Doc welcomes Suicide Silence vocalist, Eddie Hermida, to the show and they talk about how the time away working on the new has allowed him to grow, the motivation behind the sound of the Self-Titled album, how the critical and commercial backlash affected their career and lives, why they changed direction on Becoming the Hunter, how he got his start in the Bay Area metal scene, what it was like joining All Shall Perish, developing his vocal style over the years, finding their stride with Awaken The Dreamers, dealing with member changes, and how joining Suicide Silence eventually led to the demise of All Shall Perish.
This episode features the songs “Face to Face” by Ovira and “Two Steps” by Suicide Silence.
Doc welcomes artist manager of the band Suicide Silence, Jerry Clubb, to talk about dabbling in fantasy sports, his time working for Prosthetic Records, discovering Suicide Silence as a young local band in Southern California, his background in college radio. being an early adopter of Myspace as a marketing tool for music, challenges he faced as a new artist manager without much clout, how Suicide Silence’s self-titled album led to Jerry splitting with the band, his time temporarily leaving the music industry and eventually reconciling with the band, and his passion for film and filmmaking.
This episode features the song “Mastador” by Ruinstar and “Too Far Gone” by Big Wreck.
Doc talks with legendary record producer Steve Evetts about working on the 1st God Forbid album, Reject The Sickness, his philosophy on getting great performances, his role elevating the hardcore scene in the late 90s, his time as the bassist of the glam-ish band American Angel, how he got his start producing and working at Trax East studio, breaking out as a “big time” producer working with Ross Robinson, The Cure, and Sepultura, what the Steve Evetts credo towards production is, what he thinks about how technology has changed recording, and his relationship with The Dillinger Escape Plan.
This episode features the song “Playing Dead” by Turmoil from the album The Process Of…
Mark Heylmun, lead guitarist of Suicide Silence joins Doc to discuss the harsh criticism of their creative changes on their forthcoming album, the band’s “old school” approach to jamming and chemistry, their personal artistic process and how it relates to fans, and Mark ends up interviewing Doc a little bit to get some insight on what hindered God Forbid’s career.
This episode features the song “Doris” by Suicide Silence from their self-titled album set to be released February 24th 2017 on Nuclear Blast Records.
I am going to assume that a decent portion of the followers of this site are themselves musicians with bands of their own. That is generally how it goes with metal. There are seamless lines blurred between the “fans” and the “bands” because, like myself, many metal patrons represent both categories. Without this large sector of musician fans, technically proficient bands that cater directly to this base (like Dream Theater, Meshuggah, and Necrophagiast) would be much less successful. So to those musicians, I would like to use this blog to shine a light on one of the harsh truths in all music and entertainment that many musicians choose to ignore –
Image matters a lot in this industry. In fact, it’s probably just as important as the music.
We’ve all been there. Tensions are high in some packed, sweaty venue, sparked by feverish excitement and the potential for violence. These people paid good money to enjoy some type of cathartic release. The frontman for whatever hard-nu-death-crab-metal-core outfit is brazen and demanding. Can you believe this shit? You PAID to be entertained, and this guy is telling YOU what to do! The speech goes something like this: “I want everybody in this room moving! Front to back, side to side, NO ONE STANDS STILL! When this part kicks in, I want total [Insert destructive word here like “chaos,” “mayhem,” or “bedlam” if you’re witty]. If the person next to you isn’t moving, MAKE THEM MOVE!” Than, if the action is not adequate, this screamer/pep rally organizer calls YOU some variation of “pussy” or “faggot” or really anything to make you feel like a soft, womanly bitch of a man in order to get in that pit and kick another grown man in the face, all in the spirit of making this band look like they are awesome. But then something happens, as if the air is sucked out of the room at the moment of impact – when those glorious staccato chugs kick in, the crowd is almost always powerless to its charms regardless of the obvious lack of substance. Like junk food and reality TV, we have a love affair with breakdowns.