So as you’re no doubt aware, Halloween is on Sunday, and as you’re hopefully aware, we’re holding a “Heavy Metal Halloween” contest with SPV. The deadline was announced as being on midnight on Halloween, the logic being that people would snap their photos before they went our partying; but Vince wisely pointed out that people might not get to upload those photos right away. So now we’re extending the deadline to midnight on November 1. Hope that helps! If you need a refresher on the rules, go here.

Here’s what else happened this week:

• We debuted a new music video by Nile.
• We also debuted new music by Havok, White Arms of Athena, and Shred Sean and Allan Tecchio.
• Daath’s Eyal Levi talked about trust issues while The Red Chord’s Greg Weeks talked about football.
• We spoke to J. Randall from Agoraphobic Nosebleed and our old pal Eyal from Daath.
• We checked out the latest release from Kylesa, and a new book by the Cro-Mags’ John Joseph.
• We went on a “Reader’s Choice” local scene binge.
• We prayed for the end of karate mosh pits.
• We watched Abigail Williams lob a dildo at Iwrestledabearonce.
• We defended Phil Labonte’s angelic singing voice.
• Sergeant D. taught you about bands you would have hated/ignored in ’95.

And that’s all she wrote this week. Don’t forget that our own Gary Suarez is playing in a Jesus Lizard cover band on Sunday night. Swing by if you can!

-AR

Raise your hand if you’ve got trust issues.

I’m sure that at least ten thousand of you readers raised your hands. And I’m sure that those of you who didn’t are either living in denial or just have figured out the key to trust. I think I figured out the key to trust, and while it’s one of those “Easier said than done” types of things, at least I have it now. It makes sense to me.

Have you ever had a friend who stabbed you in the back? I’m sure you have. Check out this situation from when I was nineteen. I’m sure this is fairly typical, but it doesn’t diminish how terrible it feels. I had a girlfriend. We were in young love. I then went off to college and tried to keep it going with her. She visited a few times. We had a fantastic time the first time, but a horrible time the second. Bad vibe central. Anyhow, I started to suspect that something was amiss. When I got home for Christmas break, I realized that my intuition was right-on. She had been sleeping with one of my very best friends.

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Sean Reinert is quite the accomplished drummer; aside from his job as the skinsman in Cynic, Reinert’s talents have long been appreciated and worshipped by drummers the world over. If you can remember all the way back to Spring of this year (long time ago, I know) you’d also remember that he played drums on Avalanche of Worms, the instrumental record composed by Daath’s Eyal Levi and Emil Werstler.

Of all of Reinert’s many accomplishments “instructional DVD” hasn’t been one of them until now. And you can be a part of it; the cleverly named It’s About Time, which is being presented by Sick Drummer Magazine, will cover topics requested by you, the fans. All you need to do is record a video of yourself asking Sean a question about his playing and upload it to YouTube as a response to this video on the SickDrummer YouTube Channel, and if you are selected your video will appear on the DVD.

I can’t imagine how my life might’ve been different if the now-standard technology that makes this possible were available to me as a kid. Asking Zakk Wylde a question to be included on one of his instructional videos?? Ohmigod, I would’ve freaked.

-VN

So. The wait is over — Dååth‘s self-titled Century Media release is out today. If you haven’t already purchased a copy, you can still order it here, or download it from iTunes or Amazon. I’ve made it clear how much I really love and admire this album, but I’ll do it one more time to emphasize to you how great I think it is: It’s dark. It’s misanthropic. It’s really raw. It’s really, really heavy. It’s dense. It’s not as “easy” as The Hinderers or The Concealers — you’re gonna need to give it multiple listens before you’ll be able to really wrap your head around it. But if you fully engage with this album, it will engage with you. It’s rewarding that way.

After the jump, check out my seventh and final behind-the-scenes report on the making of Daath: an interview with Eyal Levi. i. If you read this site regularly, hopefully you also read his column, in which case you know that the guy has really interesting things to say. I’ve referred to him as “The Godfather of Dååth” before; I don’t intend for that statement to take away from any of the contributions of the other members of the band, all of which are obviously extremely important to the music’s success. But at the end of the day, Eyal is very much the dude behind the steering wheel, the first one to arrive and the last one to leave, or whatever other cliché you’d like to use. He’s the man.

Here are his thoughts on the new record, the evolution of Dååth, being a producer versus being a performer, and more. Enjoy.

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Damn. I haven’t written a blog for you guys while flying in quite a while. (Don’t worry, I still hate it, but 2.75mg of Xanax helps me forget.) So the question is, “Why have I not been writing to you from the air like I used to all the time?” Well, the fact of the matter is that I’ve basically been in a cave for the past few months making an album. Sure, we took a brief break and went to Germany for a few days for some Slayer shows (who wouldn’t),  but I was in no mental condition to write. I’m only now, five weeks from having finished the album, regaining my sanity, creativity, and motivation.

As I was packing for this trip to Mexico City I put my iPod in my carry-on (if you find the concept of rape disturbing, try to never check bags), and I realized that I haven’t added any new music to it in months. My two biggest gripes, both of which you are very familiar with by now, is the dismal state of metal audio production, and that the different scenes are just getting tired. I stand behind my idea that the “modern” metal sound of the early 2000s is going to sound as dated to us as 1980’s production pretty soon. I’m pretty confident that dudes who are all-out “scene” in their appearance will look back at themselves the way that we see Nu Metal bands from the late 90’s and wonder, “How was that the ‘in’ thing?” while privately hoping that their kids never see those photos. I feel like there’s an endless wave of copycat bands out there right now, and that the overall state of heavy music is such that we’re about to enter a down period, much like when death metal went back underground in the mid 90’s.

That’s not to say metal will die; it is time for innovation and rebirth.

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We’re just a week away from the release of Dååth’s new, self-titled album (pre-order it here!), and so we’re nearing the end of this almost two-month long look into the making of the record. I’m honestly kinda sad about that.

Today’s penultimate interview is with guitarist Emil Werstler. There was some web-nerd rage back in August when Dååth co-producer/co-engineer/mixer Mark Lewis called Werstler “the best guitar player in metal,” and while I tend to agree with Werstler’s band mate, one Mr. Eyal Levi, that the word “best” is basically impossible to define, I do think there’s a strong argument to be made that Lewis’ assessment is correct. During my brief time in the studio watching Werstler record, I saw him pull off ridiculously sick move after ridiculously sick move — I mean, the guy plays some really, really mind-blowing shit on this album. And little wonder he’s so good: Werstler professes himself to be a “learning addict” and is a tireless perfectionist. I watched him get so wrapped up in his work that he quite literally forgot to take breaks or make sure he was taking care of some of his basic human necessities, like eating.

After the jump, get Werstler’s thoughts on the recording of Dååth, how the band has evolved, his ongoing creative relationship with Eyal Levi, why he enjoys teaching guitar lessons when he’s not busy with the group, and more.

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Seriously, if you haven’t read Vince’s epic story about how MetalSucks Maniac “whiskey” won last week’s last week’s photo caption contest, you need to go read it now. It’s pretty amazing. Whiskey’s mom even left a comment! We like to think of MetalSucks as something the whole fucking family can enjoy together, so that warmed the cockles of our collective heart.

Here’s some other fun stuff that happened this week:

• We debuted a performance clip from the new Shadows Fall live DVD, the new Intronaut album, and a new Madball song. PHEW!
• We spoke to Jeremy Creamer from Daath, Johnny Plague from Winds of Plague, Adam Warren from Oceano, and Ashmedi from Melechesh. Oh, and Anso unveiled part one of his massive two-part interview with Atheist’s Kelly Shaefer.
• We checked out new releases by Salome, Madball, Woe, and Arson Anthem and Ender. And a DWARR reissue!
• Greg Weeks from The Red Chord said good-bye to Randy Moss and hello to men wearing pink tights, Sacha Dunable from Intronaut contemplated the legalization of recreational marijuana use in California, and Eyal Levi from Daath discovered DestinAsian.
• Sergeant D. celebrated the thirtieth anniversary of Pantera’s Cowboys from Hell. Wait, what?
• We couldn’t figure out why everyone was so surprised that ICP are evangelical Christians.
• We found out the hard way that Attack Attack!’s music could be even worse than it already is.
• We took a slow ride on Metallica’s Lightning.
• We laughed at one shit stain calling another shit stain “a shit stain.”
• And, oh yeah! Gary Suarez took over the site for a day.

Next week is CMJ here in New York! If you’re in the area and looking for some awesome metal, check out our handy guide to all the festivities — including not one but TWO showcases sponsored by MetalSucks. We’re not gonna lie — we are going to be very hungover and tired next week. But that just means we’ll be crankier than usual. We’ll still be here with lots of debuts, interviews, and other assorted nonsense. Bring your mom! It’ll be fun.

-AR

Ever had something happen to you that was so out of the blue and unexpected, yet so fucking hilariously strange that you wished you could go back in time and let the younger you know it was going to happen just so the two of you could laugh about it? I just had one of those experiences, and I don’t quite know how to categorize this one. So I figured I would share it with you guys. I’ve already shared it with all my friends, but I feel like the community at large should know. And maybe you guys can help me form an opinion on this. So here goes:

Last night, around 3 a.m., I was Facebook lurking after a night on the town. To my surprise, an old middle school teacher hit me up. We’ve had no contact since I got out of that school. I haven’t gone to reunions. I’ve made no effort to keep up with anyone. That part of my life was effectively over the day I graduated. But I was happy to hear from him and we made some small talk. Eventually he said this to me: “Eyal – this has been a real treat!! Please look for me again and please drop me a message from time to time. I mean this sincerely – it was a pleasure to teach you – I loved the creativity of your mind and that you always were a self-made man! LOVE>”

Nice thing to say right? Nice to get a compliment like that from an old teacher considering what a horrible student I was. And then comes the left turn. Abruptly he changed the subject and told me there was a video he wanted me to check out. To “get my thoughts on it.” I said okay. Here’s what he sent me:

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They’re all touring with Daath! Not all at once, unfortunately. In two separate groups. But still! These are good bills.

The U.S. tour will see Chimaira headlining with Impending Doom, Daath, and This or The Apocalypse providing support.The Chimaira/Daath bill alone is enough to get my money. When those bands toured Europe together last year, I was jealous of the Europeans. Now I’m jealous of people who live in Poughkeepsie, which has never happened before and may never happen again.

Europe, meanwhile, gets a Fear Factory headlining run with Daath and High on Fire. Those aren’t three bands you’d necessarily expect to see touring together, but they’re all bands of a certain quality, and that’s what makes this tour cool. When I criticized the line-up for Fear Factory’s U.S. tour earlier this year, a member of one of the supporting bands e-mailed me to a) call me a dick, and b) ask who I thought Fear Factory should be touring with. Well… THIS is who I think Fear Factory should be touring with. THIS is an exciting tour. I’m not even a Fear Factory fan, and I’d go to this.

So if you’re in a position to go to either tour, do it. Buy some merch. Give Eyal a high-five. It’ll be fun.

Get dates for both tours after the jump.

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Earlier this week I had a dream that I was working with Atreyu. I don’t know in what capacity I could possibly find myself “working with” Atreyu, since I’m not a manager, nor a publicist, nor a label rep, and they’re about as likely to end up doing a guest column here as I am to give the new In This Moment album a perfect 5-horn review, but, hey, the subconscious works in mysterious ways. Why did I have Atreyu on the brain? Was my mind trying to tell me “The glass is half-full?” Do I have  a hankering to re-watch The Neverending Story? Did I just ingest too many different substances that night? I’ll have to bring it up in therapy next week.

Here’s other shit that happened this week, some of which, believe it or not, is even more terrifying than the thought of working with Atreyu:

• Freddy Madball is counting down his favorite hard and heavy non-hardcore bands of all time, TesseracT’s Acle walked us through the history of djent, The Austerity Program’s Justin Foley spoke to Converge’s Kurt Ballou about Taco Riffs, The Red Chord’s Greg Weeks made some suggestions for losing NFL teams, Intronaut’s Sacha Dunable contemplated the ways in which technology has changed touring, Daath’s Eyal Levi wondered, “Is this it?”, and a wide array of metal stars previewed the just-begun NHL season.
• We spoke to Kirk Windstein from Crowbar/Down/Kingdom of Sorrow, Sean Z. from Daath, Daddy X and Dirtball from Kottonmouth Kings, and Yoshiki Hayashi from X Japan.
• We checked out the latest releases from Abysse and Deafheaven.
• We contemplated trancecore.
• As the headline says, we heard the worst thing ever.
• We reviewed the history of terrible Limp Bizkit cover songs.
• We had fun with misheard song lyrics.
• We bemoaned the signing of another re-thrash band.
• We applauded Slayer fans’ desire to help the physically disabled.
• We had yet another laugh at Winds of Plague’s expense.

We have a special surprise for you next week. I can’t promise you’re going to like it, but I can promise you’re going to have a strong reaction to it. See ya then.

-AR

I know that suicide happens in all walks of life. I realize that when celebrities do themselves in, it’s enlarged to disrespectful proportions compared to when non-celebrities choose death. That said… Have you ever wondered why some rockstars kill themselves? Why do we hear about that CEO that threw himself off a seven-story building? Why do people who survive plane crashes kill themselves a year later with drugs? Why is it almost cliché for someone to die by their own doing after achieving their dreams in life? How is it that people who have won at life so hard can feel so miserable that living is no longer an option?

I’m positive that someone trained in the art of mental health would tell me that each case is unique. I realize that I’m not an expert on mental health, but I think there’s got to be some common denominator there. One thing I’ve noticed around a lot of people who have in fact achieved what would be most people’s dreams is that a lot of them will never be satisfied with that alone. That’s because a dream can only feel like a dream when it’s in your mind. It’s easy to be in love with a simple idea, or goal. In reality we have many more complex needs and pressures affecting us than those we create in idealized lottery winner-like scenarios.

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Because there is. It’s also called Daath. And we love it. And we’re very excited for you to hear it. And we know that some of you think we’re biased because we’re friends with Eyal, and all we can say is, you’re right. We would never actually be friends with a talented person who is a member of a good band, only a hack whose album we can promote because we don’t really believe in it. Eyal was actually, like, our eighth choice of guest columnists, after members of Attack Attack!, The Devil Wears Prada, Oceano, Bring Me the Horizon, and this band, amongst others, turned us down.

SO. While two tracks have already been released — “Destruction/Restoration” debuted right here at MetalSucks, and “Indestructible Overdose” is streaming on the band’s MySpace page — now you’ve got a chance to hear a third: “N.A.T.G.O.D.” has just debuted over at Metal Injection. Go here to listen.

And now that you’ve heard approximately 23% of the album and you’ve come to realize that we’re not just biased and this album really does rule and you’re so excited to hear the rest of it that the October 25 release date can’t come soon enough, go here to pre-order the thing.

And while you’re jonesin’ to hear the remainder of the record… Skulls N’ Bones have now completed their series of in-studio videos chronicling the creation of Daath, and I’ve collected them all right here for you, ’cause these are really fun and I’m a nice guy like that. Here’s the one centering on Eyal…

And here’s the one about drummer Kevin Talley…

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In case you can’t tell by all the posting I’ve been doing about the soundtrack, I really wanna see The Social Network. It’s just like the story of how MetalSucks was created, only we didn’t go to ivy league schools, we’re not billionaires, and we haven’t sued each other (yet). How dare David Fincher and Aaron Sorkin steal our life story!

Speaking of our life story, here’s how we amused ourselves this week:

• We debuted new music by The Fucking Wrath.
• Intronaut’s Sacha Dunable wondered if America really has any talent, The Red Chord’s Greg Weeks discussed the NFL with Job for a Cowboy’s Charn, and Daath’s Eyal Levi taught us about proper etiquette for being a houseguest.
• We spoke to Eric Guenther from From Exile and the new Daath album.
• We checked out new releases by The Serpent & The Siren as well as Mutant Supremacy, Pyrrhon and Parasitic Extirpation.
• We found out that way more of you like nu-metal than we thought.
• We learned how to look like a hot metal chick.
• We bemoaned the latest batch of Rock and Roll Hall of Fame nominees.
• We watched the new Cephalic Carnage video and now we’re afraid we’ll never get a boner again.
• We got excited about the first awesome tour of 2011.
• We declared Cradle of Filth to be a glam band now.

Have a good weekend, folks. See ya Monday!

-AR

Ever had a free loader, moocher, or destructive human parasite stay with you? I’ve had all kinds of them stay with me. My residence has kind of become a bed and breakfast for nomadic creative people. Actually, it’s not a “kind of.” It HAS become that. And it’s been that way for the better part of a decade.

After that much time you start to notice patterns. History will sometimes repeat itself, and if there’s one thing that’s stood out, it’s this: Bands or disgruntled ex-band dudes are typically the worst. I let bands stay at my place because I have enough space for them and I know that even one night of comfort on tour can do SO much good. Getting to sleep comfortably, shower, do laundry, get fed, etc. These things all mean a lot more to you when you can barely do them, and especially if you get to take care of them in an environment created for your ilk. I also really appreciate it when we (DÅÅTH) get that type of kindness out in the world (I love you Nick Hipa). That’s why I’ve decided that if a friend of mine’s band has to choose between their van and my house, well, they’re coming to my house.

Sometimes bands have multiple days off in Atlanta and they’ll end up hanging out for a few days at a time. It’s no problem. Really. Promise. It’s cool. I’ve got the space and I love hanging out with friends. If there’s room, come on by… BUT DON’T BREAK MY SHIT, DON’T LEAVE MY PLACE WORSE THAN YOU FOUND IT, AND WHEN YOU GET A CHANCE, TELL THE ASSHOLES IN YOUR CREW TO AT LEAST DROP THE FRONT WHILE YOUR FRIEND IS HOOKING THEM UP! ITS FUCKING WEIRD TO HAVE SOME GUY STAY IN YOUR HOUSE FOR THREE DAYS AND NOT GIVE YOU MORE ACKNOWLEDGEMENT THAN THE TOUGH GUY NOD!

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Eric Guenther may end up being the unsung hero of Dååth’s forthcoming, self-titled album, which Century Media will release on October 25 (pre-order it here). He’s not even technically a member of the band; his main gig is being the guitarist/vocalist for From Exile (read my love letter to that band here). But as he did for Levi/Werstler’s Avalanche of Worms earlier this year, he has made some truly invaluable contributions to Dååth. His synths aren’t of the “Dead on the Dance Floor” variety; they’re far more subtle, adding layers of sound and atmosphere that up the record’s epicness quotient, increase its replay value (I guarantee you, you’re not gonna pick up on everything Guenther is doing the first time you hear the album), and increase the music’s insistence that it be listened to with a good pair of earphones. Praise for Guenther’s augmentations may get lost amidst all the insanity that the rest of the band brings to the table, but without his presence, Dååth would be a completely different record.

I sat down with Guenther this past June, when I was in Atlanta visiting Dååth in the studio. He’s an incredibly smart guy (read the guest blog he wrote for us this past April here), and I think his approach to his particular job on the album was just right. Check out the full transcript of our chat after the jump.

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I’m sitting here editing an interview with Eric Guenther, which we’re gonna run tomorrow afternoon. Guenther plays synths on the new Daath album, and did the same on Levi/Werstler’s Avalanche of Worms earlier this year, but his main gig is as guitarist and vocalist for Atlanta’s From Exile. And even though I’ve had From Exile’s self-released Monolith forever, and even though I love and listen to it constantly, I’ve never gotten around to writing about it. It doesn’t say anything about the music; it’s just one of those things.

But I’m gonna write about From Exile now, damn it. ‘Cause this is a damn fine band, and you should all be listening to them.

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So this normally where we write some fairly meaningless bullshit as an intro to our weekly recap, but reader Sean Williams sent us a link to the below video update from one Mr. Devin Townsend, and we really can’t think of a better way to kick-off the weekend. As Sean put it, “Deconstruction AND Ghost as a double record? Holy fucking shit!” And it gets “Holy shittier” when we get to hear a little bit of new music…

Here are some other fun things that happened at MetalSucks this week:

• We debuted Joe Satriani’s first Black Swans and Wormhole Wizards webisode and new music by Sweet Cobra.
• Gwar’s Oderus Urungus answered more of your idiotic questions, The Red Chord’s Greg Weeks got unnecessarily rough, Daath’s Eyal Levi pondered the meaning of sacrifice, and Rumpelstiltskin Grinder’s Shawn Riley taught us how to make delicious hot wings.
• We spoke to producer/engineer/mixer extraordinaire Mark Lewis, The Contortionist’s Jon Carpenter, and Shred Sean from Blessed by a Broken Heart.
• We checked out new releases from Dawnbringer and Merkaba.
• We helped A Day to Remember struggle with young adulthood.
• We gave Jason Newsted a shoulder to cry on.
• We got excited that Byzantine are making a new record.
• The kid of the dude from the E-Street Band is out of Madball.
• We’ve decided that when we die, we want our ashes to be pressed into vinyl.
• Can you please help us find Elote 5?

Until Monday… don’t get alcohol poisoning…

-AR

I’m on a kick these days. My current kick involves trying to figure out exactly what the fuck people mean when they say certain things. Last “Jumping Darkness Parade,” I mentioned that I have no idea what anybody means by the word “great.” Well, here’s another one I just don’t get: “Sacrifice.” I know what the dictionary says it means. And there are a few different connotations for it. Sacrifice one thing in order to gain another. Or you could simply just be selling something at a loss.

So what does it really mean? I mean, clearly it has something to do with loss, but to what degree and under what conditions? When people say they’ve “sacrificed a lot,” what do they mean? Did they sacrifice their legs in combat for your freedom, or did they sacrifice going to Starbucks for a month so that they could buy a new iPhone? It’s another one of those words that gets thrown around with such frequency and with so much intent behind it, but is so subjective that I think it’s more of an accelerant for someone’s story than a word that carries much meaning… at least in most cases.

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Whether you realize it or not, you probably own an album that Mark Lewis has worked on. He started working with Jason Suecof at the already-legendary Audiohammer Studios for 2005′s Roadrunner United collection; since then, either working with Suecof or on his own, he has produced, engineered, and/or mixed a ridiculous number of major metal releases, including albums by Death Angel, Chimaira, The Black Dahlia Murder, DevilDriver, Trivium, Six Feet Under, Whitechapel, Demon Hunter, Charred Walls of the Damned, The Autumn Offering, and more. Hell, just last week we debuted a Holy Grail track, and didn’t even realize that Mark mixed the song until after the fact!

Mark is obviously ridiculously good at what he does, but he also happens to be a super cool dude — which is probably why artists are so ready to work him over and over again. In fact, Daath’s self-titled album, which Century Media will release on October 25 (pre-order it here), is his second time working with guitarists Emil Werstler and Eyal Levi (who co-produced and co-engineered the album with Lewis) just this year — he was also on-board for their excellent Avalanche of Worms album (and wrote a great guest blog for MetalSucks upon that album’s release).

When I was in Atlanta for a few days this past June visiting Daath in the studio (read my report here), I managed to pull Mark away from his console for a little while to pick his brain on the creation of this ridiculously good album. Read the full transcript of our chat after the jump.

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