sing. We liked many different sounds so we tried to incorporate all these rock and pop styles while keeping a good, solid metal mentality." Eleven songs strong, As Daylight Dies isn't just a testament to the band's original vision, it's also their strongest fusion of aggression, melody, rock and metal to date. In hindsight, the potential for crossover success was there as early as 1998, when, after the breakup of his influential genre-crossing metal/hardcore unit Overcast, bassist Mike D'Antonio teamed up with Aftershock members Dutkiewicz (then on drums) and guitarist Joel Stroetzel, and singer Jesse Leach to form the earliest incarnation of KSE. With their Ferret Music debut album creating a major underground buzz, the group got the attention of Roadrunner Records, which signed KSE to a worldwide recording deal and released their 2002 sophomore full-length, Alive or Just Breathing.Equal parts melody and brutality, Alive found Killswitch shooting to No. 37 on Billboard's Heatseeker Chart and storming metal radio while winning press accolades from publications as diverse as CMJ New Music Report and Alternative Press. And while the next year would see highs (breakout headlining tours) and lows (the departure of Leach in 2002 and drummer Tom Gomes in 2003), the eventual addition of Howard Jones (vocals) and Justin Foley (drums) from New England heavyweights Blood Has Been Shed would push KSE to the proverbial next level.Released in 2004, debuting at #21 on Billboard's Top 200 Albums Chart, The End Of Heartache was the sound of a band reinvigorated, with Jones' powerful vocal dynamics and Foley's jazz-trained percussive skills only amplifying the rhythmic assault and melodic range at KSE's core. Fans and the media alike were floored. The album, which Rolling Stone described as "Stunning" and Spin declared "Badass" landed KSE their first-ever Grammy nomination. It is now currently pushing near-Gold-certified status in the U.S. "Out of all the attention we got from that record, the Grammy thing was the biggest mind-blower," Dutkiewicz recalls with a chuckle. "It's kind of like finally getting your diploma - or I guess in our case, almost getting your diploma."As Killswitch Engage's profile increased, so did the band's reputation as a fearsome live act. Besides a plethora of headlining dates supporting Heartache, the band was main support for Slayer in 2004, made their second Ozzfest appearance as one of 2005's second-stage headliners, and that same year helped anchor the inaugural Taste of Chaos tour where they shattered musical barriers nightly alongside My Chemical Romance and The Used. Additionally, the band entered the late night TV world performing their hit singles "The End of Heartache" and "Rose of Sharyn" on Jimmy Kimmel Live and Last Call with Carson Daly respectively. Recently the band completed their latest round of major festival dates overseas, including a Main Stage performance alongside Pearl Jam at Reading Festival in the UK. Jokes Dutkiewicz, they "needed binoculars to see the front row." With As Daylight Dies completed, KSE are looking forward to getting up close and personal with fans during their upcoming headlining run. "Those [intimate] gigs are where we really come alive," Dutkiewicz says. "We love being right up there in kids' faces, where we can just reach out and kick 'em. We love connecting and a making a difference in their lives."Killswitch Engage have been putting their stamp on the music world and inspiring bands for years. Bassist Mike D'Antonio is also a graphic artist, designing album covers, t-shirts and logos for bands, including All That Remains, Shadows Fall, Chimaira, Cannibal Corpse, and others. Singer Howard Jones manages a few up-and-coming bands such as 12 Tribes, Bury Your Dead and August Burns Red. Dutkiewicz's "other" job is that of a record producer. In addition to producing all four of KSE's albums, he recently produced Underoath's Define the Great Line as well as albums from the likes of Unearth and Every Time I Die. "I definitely see these side gigs as a situation where we're all sharing ideas," Dutkiewicz explains. "Personally, I get inspired by a lot of the bands I work with, and they get inspired by me barking orders at them." He laughs. "Seriously, though, I'm influenced by anything I hear as musical - to me, a broken car muffler can be as inspirational as a great band, as long as it's got a sick rhythm."As Daylight Dies, which offers a bold new vision for hard rock music in 2006 and beyond, was once again recorded in Massachusetts' Zing Studios, and written relatively quickly in what Jones describes as a "total creative explosion."The first single, "My Curse" is a contrast of light and dark emotions with one of the tastiest, most memorable riffs heard in years, accompanied by the emotive and anguished singing of Jones. "For You" is pure devastation, with Foley's off-time grooves and bass-drum work offsetting the song's staccato riffs and snarling vocals that dissolves into a moment of complete beauty. "The Arms Of Sorrow" sets Jones' soaring, melodic singing against a powerhouse backdrop of machine-gun guitar work and percussive brutality. "Desperate Times" unfolds in cascading waves of guitar texture, its slow rhythms crushing the listener like a tank column. And the title track, its squealing leads and twin-guitar harmonies giving way to a barrage of bass-drums and jagged riffs, buries itself in your skull via Jones' pleading, melodic chorus. It's at once the most melodic, harmonic, darkest, heaviest and most urgent-sounding set of tunes in Killswitch's arsenal - with Jones' lyrics in particular serving as inspirational statements on the world outside the band's window."There's definitely some urgency in the album, and a lot of that comes from my feeling there's so little time to do all the stuff we can to make a difference," Jones explains. "tJust look at the way the world is - it's just hard to fathom some of the stuff that's happening out there, some of the atrocities. As for whether this is a 'political' record, it's there in black and white - I'll let people judge for themselves but I think if there's any kind of statement to this record, it's in the album title: Whether in some large or small way, it's the idea of just trying to make a difference in your world before the day is over."With the members of Killswitch Engage once again raising the bar with their new release, both lyrically and musically, they prepare to tour and initiate the unitiated to their brand of music. "We've really gone beyond metal with this record," says Jones. "We've obviously got metal influences, as we always have, but there's so much melody, and so much diversity, this time around-this is just a weird, amazing little mutt of music we're making today."








DEVILDRIVER-The Last Kind Words

DEVILDRIVER-The Last Kind Words
Members:


Dez Fafara - vocals

Mike Spreitzer - guitar

Jeff Kendrick - guitar

Jon Miller - bass

John Boecklin - drums

Since they formed in 2002, DevilDriver have enjoyed a slow, steady career build. Their self-titled 2003 debut was a crushing introduction to a new breed of extremity, spearheaded by the distinctive vocal ferocity of front man, Dez Fafara. The band's 2005 follow-up, Fury of Our Maker's Hand was more musically accomplished and experimental. But with their new album, The Last Kind Words, DevilDriver has taken a quantum leap up the evolutionary metal scale, crafting an album that's simultaneously brutal, melodic, technically complex yet instantly accessible.

"We wanted to do something that was different than what we did on the first two records, and would stand out" Fafara says. "We wanted to keep our sound alive, but at the same time, move on. So, we knew that everyone needed to step up to the plate and push themselves to their fullest extent."

The members of DevilDriver did exactly that, and then some. The Last Kind Words is the kind of album that grips you by the throat, and doesn't let go for nearly an hour. It's punishing and uncompromising, distilling the creative vision of the bandmembers into songs that pummel like victims of violent crime seeking revenge on their assailants. At the same time, each song is chock full of hooks that keep listeners pinned in place for the next round of bludgeoning.



From the first listen to songs like "Not All Who Wander Are Lost," which features jackhammer beats, chugging thrash riffs and biting death grind, or the epic architecture of "These Fighting Words," a precise and militaristic melee between marching volleys of hate and triumphant Wagnerian melodies, it's clear that DevilDriver have realized their full potential. "Bound by the Moon" is graced with ravaging double-bass drums and sinister guitar harmonies, "Call to the Throne" compliments down- tuned clamor with multi-part pinch-harmonics and penetrating, machine gun riffs. And the title track embellishes trenchant beats and start-stop rhythms with harrowing, spare piano.

"When I listen to something like Pantera's Vulgar Display of Power record, it still sounds great because it stands up over time," Fafara says. "I want this record to do that as well. Fifteen years from now I want people go, ‘Listen to that shit. It's heavy, but it's still catchy and it totally captures the essence and groove of DevilDriver.' It's of the utmost importance that we clarify our sound for the masses on this one."

Fafara came up with the title of the album after writing the lyrics, "The last kind words will be/ You will live below angels and above beasts." The couplet addresses the predicament of being human, a theme that is at the very blackened heart of the record. "Out of all the things we could have been put on this earth as, being human is not good," Fafara explains. "It's like, okay, now you're stuck here with all these emotions and feelings and you gotta keep yourself afloat. The suicide rate has more than doubled in the U.S. in the recent past, so this album is about being motivated to stand up to the punishment of being a human and to have the character in you to go on when all people want to do is hold you down."




DevilDriver started working on the new songs in 2005, soon after the release of Fury of Our Maker's Hand. The band members wrote riffs on the bus, backstage in clubs and in hotels, and Fafara scribbled down lyrics whenever and wherever felt inspired. By the time DevilDriver entered their practice space last year to assemble the songs, they already had a firm grip on the material.

"It was important that we not throw this all together at a moment's notice," Fafara says. "We spent our time on these songs and were way more prepared to go into the studio than we've ever been before. There were songs where I had two sets of lyrics written lyrically and everyone had backup riffs, too, in case something needed to be changed. Fortunately, nothing did."
















In mid-November 2006, DevilDriver entered the studio with producer Jason Suecof (Trivium, Chimaira) and recorded the entire album in less than a month. They were originally planning to spend more time on it, but Suecof decided they were so prepared they didn't need to do pre-production, and he worked so quickly that, before they knew it, they were finished. "We just demoed the shit out of the songs until the were near perfect. We walked into Sonic Ranch and started recording with a clear vision," says guitarist Jeff Kendrick.

"The vibe in there was so amazing," recalls Fafara. "I've never seen someone track so fast in my life. And, he wasn't rushing, he was just capturing the moment and moving on. A lot of what you hear on the record is first takes, which is cool because when you do take after take, it can suck the life right out of a song. Jason really captured this band."

The lyrics on The Last Kind Words demonstrate just as much development as the music. Instead of screaming with blind rage, Fafara expresses his knowledge and experiences, and reveals there's much more to his character than dark mysticism and misanthropy. "Not All Who Wander Are Lost," for instance, looks at life through the eyes of someone determined to live in the moment. "A lot of people get overwhelmed with life and what they're going to do 20 years from now, and often they're the ones who are going to die early from heart attack and stress," Fafara says. "I'm one of the people who looks at things on a daily basis and doesn't get swept up in what's yet to come."

By contrast, "Clouds Over California" tells a more personal story about the demise of friendship and the need to sweep up the dust and move on. "Today I swore that I wouldn't mourn ya/ Curse the clouds over California," screams Fafara over a backdrop of tumbling beats and buzzsaw guitars. "It's about being friends with someone for a long, long time and then finally just going, ‘You know what? This isn't working. I'm done with this. Don't call me anymore."

With The Last Kind Words, DevilDriver have not just raised the bar, they have perfected their high-jump. Instead of just striving for the top they have outreached even their own expectations and delivered an album that puts them in an entirely different sonic realm. Without sacrificing heaviness, DevilDriver have become more melodic, without sacrificing accessibility - adding poignant complexity to their ever-evolving sound. After many years of extensive touring, DevilDriver have shaped their career on inspiration and remain diligent artists, with no airs or pretension. Drummer John Boecklin comments, "This is our most extreme, interesting and complete album so far. We focused on adding a bit more complexity to the structure of the tunes. I think fans will find a more mature DevilDriver with this album."

The Last Kind Words are an affirming testament to DevilDrivers' on-going metamorphosis - combining the diverse influences shared by the entire band with a steady focus on song-craft. Transcending expectations, The Last Kind Words offers a fresh sound from a band that has firmly planted their place in the extreme music landscape. After years of touring and releasing records, DevilDriver have honed in the essence of their songwriting potential, with what has been described by the band as "...by far the best DevilDriver record we have made."