Yeah, about a week early, but I’m planning on going out as Silent Bob for Halloween and have to practice not talking shit. So, before I take my vow of quietude…
Eclipse Eternal – home town T.O. black metal skull crushers and a favourite of Swedish producer-to-the-gods Fredrik Nordstrom – have signed with Archaic North Records and will release their new album, The Essence of Hopelessness, on January 14th, 2012 (cover art can be viewed on the left). The band returned to ex-Megadeth guitarist Glen Drover’s Eclipse Studio for the recordings, and according to the pre-release hype sheet it’s going to be the sort of chaos-driven smackdown fans are expecting:
“They have delved into their innermost suffering and wrenched forth an album that is both poignant and memorable. From cold atmospheres to absolute chaos, from acoustic and spoken word interludes to ripping shredding, this album is as brutal as it is stirring.”
So, take that as you will, but past experience has taught me that anything Eclipse Eternal releases rips metal trendies like Dimmu Borgir and Cradle Of Filth to shreds. Continue Reading
By Carl Begai
In a new interview with BW&BK (found here), Dream Theater vocalist James LaBrie discusses the departure of co-founder and drum legend Mike Portnoy and the making of the band’s new album, A Dramatic Turn Of Events. Over the course of the conversation he revealed that Portnoy’s absence allowed the band to work differently in comparison to previous records; this included LaBrie recording his vocals at home instead of New York, as he has in the past. On top of that, he was able to work with close friend, former Winter Rose bandmate, and critically acclaimed producer – known in particular for his work with Rush – Rich Chycki.
“I was only down in Long Island when we were putting the music together,” LaBrie reveals. “I recorded all my vocals here at home in Canada with Rich. We recorded at his house; he has an amazing home studio. We had an absolute blast. I wanted to go about this album a little differently, so I mentioned to the guys – mainly John Petrucci (guitars) because he was wearing the producer hat – that I didn’t want anyone around when I was recording my vocals. It was like, ‘I was singing before I met you guys, and seeing how things have changed lately, I think it’s time to go back to what worked once upon a time.’ And it worked extremely well.” Continue Reading