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| Kill The Music
| | Interview: I, The Breather (2/29/12) |
Posting this here if this don't get on the front page.
While I, The Breather were on tour with August Burns Red, I dropped vocalist Shawn a line the day after their new record, Truth & Purpose came out to talk to him about the new record, how the band has grown, and potentially where we might see I, The Breather in the future.
Hey man, how’s it going?
I’m doing all right; kinda had an awkward show. Tonight was a weird crowd.
What happened?
Well it’s just like, you know, when you go to shows and the crowd is just there for one band and they only care for that one band.
Yeah, I’ve seen that happen a few times.
And they’re all the on the front barricade and on their phones during the set.
All right, you ready to start?
Yeah; is there any background noise?
Nah, you’re good. “Truth & Purpose” came out yesterday – what’s the meaning behind the album title? What’s the concept behind the album overall?
The album is based around a personal belief and how I view everything today and the way this world is going. People are focusing on the negative things in life instead of loving people and doing positive things. I just decided to come out and be myself and be afraid or being judged for my beliefs and my opinions on things. The “truth” is what I believe the truth is and then the “purpose” is why I’m doing this for everyone. That’s what we mean by Truth & Purpose.
Musically and lyrically, what are some of the personal things that had an effect on the outcome of this record?
I based it on a lot of personal struggles that I went through; losing people to diseases. I wrote a song called “4.12.11” that’s about my girlfriend’s mother that passed away from cancer. For a whole year, she constantly suffered. It’s hard for a Christian to go through that type of thing and wonder why that stuff happens to people. There are other songs about close-minded people, Christians, people like the Westboro Church who ridicules people cause they’re gay or different which I think is wrong. That song is about the meaning of life with what our purpose is (why are we here?) our goals in life, etc. Generally, all the songs are about what’s happened in day to day life and how to cope with things and get better at it and not focus on the negative things.
It’s more of an uplifting record, so to speak.
It’s not really a worshipping album, it’s more along the lines of “hey, we’re a Christian band and this is what we think and what we believe, how this world is going downhill because of all the negative things instead of focusing on the positive things.
Digging a little bit further, what song(s) were particularly hardest for you to write and why?
I can’t say that this album was hard to write. Before we went into the studio, we were on tour and I had a whole bunch of ideas for the album. I had all these different lyrics and right about when we’re in the studio, my life’s a complete turnaround. I chose to write about my life what was going on in it. I just wrote everything that came natural to me I didn’t have any struggles in the writing the album.
I just listening to the record and in my opinion, “False Prophet” and “Knights & Pawns” are two of Truth & Purpose’s strongest tracks. Can you give us the background of both of these tracks?
Knights & Pawns is a song about the American society; we’re pretty much all knights and pawns. We wake up, we work to survive and there’s not really any purpose. False Prophet is about people who are pushing beliefs down people’s throats. It’s pretty much about a person making money off the Christian industry and just doing it the wrong way and for the wrong reasons.
It reminds me of that song that Stray From The Path did; Prey.
I love that band, honestly. [laughs]
Are there any music videos that are coming out soon?
We’ll be working on it when we get home; it’s definitely in our agenda. We’re trying to get one out as soon as possible; just waiting on the right person to pitch the right idea.
Maybe you could have Robby Starbuck do it; he always does a bunch of videos.
I don’t know; that’s more for our label to decide.
How would you guys say you’ve grown as musicians just from the time-span between These Are My Sins and Truth & Purpose?
Honestly, we were a band for four to five months before we got signed. Our label is like “let’s get this album done; we want it finished by February. “ We were signed in December 2009 so we didn’t have that much time to grow as a group for that album. So, we made the decision go the heavy and aggressive route for that album and we stuck with it. It wasn’t a one dimensional record but it got out what we wanted it to; it never let go and that’s what we wanted. When it came around for this album, we had time to write it and think about it with different areas we wanted to approach. With this album, we were able to bring back old dimensions like with singing (which we had in our EP). We just chose a safe route with the first year of touring to steer away. It’s hard for a vocalist in the first year of touring to do screaming and singing. We tried to do a few things different music-wise with harmonies, different approaches, effects, like with different breakdowns, add a bit of an eerie touch to our sound.
Did you ever have lessons with Melissa Cross with the singing/screaming?
Honestly, I had never had lessons in my whole entire life; I was self-taught for singing and screaming. On this tour, I had started noticing a couple of things with my voice and Jake Luhrs from August Burns Red sat me down one day and was like, “I see the potential you have in your voice and if you do this, this, and this, you’re going to be such a better vocalist”. I owe the world to that guy for lending his time and giving me pointers on how to better myself. Out of all my years being a vocalist, he’s the one guy who taught me vocally
Are you guys playing Warped Tour, All Stars, or any other big summer festivals this year?
We got an offer for a fairly big tour this morning. I can’t announce it yet. I’d love to sit down and tell the world we’re playing it but I can’t. I’d love to though! [laughs]
Is it you played last year? I know you’ve played Scream The Prayer the last two years.
No, it’s a tour we’ve never played before. Generally, the same crowd come out to STP every year and we’re looking to play to a different crowd. We want to reach as many people as we can.
What other bands do you see yourselves touring with in the future?
Well, we have that tour coming up with Upon A Burning Body; that’s exciting. As far as bands I’d love to tour with, I’d love to tour the UK with Architects (they’re amazing), an American tour with Born of Osiris (we did a little headline run with them awhile back which was really fun.) Generally, any bands that are in our area like Miss May I, Of Mice & Men. Any band that we’d fit well with would be cool to tour with.
Speaking of tours, do you guys ever see yourselves doing a headliner soon?
I would like to do a headlining tour by the end of 2012 but you have to be safe when it comes to headliners. Granted, every band wants to be a headlining band but you can’t just go out and headline. I feel that once we are a strong enough band to hold down an entire tour package, I’d love nothing more than that. I feel like by the end of 2012, we’ll be on that path
How has it been with the label for you guys? A lot of bands have been saying very positive things about the label, but some bands have also spoken negatively of it. Ash himself is very outspoken. How has it been working with Sumerian for you guys?
The thing with any label is that you have to do good for them and they’ll do well for you. I’ve heard some people bash them but if you don’t have a product for them that they think is going to benefit them, then it’s not going to help them and they probably won’t want to work with you. As far as us being a band, we very little experience in the industry and they took us in and molded us; which is unheard of from an indie label to do for a band. They have taken care of us thoroughly; I know there’s been a couple times when broken down on tour, and they gave us a van to use, free of charge, because we couldn’t afford renting a van. I honestly couldn’t ask for a better label.
Last question: What is one book AND one band that you’d personally recommend to anyone that listens to ITB?
I like angry vocalists. I love people that have purpose behind what they’re saying. There’s a band on our label called Stray From The Path which is one of the most passionate bands that I’ve ever heard in my life. It’s sad they aren’t up there where they should be. I feel that anyone that listens to our music would love that band. I’m not really a book guy but I love documentaries. | | Tags: i the breather, sumerian records, stray from the path, august burns red, mayhem fest, |
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| | Interview with Jamie King from The Basement Recording NC |
Jamie King has been responsible for quite a few albums most notably, a majority of Between the Buried and Me’s records. He recently recorded Wretched’s third full-length album, Son of Perdition and took some time answer questions over email.
State your name and profession please.
Jamie King - Audio Engineer/Producer
Most people don’t know what the main job of a producer is. Can you briefly explain what you do?
To me, producer refers to the person that produces the desired product by the client. Most often in my case, it’s just about making the recorded material sound the way the client wants. With “producers” that work with major labels, the job is often to actually help the artist write, rewrite and/or orchestrate the material to make it as marketable as possible as well as making it sound as marketable as possible. What is marketable is usually dictated by current trends.
Are there any common myths about producing that just aren’t true?
One common myth is that a producer always get into the creative aspect of the artists material. In metal and other non-commercial style, this is rarely the case. Most “producers” just make the record sound the way the client wants sonically.
Can you describe how it feels to be associated with the number of hits that you’ve worked on?
I feel lucky to have worked with some bands that have gone on to be successful. I don’t think any of the bands have any hits. It’s really just a luck thing with me. I record anyone and you never know who will become successful and not. There have been a lot of bands that I’ve worked with that I thought would be successful that weren’t and there are bands that have become successful that I would have never thought.
Does the way you work on production vary on genre? I know you’ve done BTBAM, Close Your Eyes, and Motionless in White, which all have a very distinct sound from each other. How does the band’s sound change your process?
Yeah, each project is different for me. I’m not known for a specific sound as many producers. I just do what the client wants which often require a different approach with production. A band like BTBAM wants all natural real performance recordings. This require more time and effort tracking as were a lot of clients want the more processed sound that is popular these days which is less tracking and more production editing. You have to actually engineer tones with real recordings as were the more processed stuff is easier as you can use pre-processed drum samples and guitar amp emulators.
Have there ever been any incidents in the studio where you felt you couldn’t work with the band? Such as bands just fighting over every little detail? No need to name names, but do you have any stories?
I’m pretty good and working with any client. They’re definitely clients that are more pleasant to work with than others. Some don’t take stuff serious enough and some over analyze everything. Either can make for an unpleasant time. It’s all about balance as far as I’m concerned. There’s a certain quality that needs to be achieved for a record to sound “real”. Beyond that, it’s all about whether the budget allows more and/or there’s a demand for better. There has been a few instances where I’ve sent people home relative to not being prepared and/or just being belligerently drunk, haha.
What are your thoughts on the continual volume increases in the industry, where music has just gotten louder, or more crushed, at the expense of dynamic range?
I think levels should just be set as a standard and left along. Something that allows for some dynamics. There’s not a lot of dynamics in heavy music so it’s not terrible with heavy music for it to be loud. I just know that it’s irritating to be listening to iTunes and have to turn tracks up and down. I know most consumers would prefer matched levels even if they do tend to pick louder by comparison. They just don’t realize that it’s the same if they turn it up or if the mastering engineer turns it up. Just less dynamics and more fatiguing to listen with everything crushed. Some heavy styles does sound more punch and brutal if crushed so the dynamics aren’t always the issue. They should still be set to the same perceived volume for the new standard of iTunes listening.
What’s your favorite and least favorite part about producing?
My least favorite part of producing a record just depends on the record. If they players aren’t good, then it’s tracking. If the orchestration isn’t good then it’s mixing. If there’s a crap load of bad melodic vocals, then it’s tuning. If there’s a lot of bad dynamic prog drumming, then it’s drum editing. If there’s super sloppy guitar tracking, then it’s guitar editing. Just depends on the performances really. If there’s good performances across the board, I don’t mind any of it.
What kind of artists do you prefer to work with?
I like to work with any clients that are cool and good performers. I’d rather work with cool and reasonable clients that aren’t good performers over good performers that aren’t cool and/or reasonable although.
Is it true you’re working with BTBAM on their upcoming album? How is it working with Tommy and the rest of the guys?
Yeah, BTBAM are schedule to come in in May. We’ve been working together so long that it’s like family getting together for a project. Just like hangin out with friends and making music as it should be. It’s always enjoyable with then as they are great people and great players. Just a little stressful for me as I don’t want to let them down and the stakes are getting higher and higher with those guys. Stuff needs to get better and better so it pushes me to keep improving my skills and gear.
Last question: what’s one book and one band you’d recommend to anyone that listens to the music you’ve produced?
I hate books; they are often off base for a lot of styles and just can’t teach you some stuff that you just need to see and hear being done to understand fully. There’s a band called Tetrafusion that I recorded recently. Def. check those guys out. Great player and music and great people! | | Tags: jamie king, between the buried and me, tommy rogers, |
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| | Joey Sturgis Interview |
Chances are, if you’re into heavy music, then Joey’s probably produced the record you’re listening to. He’s currently recording Emmure’s follow up to their 2011 release, Speaker of The Dead. Joey was cool enough to answer some questions in the midst of recording.
State your name and profession
I am Joey Sturgis, and I am a producer, engineer.
Do you remember the moment in your life when you knew that a career in music was what you wanted to do?
There actually wasn’t a moment like this for me. Everything just sort of fell into place. I was working towards a strong career in computer science, starting in high school with an extra curricular activity in A++ computer education. That landed me job placement in 11 and 12th grade with a local computer store. I was working there as the boss’s right hand man fixing computers and handling networks for the tri-county. I worked there for a few years until I came to the conclusion that I was doing $70.00/hr service calls and only getting paid $6.00/hr. It was time to stop going in to work. Around this time, I was at the studio more often doing stuff with music and my band. Eventually the boss called and said he’d call me if he needed me (aka, you’re fired) and the rest was history. My band put out its demo on myspace and other bands heard about it and wanted to work with me after finding out I was the one who made the demo.
Looking at your discography, I think maybe it would be better to call you the “King of Metal/Post-Hardcore Producers.” What are the essential elements you need to make a Metal/Post-Hardcore record?
I do want to address this question very carefully, because I feel like with my name being out there in the scene, people just have no clue who I am and where I come from with my musical background. I listen to everything. I really mean that. I love country, techno, 80’s, 90’s, rock, piano ballads, dub-step, folk, bluegrass, blues, metal, death metal, hardcore, metal-core, post-hardcore, Shania Twain, Nickelback, Rascal Flatts, Gloriana! I can go on and on and on. At the end of the day, you’re not going to find me listening to breakdowns very often! The artists I work with know what it takes to make their music, and they are in touch with their fan base and understand what their fans want. I could go my whole career without having to understand this. All it takes is for me to understand where the artist is coming from and where he wants to go, then I connect the dots. It’s really that easy. On a side note, please stop putting people in categories because of what they like or believe. You are the reason everything is so messed up in our country.
How did you learn how to work the software and ultimately do what you do?
Open the same program every single day, and eventually you’ll learn how to use it. Trial and error, reading the fucking manual, and searching on Google taught me everything I needed to know about how to use digital audio workstations / software.
What do you say to critics who think that every band you produce sound the same?
I’ll start out with an obvious defense. Please listen to Let’s Get It, the Digital Spaces EP, then head on over to Oceano’s debut LP on earache. Please tell me how those sound alike. Next, I’ll reveal to you that VANS makes shoes, and most of them go on your feet… Best Buy sells mostly electronics… and Joey Sturgis records Joey Sturgis records. If you are mad about a band working with me, go to their show and complain to them. Bands practically kill people and make huge investments to work with me. Believe me when I say they’re doing it on purpose and going after something they want.
How did you get that bass tone on Of Mice and Men’s “The Flood” album?
Run your bass through a simulated Guitar amp… and no that won’t work live.
How do you get your guitars/screams to sound so big?
People think this is a big mystery. It’s not. You need good takes. When I say good takes, I mean takes that are precisely on time (down to less than 1 - 10 ms shy of grid), and good playing. Palm being in the right place, pick hitting string in the right place, right strings for the right tuning, right guitar to hold the tuning… the right pick ups. All of these factors matter. Finally, you need a good listening environment. You need to be hearing things properly or you won’t be making proper decisions. Armed with all of those things in line, you will be able to choose the right tone, the right takes, and ultimately get the right sound.
What kind of artists do you prefer to work with?
Experimental; I recorded this band called Rosaline once… no one really knew about it because they fell apart shortly afterwards. I love to work on weird stuff like that. I would also really love to record country music. You can fill a room with country musicians and just stand there with zero microphones and listen… it will sound like a record. Amazing!
Can you describe how it feels to be associated with the number of hits that you’ve worked on?
Honestly, it’s kind of a out-of-mind type of thing. It’s something you’ve accomplished and something you can remember, but you’re always looking forward and always moving on. I am very grateful to be where I am right now, but its not something I am looking at from a nostalgic point of view. From my perspective, I’ve been helping groups of 4 - 6 dudes stay on the road, which is essentially where most of them want to be. So that’s a great gift to be giving in any sort of way.
How has social networking benefited your business?
My business, these bands, this scene would not exist AT ALL without social networking. I had a buzz about me generating in forums before there was the giant explosion of myspace. So even in the early days, it was all about the web.
Are drums always the first thing recorded or do some bands work backwards?
In my studio, drums are first and foremost… and very key. I do not do ANYTHING else until the drums are completely finished, including mixing.
What are your thoughts on the continual volume increases in the industry, where music has just gotten louder, or more crushed, at the expense of dynamic range?
For all the people who don’t understand the loudness war, go grab a Rush cd or an old Metallica cd and put it in your car. Now turn up the volume to where you normally listen to cd’s. Now turn it up a little louder. Listen to how much more punchy it is than a modern cd. Why? Dynamic range. By destroying dynamic range, you achieve every softer sound being as loud as the louder tones, effectively giving you a louder cd. but what you lose is the snare or kick always being x amount of volume over the guitar…
Honestly, I don’t really care where this goes or what happens because of this. But people should definitely know what its all about. Ultimately, the fans and the artists and the record labels will all meet somewhere in the middle at some point. It’s not really up for me to decide I guess.
Last question: Is there anything left for you that you haven’t accomplished that you want to accomplish?
When I was in high school, I was really into programming and game development. It is one of my goals to actually complete my ambitious idea for a game and not be poor afterwards. I am already working on it so if you know any pixel artists, please send them my way… I will pay for pixel art! | | Tags: joey Sturgis, Asking Alexandria, Attack Attack!, We came as Romans, |
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