Interview: Tomas Haake (MESHUGGAH)

Interview: Tomas Haake (MESHUGGAH)

Coming in fresh off a month break taken after a hectic Europe/US/UK touring run, Meshuggah are stopping by some dates starting off this weekend in support of their recent release, The Violent Sleep Of Reason. I spoke to drummer/lyricist Tomas Haake in relation to their approach to writing their 8th full-length album, it’s overly positive global reception, and why they won’t show signs of slowing down anytime soon. — I don’t know how much you guys are aware, but you peaked at 9th on the Australian ARIA charts for the release week of The Violent Sleep Of Reason, which, in my mind, is insane regarding how Meshuggah’s music might not be the most accessible to many. Has the band been able to take in the success and reception among all the hectic touring you’ve been going through? Not really … I mean, it’s one of those things where you hear about it and see figures from Australia and we go ‘holy shit, that’s fucking amazing’, and the label and everyone is stoked but at the same time, those things are really hard to put your finger on. You hear about it and say ‘okay, that’s really awesome’, but at the same time, you’re focused on what you need to do (in terms of tours). Like you said, especially with this niche music that we’re still doing, it’s fantastic to have any kind of response like that, and to have an album be something that means something to people … and that’s something to us. That’s very humbling and cool. Regarding the album, how far in-between the completion of Koloss...
Album Review: Atma Weapon – The Fields Where Nothing Grows

Album Review: Atma Weapon – The Fields Where Nothing Grows

Band: Atma Weapon Album: The Fields Where Nothing Grows Genre: Progressive metal Date of release: 23/11/15 Location: North Carolina Reviewer: Benjamin Muir For Fans Of: Karnivool, Between the Buried and Me, Opeth Track Listing: 1. Winding Roots (2:05) 2. Everything You Won’t (7:04) 3. Clear Blue Skies (5:54) 4. Autumn Leaves (6:45) 5. The Wasteland (5:52) 6. Every Ship (8:04) 7. Fields of Sorrow (5:31) 8. The Silent and Still (4:02) 9. The Fields Where Nothing Grows (6:24) I review mostly hardcore with the odd exception based on what needs a reviewer for IPHYB. Atma Weapon is most certainly not hardcore, but they’re not bad either. I have sometimes discussed that a lot of my musical discovery as a kid came in the form of 2000’s metalcore bands in my earlier teens before I got more into mathcore, mosh, and beatdown as I got older. In retrospect, a lot of the Metalcore bands I enjoyed as a kid are fairly hard to listen to now next to recordings with contemporary production. I do still however, harbour a warm nostalgia for melodic death metal leads and gratuitous palm muting once in a while. Atma Weapon could best be described as progressive metal band if we have to label it strictly, but for a more accurate description they’re a kind of cross between Karnivool and 00’s Metalcore with occasionally more specific melodeath, prog-death and prog-metal influences, (most notably Opeth) admittedly with much more polish than the vast majority of older bands in any of the genres that were apparent influences. I came across Atma Weapon in a piece of writing I...
Interview: Mike Zarin – GONE IS GONE

Interview: Mike Zarin – GONE IS GONE

Starting off as a side-project as movie trailer and video-game scorers, Mike Zarin and Tony Hajjar (ex-At The Drive In), Gone Is Gone have quickly built up a solid following from writing some damn good atmospheric music. Sure, you can also take into account that with Troy Van Leeuwen (QOTSA, A Perfect Circle) and Troy Sanders (Mastodon, Killer Be Killed) on board, it was already destined for something special. Riding on the success of their debut EP and with their first album just released, I was lucky enough to speak to mastermind Mike Zarin about the groups take on writing, scheduling … and how much he loves our name. — Hey Mike, how’re you doing? Firstly the name of your company is gotta be the best thing I’ve ever heard, ever. I’m ecstatic right now, you have no idea … I have a sticker on my refrigerator that says ‘Your band probably sucks’ [laughs]. That’s so good! Mike, first off, congrats on the reception of the EP. How have yourself and Tony (drummer/co-writer) taken it so far? We’re excited! We’re pretty floored by the reception of the EP … we didn’t know what to expect and the fact that we’re getting such good reviews from all across the world is humbling to say the least, I’m not gonna lie. Absolutely! Regarding the EP sessions, how long did it take to piece it all together, even in regards to getting the guys together? It definitely happened in bits and pieces … we wrote that back in 2013 (the music) and over 2014 we were mixing the music and sending it...
Song Review: Cannibal Animal – ‘Grand Theft Manual’

Song Review: Cannibal Animal – ‘Grand Theft Manual’

Band: Cannibal Animal Song: ‘Grand Theft Manual’ Genre: Psych-punk Date of release: 23rd November 2016 Location: United Kingdom Reviewer: Violent Soho meme claim to fame guy For Fans Of: Black Flag, lead bass guitar The first thing that comes to mind while I listen to this song on repeat is the desire to crack open a Jack and coke and listen through Queens Of The Stone Age‘s Rated R at the wrong speed on vinyl … but, since my tolerance for alcohol is as weak as my tongue game, I’ll do this review sober. Cannibal Animal are a 3-piece grunge/punk outfit from the UK, so naturally, there’s already too much bass in the mix. The single ‘Grand Theft Manual’ already triggered me in the sense that I can only drive an automatic, so alienation hits me before I even press play. Thanks. The track kicks off with an intro riff remiscient of Metallica‘s ‘One’ opening lick, only played faster and backwards. That doesn’t last too long, however, since out of nowhere, a distorted bass-riff taken straight out of that incredibly dope Matrix lobby shoot-out scene comes in … (you know the one). If they wanted people to defy gravity for a moment and flip off a couple walls, I think it’s worked out well. The rest of the band jumps into that same riff with added guitar lead lick over it that I can only describe as “WoooooooOOOooooooooooOOOOo”. The verse riff is nothing incredibly original, but nothing in punk music really is, amirite. I’ve always found it fascinating that the punk attitude was always against the norm, yet 9/10...
Album Review: Carly Rae Jespen – E•MO•TION Side B

Album Review: Carly Rae Jespen – E•MO•TION Side B

Artist: Carly Rae Jespen Album: E•MO•TION Side B Location: Vancouver, British Columbia Date Of Release: September, 2016 Genre: Pop Reviewer: Penfold For Fans Of: Brenda Russell, Madonna, Prince Earlier this year when you were fucking around with Harambe memes and tugging your dick at the blossoming idea of donning a clown costume and freaking out some meth-addled teenagers, the darling of cult-pop released an EP that has even more to offer than the salad bar at Toowong Sizzler. Like Sizzler, it pairs well with an eightball and it’s dripping with barrels of 80’s nostalgia that you better believe you’ll be going back to again and again to eat yourself into a stupor. I am of course talking about Carly Rae Jepsen‘s latest offering, Emotion Side B. Side B is a collection of tracks which didn’t make the original cut for her incredible 3rd studio album Emotion, but don’t let that faze you. There are tracks on Side B that knock some that made the standard edition right outta the park. Emotion was released late last year to almost universal critical acclaim (including from us at IPHYB) and was widely regarded as a complete 180 from Jepsen’s original saccharine-sweet “Call Me Maybe” persona. Whilst it didn’t set the world on fire commercially, Jepsen is now officially cooler than Swifty for her efforts. Side B is not a full album, and shouldn’t be listened to in a cohesive manner, but what it does offer are eight tracks with unlimited replay value. We’re greeted by bright synths, driving basslines, and melodies like crack with the opening song, ‘First Time’. The overriding themes...
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