Korn will be playing a few club shows with with Asking Alexandria and Love and Death to celebrate the release of their eleventh studio album, The Paradigm Shift. Dates can be found below.
9/26 - Philadelphia, PA - Electric Factory
9/27 - New York City, NY - Roseland Ballroom
9/28 - Worcester, MA - The Palladium
9/30 Toronto, ON - Sound Academy
10/2 - Chicago, IL - The Riviera Theatre
10/3 Minneapolis, MN - The Myth
10/10 Los Angeles, CA - The Palladium
Famous Last Words will be releasing their debut full length record titled “Two-Faced Charade” on April 30, 2013 via InVogue Records. The album is produced by Joey Sturgis (Asking Alexandria, We Came As Romans, Attack Attack!) and features 12 new tracks from the band. To support the release, the band will be touring the whole month of May with Crown The Empire and Capture The Crown on the “Generation Now” tour.
You can watch a trailer for the album here: http://youtu.be/0pABNaAA7UE
Bullet Tooth is excited to announce the signing of The Smoking Hearts from the UK! The band will release their Bullet Tooth debut album “Victory!” this summer in North America and Japan. Playing with the likes of The Used, Asking Alexandria, Gallows, Andrew WK, and many more, The Smoking Hearts have cemented their reputation as one of the most exciting young bands in the U.K. In fact, Jay and Moose from Bullet For My Valentine recently told the UK press, "We think everyone should check out The Smoking Hearts this year, they are good mates of ours. A brilliant band, think Motörhead on more speed beating up the Anti-Nowhere League then bumming The Ramones. Seriously, think about that. They have a new album out this year called ‘Victory!’, a definite recommendation.”
Dates have been announced for the Monster Outbreak Tour, featuring Asking Alexandria along with As I Lay Dying, Suicide Silence, Memphis May Fire, and ATTILA.
11/16-Edmonton, AB @ Edmonton Events Center
11/18-Calgary, AB @ MacEwan Hall
11/19-Vancouver, BC @ Vogue Theater
11/20-Seattle, WA @ Showbox Sodo
11/23-San Francisco, CA @ Regency Ballroom
11/24-San Bernardino, CA @ California Metalfest VI
11/26-Salt Lake City, UT @ In The Venue
11/27-Denver, CO @ Ogden Theatre
11/29-St. Louis, MO @ The Pageant
11/30-Covington (Cincinnati), KY @ Madison Theatre
12/01-Cleveland, OH @ Agora Theatre
12/02-Chicago, IL @ Congress Theatre
12/03-Detroit, MI @ Royal Oak Theatre
12/05-Montreal, QC @ Olympia
12/07-Philadelphia, PA @ Electric Factory
12/08-Worcester, MA @ The Palladium
12/09-New York, NY @ Best Buy Theatre
12/11-Baltimore, MD @ Rams Head Live
12/12-Raleigh, NC @ Disco Derby
12/13-Atlanta, GA @ The Tabernacle
12/14-Nashville, TN @ Warfield
12/15-Jacksonville, FL @ Edge
12/16-Tampa, FL @ Cuban Club
We just got confirmed to interview Whitechapel, The Devil Wears Prada, and As I Lay Dying at Mayhem Festival! Comment below with your questions for them! (?)
- Factor X:
- The View From Here
- You Are Now Manually Breathing
- A Glowing Core Through The Glass Floor
- Welcome To The Ward
- Desoto ‘55
- Synthia, Where’s R2?
- Party At The Moon Tower
- Simply Me//2
- Polarities: The Shift
Everyone Dies In Utah’s (EDIU) new studio album, +//- (Polarities), is set for release on July 31st on Tragic Hero Records. The band’s sophomore album was produced by David Ludlow at Hot Damn Media (Greeley Estates, Man Made Machine) and was mastered by Joey Sturgis at The Foundation (The Devil Wears Prada, Asking Alexandria, Of Mice & Men, AttacK Attack!).
Memphis May Fire has unveiled the track listing for their new album Challenger, out June 26 via Rise. The album will notably feature guest spots from Sleeping With Sirens’ Kellin Quinn and Danny Worsnop of Asking Alexandria.
1.) Without Walls
2.) Alive In The Lights
3.) Prove Me Right
4.) Red In Tooth & Claw
5.) Vices
6.) Legacy
7.) Miles Away (feat. Kellin Quinn)
8.) Jezebel
9.) Losing Sight (feat. Danny Worsnop)
10.) Generation: Hate
11.) Vessels
The Amity Affliction are set to record their new album during there tour with Asking Alexandria this spring.
First of all, we would like to thank each and everyone of you for being so patient with us. The last couple of months have been extremely exciting in the camp. We have several announcements to make and we hope you’re all as excited as we are!
EP Update:
In December 2011 we went to Starstruck Studios in Copenhagen, as some of you may have noticed, to record our new EP. With Jeppe Andersson (Invisius, Scarred by Beauty, Amaranthe) as the producer, we recorded 5 tracks. We then went to Hansen Studios in Ribe in late February to finish up the mixing part. We also have a surprise for you. We got Matt Villan to do a remix of one of our songs. The EP has been named:
RESENTMENT
Danish artist Niclas Mortensen (MonkeyMouth) did the artwork
Tracklist:
01: The Victim
02: Reckless
03: Darkened Days
04: Clarity
05: When Love Turns To Hate
06: Reckless (Remix)
The EP will be released on the 19th of March so mark your calenders! It will be sold digitally via iTunes (It will also be on various online stores such as Spotify, Amazon etc.) and in phsyical format via our online store. There will be a link soon.
Release Party:
We are having a release party for the EP @ Konfus (Esbjerg, Denmark) on the 16th of March. Here is a link to the event:
https://www.facebook.com/events/225953540833776/
Merchandise:
We have a lot of new merchandise for you guys. The merchandise will of course be sold at our live shows, but for those of you who can’t make to our shows, it will be up at our online store as well.
- 2 different t-shirts. One with a black design and one in white. (S/M/L/XL & Girlies)
- Rubber wristbands
- Stickers
- Posters
With that being said, we can’t wait for you guys to hear the EP. Take care!
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!
