TRIVIUM - Vengeance Falls (15 Octobre)

Pingouin · Jean-Pierre Elkathrash Inscrit le: 15 Jan 2010 Messages: 5306

Ils entrent en studio début Janvier et ça s’annonce bien plus proche de Shogun que du dernier.

Beaulieu : ‘We have 15 songs recorded as demos, an album title, lyrics, everything.
The vibe of the new material is really pissed off. You can describe it as tasteful anger. We got pissed off after hearing all those new heavier bands and what they sound like, we said ‘That stuff sucks. They’re all doing the same shit with no riffs and silly stage moves. Fuck that! We wanna rip and write bludgeoning and actually-know-how-to-use-a-guitar type stuff ’.
It’s really in your face, even when it’s melodic, it’s still angry.
One of the songs is a complete old-school Thrashfest, fast as shit and then it goes into an IRON MAIDEN/DREAM THEATER-like proggy section. For In Waves, we simplified everything down, it was very song-driven. This one is more in the vein of Shogun, with more riffs and more parts to the songs. It showcases our abilities as players a bit more and we try to get creative and throw in some oddballs, unexpected twists and turns instead of going ‘verse-chorus-verse-chorus-solo-chorus’.

Qu’est-ce que j’avais dit l’année dernière ? :cool:

Cedric · Dave Mitaine Inscrit le: 27 Oct 2010 Messages: 5504

Fine analyse Manchot :ch:

Me serais-je trompage ? :kiss:

Oni²

Bof, ça me dit rien. Sauf s'ils réussissent à faire cette fois ce qu'ils ont foiré sur Shogun
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Pietro

Shogun ? Beurk. Neutral

En même temps j'ai pas trop aimé In Waves non plus. re- Neutral

Je vais rester sur Ascendacy et The Crusade en fait.
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UNCHAINED - Infernal Death Machine (le clip !)
UNCHAINED - No Scapegoat to Blame

Boutique UNCHAINED: http://unchainedmetal.bigcartel.com/

SCORNFORGER - Thrash Till You Puke!!!
DIVIDEAD (mon ancien groupe) - Sweet revenge (live)

belzaran · Inscrit le: 15 Sep 2009 Messages: 455

Je suis un très gros fan de Shogun et In Waves m'a déçu... Je suis en joie !!!

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Pingouin · Jean-Pierre Elkathrash Inscrit le: 15 Jan 2010 Messages: 5306

Vous avez tous mauvais goût sauf belzaran.
Comment peut-on défendre The Crusade, cette merde calibrée dans laquelle le groupe a délibérement voulu faire plaisir à ceux qui avaient pas aimé Ascendency et surtout adoucir sa musique pour vendre encore plus (démarche avouée de vive voix par Beaulieu) ? Confused

Oni²

Je ne trouve pas The Crusade moins agressif qu'Ascendancy perso Confused

Y a pas de voix hurlées, mais c'est tout. On peut toujours râler après le clone vocal d'Hetfield qui chante sur l'album mais ça ne me dérange pas plus que ça. La musique est bonne, directe, elle fait bouger la tête. C'est top

La démarche pue effectivement, mais vu le résultat ça me gêne pas
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Pietro

Pingouin · Jean-Pierre Elkathrash Inscrit le: 15 Jan 2010 Messages: 5306

Interview de Heafy, qui ressemble de plus en plus à Ihsahn au fil des mois, on peut y entendre des bouts de riffs : http://www.youtube.com/watch?v=2_Sz3BYDzEg

C'est David Draiman (oui, le mec de Disturbed) qui est aux manettes.

Oni²

Et plus rien sur Mrityu depuis ? Ça m'avait l'air bien plus intéressant que le prochain Trivium (sur le papier en tout cas)
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Pingouin · Jean-Pierre Elkathrash Inscrit le: 15 Jan 2010 Messages: 5306

Faut qu'il arrive à faire coincider son emploi du temps avec celui de Ihsahn, donc ce sera pas avant la fin de l'année, voire l'année prochaine.

Pingouin · Jean-Pierre Elkathrash Inscrit le: 15 Jan 2010 Messages: 5306

Petite interview sur l'enregistrement. Ca promet quelque chose de totalement différent de In Waves (qui avec le recul, est foiré et lourdingue, je l'ai plus écouté en entier depuis Mathusalem), beaucoup plus spontané, sans le côté conceptuel prétentieux et la branlette d'ego, et avec un producteur qui a poussé le groupe plutôt que de dire amen à tout.

How was the decision made to have David Draiman produce the new record?

One day I remember online I saw a picture of one of our fans, wearing a Trivium shirt, posing with David Draiman, and Draiman was wearing a Trivium hoodie. I was like, this is fucking awesome! He’s an actual fan. So we became friends and started bumping into each other every once in a while, and he brought us and As I Lay Dying out on their headlining tour of Australia and New Zealand. From there we were able to hang a little bit more, and then we did Mayhem together. On Mayhem, I passed him a copy of In Waves, saying “Hey man, thanks for all the support over the years, I hope you dig our new record.”

Last date of the tour, he pops in and wants to talk to me, and he tells me that never before has he felt we were ready to make the jump, before now. And when he heard In Waves, he knew that Trivium was ready to make the leap. That he’s always been a big fan, but when he heard the songs and the songwriting power that was In Waves, he wanted to work with us. And he said, If you want to work with me, I would love to work with you. And naturally we were like, Yeah, we’d love to.

We knew he worked with Disturbed production-wise from seeing it in the liner notes, but we never really knew what he did, until one day he had us at the studio and we checked out the Device stuff. And as soon as I heard it, I was like, All right, now I know who’s been doing this – not to take anything away from Disturbed, because I know it takes those four dudes to make it what it is, but when I heard the ingredients that I really loved as a singer and a songwriter and a melody writer in the stuff that David was doing with Device, I was like OK, I see that the ingredients are in this that I loved from Disturbed, so David is definitely a producer.

After we heard that, we were like, Yeah, we’ve gotta work together. So we passed demos to each other – it might have been over a year. We started writing the demos before In Waves even came out, which we always seem to do, not because we have to but just because we feel inspired. So we’d pass him batches of demos, he’d pass us notes back, and we’d keep a bible. And we’d keep doing that throughout the touring cycle. And not doing it in a regimented way or anything, just when we felt like it was a good time to work, we’d work and send it to him, and he would give us great critiques, and the songs kept getting better and better from a distance. Finally we built up a schedule and moved in with him for about two months. And the record was made, and now we’re back home.

What kind of producer was he?

He was the most hands-on producer we’ve ever worked with. And we’ve worked with some amazing people. I mean, Jason Suecof and Trivium got their start working together. We’ve done so many records together that I think we can’t do any more; we’ve learned everything we could possibly learn from each other. We were able to work with Nick Raskulinecz on Shogun, who we learned a lot from; we were able to work with one of our heroes of metal production and engineering, Colin Richardson, on In Waves, which went great. And everyone’s always been fairly hands-on with us, saying, Hey, we want to do this together. But David was even more hands-on, in a great way.

We looked at it as a partnership, as all of us working together to make the best songs possible. And with David, he had input on everything. What was amazing was, he never wanted to cross the line – he never wanted to change who we were. That was a big thing he said early on, “I want this to still very much be Trivium, but we’re gonna take it to the next level.” He had things from – not lyrical changes, but lyrical suggestions – ways to help further the point of what the song was. That was something I’d never had before; I’d never had a producer say, “What are you saying in this song?” And when he first asked me that, I gave him the same answer I was giving for interviews for all of In Waves, which is “Well, this is interpretable,” and he was like “Yeah, yeah, that’s fine,” but he felt like it should go this way or that way, and I’ve never had that before, someone who was able to help me look at what the point of the song was and help me narrow down the message I was trying to convey.

We worked on vocals – he helped me gain another four to six notes in my upper vocal range, which is something I never thought was possible. He was telling me that he really wants me to get further vocal training, which is something I want to do when I get up to New York – I’m gonna get some vocal lessons with his vocal coach, Melissa Cross. He was really pushing it, saying “You have no idea what you’re really capable of.” It was really cool to hear that this late in my career. I mean, this is record six. I thought I was born with a vocal range and that’s all it was, but he said no, that’s not true. He taught me how to stand, how to breathe right, how to sing, just so much. He helped me break down everything I’ve learned and rebuild it back up during the pre-production sessions.

The pre-production was something we’ve never seen before. Last record, our pre-production was one day because we were so prepared when we came in, because we’d been demoing our songs for about eight months. This time, when we were going in to work with David, he said, “I don’t want you guys to know the material too well.” We actually didn’t rehearse at all as a band for any of our new stuff; we wrote it all on our computers, had everyone learn the riffs, and he said the point was he wanted us malleable, so that when he worked with us as a band, we weren’t suffering from demo-itis. That’s a very real term that we’ve all had to deal with before where we become attached to something in the demo form, because we got so used to it. He didn’t want that to happen, so he didn’t allow it to happen by helping us not to know the stuff too well.

This pre-production was two weeks, six days a week, 12 hours a day, which is the most brutal pre-production I’ve ever done in my life. We could have gone into it incredibly prepared like we did with In Waves, but with that malleable thing, he broke down each song – we’d work maybe a song a day, once we got into the groove of things. We worked on everything, from drums – so Nick would have a pattern where he’s playing at 10, playing all straight double bass with all of his power and all of his ability, David would say, “No, no, pull out these notes here, these notes here off this instrument, don’t do this on this instrument,” and all of a sudden we had this incredible groove part, unlike anything we’d ever had before.

He helped make the guitar parts better, because we had stuff we were repeating four to eight or even 16 times, and he’d say, “Why does it keep repeating?” We’d say well, that’s what we’re doing, but he’d change it so every time the riff happens, it progresses a little further, and that was something we’ve never done before – we’ve never had something where a riff only plays for four bars or only plays one time and then keeps progressing. He helped with every instrument, every song, helping create melodies – his ability to create melody is one of the most staggering things I’ve ever seen.

If someone can picture in their head a virtuoso guitar player stepping up to play a song and improvising right on the spot, something really technical and really flashy, well, David can hear a song or a chord progression or a bass melody one time, and after hearing it once, he can come up with amazing melodies to go on top of it, and each time he works with it, within two minutes of hearing it for the first time, he can create incredible hooks on top of it. I’ve never seen that before. It was mind-blowing to see his ability for melody construction on the spot.

Have you made any breakthroughs as a guitarist on this album?

I think so. I think that a big thing on this one was finding our identities, who we are. I feel like our rhythm guitar playing – and that’s something David said early on, he was like, I know you guys know who you are with rhythm guitars. I know you guys can play. I know you guys are capable of all these amazing things, but it’s about playing in a pocket at times where it focuses more on melody and on groove than on showing what we can do. With Shogun, we showed everyone what we’re capable of, and we’ve all progressed as technical players, but on In Waves we thought, hey, let’s embrace some simplicity, and on this one I think it was the perfect marriage of where we’re most comfortable playing. Where no one is really ever playing beyond their capabilities, where if we were to play this live we couldn’t do it.

Lead guitar playing is a really big thing that David helped me hone in on, ’cause I heard some of the solos Corey was tracking, and they’re the most technical things he’s ever done, ever. And it was so beyond my capabilities as a player that I said to David, I don’t know if I should be shredding, since Corey’s shredding so damn hard that I’m gonna look like I don’t know what the hell I’m doing. And he was like, listen, embrace melody. So with my lead guitar playing, through his encouragement, I was able to find – not really a new style of lead guitar playing, but embracing something that’s always been there across all five Trivium records, or even the solos I was doing on the Roadrunner United record, or any time I play a solo that’s kind of going in that melodic blues pattern direction…I really embraced that on this record. ’Cause like I said, Corey is doing some insane shit on this record that made me feel like I really need to be identifiably different in comparison to him, so… [David] helped each dude. I think the biggest things that needed the most help from a producer on this record were vocals and drums, and he’s really delivered on helping Nick and me progress.

In Waves was kind of a breakthrough for Trivium, in terms of abandoning typical metal imagery. Are you continuing down that path on this record?

I feel like it was a risk for our band before, in terms of breaking with what we were supposed to do, what we were supposed to look like, and I feel like we completely succeeded. The only part I regret is not being able to get through the multi-part videos I wanted to do – I had a total, awesome storyline written out. But with this one, everything’s kind of obvious to us; we’ve learned how we work as a band, and there are still things we have to do. We still have to do promo photos and that kind of stuff, but I feel like the image of this band after In Waves reset everything. But since we haven’t announced the album title, we haven’t announced anything that’s going on with the record other than that it’s finished, I think it’s gonna give us room to play around with everything.

Are you working with any of the same visual artists this time as last time?

No, we’re actually using all new people on everything. The only constant is Ramon Boutviseth, who did our videos. Everyone else is different. We’re using a different photographer, different album artist…I want a whole new style since we made such a radical departure with the producer. I wanted to really build from the ground up.

The Mayhem Fest lineup was announced this week, and you’re not on it. Will Trivium be touring this summer?

We’re not going to be touring till the end of July (when the record comes out), and the first thing we’ll be doing is all the European festivals. We’ll play Wacken again, and a bunch of festivals we’ve never played before. That’s the only thing that’s built into our schedule right now, is playing a bunch of European festivals.

Oni²

Bref, j'espère en tout cas que Draiman aura réellement un impact positif sur l'album, parce que là c'est toujours que des mots.

Sinon

Pingouin · Jean-Pierre Elkathrash Inscrit le: 15 Jan 2010 Messages: 5306

On peut choper un extrait ici en suivant les instructions : http://www.trivium.fm/

Moi, j'y arrive pas mais apparemment, ça marche.

Edith rajoute l'extrait : http://www.youtube.com/watch?v=QzeYsSPEFQQ

Mouais ben c'est peanuts. Neutral

Autant rien diffuser à ce compte-là.

Oni²

Je vais être d'accord avec les commentaires Youtube (et oui je les lis Mr. Green

) qui disent que ça sonne comme "Beautiful Morning" de Machine Head
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Droom · Oslow Inscrit le: 15 Fév 2012 Messages: 3419

Pire trailer ever.

Les mecs, ils te balancent une corde jouée à vide entrecoupée de grésillements, et c'est censé te donner envie.

Non mais vraiment...

belzaran · Inscrit le: 15 Sep 2009 Messages: 455

Pingouin · Jean-Pierre Elkathrash Inscrit le: 15 Jan 2010 Messages: 5306

Ceci dit, on peut saluer leur volonté de garder une aura de mystère, contrairement à 99% des groupes qui balancent toutes les infos plus des extraits longs CMB 3 mois avant la sortie.

Mais il y a tellement rien dans leur truc... autant se contenter de mettre la pochette plutôt que des embryons de riffs, au moins, on aurait eu un peu de concret.

kroboy

ah mais on l'a la pochette :

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Plutôt la mort que la souillure

Pingouin · Jean-Pierre Elkathrash Inscrit le: 15 Jan 2010 Messages: 5306

Et la tracklist ? Confused