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The Dillinger Escape Plan Sign To Sumerian – Teaser Video For New Album

Math-core metal monsters The Dillinger Escape Plan have found a new home. They have recently signed with Sumerian Records whose roster includes other heavy-hitters such as Born of Osiris, Stray From The Path, Asking Alexandria, and more. Dillinger plan to release their newest album in the spring of 2013 under Sumerian along with their imprint, Party Smasher Inc. Check out the teaser video below to remind you just how excited you should be for their next diabolical concoction of visceral mind-numbing carnage.

If you like The Dillinger Escape Plan, then you might also like OurStage’s own Draconic.

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The Dillinger Escape Plan Start Recording New Album
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Dallas Green Finshes Recording New City And Colour Album

All you City And Colour fans out there, get ready for Dallas Green’s next installment of folksy sorrow through soulful singing. According to the Canadian singer-songwriter’s Instagram, recording for the new album is finally done “right before the final #alexisonfire tour!” For those of you who don’t know, Green’s former post-hardcore band Alexisonfire, who broke up last year, are about to embark on a long overdue farewell tour starting on December 2nd in London, UK. While it is sad to see them go, the world has a lot to look forward to with City And Colour’s newest release.

If you like City And Colour, then you might also like OurStage’s own Justin Branam.

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Moneen To Support Alexisonfire For 7 Farewell Tour Dates
P!nk Announces Surprising Support For Upcoming Tour
Crossroads: When Fans And Bands Go Their Separate Ways

The Dillinger Escape Plan Start Recording New Album

Visceral math-core metal masters The Dillinger Escape Plan are overdue for a new album. Luckily, according to vocalist Greg Puciato‘s Twitter, a follow up to 2010′s Option Paralysis is in the works:

“Oh, and The Dillinger Escape Plan officially began recording our new album today. It is indeed a good day.”

You can say that again. What to expect from this next release? Probably a lot of mind-bending riffs and rhythms mixed with some sort of jazz fusion, or perhaps they’ll throw us a curveball like a cameo from Australian pop star Kimbra. Who knows! But you can bet yourself that whatever it is, it will not be for the faint of heart.

If you like The Dillinger Escape Plan, then you might also like OurStage’s own The Summoned.

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If You Can’t Beat ‘Em, Repeat ‘Em! – Bands Forge Own Tracks To Spite Record Labels

Classic bands like Def Leppard, Aerosmith, and Squeeze seem to have found a clever way to get back some of that royalty money they’ve been missing out on for all these years. While many of these bands’ record companies still own the master recordings that made the bands famous, most of the labels do not own the music itself. This means that a band like Def Leppard could decide to, let’s say, re-record their entire catalog of songs down to every last production detail to the point where the tracks are completely indistinguishable from the originals. We’ll call this the golden loophole. Continue reading ‘If You Can’t Beat ‘Em, Repeat ‘Em! – Bands Forge Own Tracks To Spite Record Labels’

Tour Update Day Seven: Jitta On The Tour Bus Track

Inspired by his new tourmates Waka Flocka Flame, Drake, and Meek Mill, “Rise” Competition winner Jitta On The Track decided to build a makeshift studio on his tour bus. Check out this video of Jitta rapping over some fresh beats and follow OurStageLive on Instagram for behind-the-scenes photos from the Club Paradise Tour!

Exclusive Q&A: MuteMath Revive Their Creativity

OurStage Exclusive InterviewsAfter a rough recording experience with 2009′s Armistice, New Orleans rockers MuteMath decided to reclaim creative control. The result is Odd Soul, a back-to-basics, bluesy record that speaks to the band’s live strengths, first and foremost. The album inspired the band’s upcoming Odd Soul Tour, which features breakthrough 3D video technology on top of stellar performances from both MuteMath and opening act Canon Blue. OurStage caught up with drummer Darren King to talk about how the band were able to revive their creativity, what gets him pumped up to perform and his goals for 2012.

OS: You had some difficulties with the making of [2009's] Armistice, specifically with songwriting and working with a new producer. What did you learn from that experience and how did it influence your approach to recording this time around?

DK: I learned a little bit about not making things any more difficult than they need to be. I learned, through that process, the most valuable lesson I learned in my career so far. Of course, there are difficulties and parts of it that are frustrating, but you’re not supposed to hate music. You’re not supposed to hate the process. It’s fine if it’s a little arduous, a little frustrating, if you get stuck and get writer’s block…all of that’s good. But there’s always supposed to be this passion in it, it’s not supposed to be just this uphill climb, feat of strength just go get through it. From that point on, I vowed to make it fun. And whenever it gets gross, I start over again, in regards to songwriting, or the process of creating. You’re supposed to feel like you’re cheating at life by getting to do this for a living. And I try to present that, I try to fight for that now, and a big part of that, oddly enough, was not having a producer for this record, and it being just the three of us.

OS: Odd Soul is the first album you’ve made without original guitarist, Greg Hill. How did this change affectyour approach to the new album?

DK: Todd [Gummerman, guitarist] didn’t come into the picture until after the album was finished, so we had all of the guitarists that any band would ever need, and our bass player, Roy [Mitchell-Cárdenas]. [Roy] did a marvelous job of bringing all kinds of creativity and spark to the process to the process. I think he had a lot pent up in him too; he’s a talented guy.

He was a guitar player before he did anything else, so that was an easy transition. He stepped up, too. He’s a father of two, and both he and our lead singer were expecting children during the recording of this album. Roy would drive all the way from Miami to New Orleans, he’d drive through the night, and show up with a great attitude. It was really inspiring. And now we have our new guitarist. As we were finishing our songs in the studio, I would send them to him, and he would tell us that they were fun to play. He worked really hard to get ready for his audition. We were expecting to audition Todd in person, but he got to a place where he knew the songs well enough that he got tired of waiting for us, and he’d just email us his takes. He would play the songs, record himself, sing along, play along and he’d email it to me…and I thought that was ballsy! It made it easy; definitely our first audition via email!

OS: It’s rare to see a drummer that is so involved in the songwriting process. Does Mutemath have a certain method for how you write together?

DK: I think I’m more involved than you even know! Right now, I’m putting together our live video show and it’s time consuming, but I love it. This is probably the first time I’ve mentioned this…we’re doing a very exciting, 3D video show on this next tour. It’s been very tedious, but we’re working with some people in New York and some people in Nashville and we decided to try and go all in on this tour to make it big. So currently, my days are spent programming and animating video for this live show…it’s a new-found interest of mine.

OS: Odd Soul has a more blues-influenced sound than Armistice. What was the cause behind this shift in sound? Were there any particular artists that influenced you while writing this record?

DK: It’s so funny how the influences that I think I’m going for the most, don’t really seem to be the ones that come through in the end product. I’m not sure if that’s a good thing, either. But Roy’s playing opened up a lot of opportunities for us. All we were going for was something that would go great live. All the bluesy-ness didn’t so much come from us saying, “Let’s try to do something a little Jimi Hendrix-y,” or, “Let’s do some Led Zeppelin riffs.” It was really that we didn’t want to make a sleepy album. We didn’t want to make something that would be convoluted, live. We wanted to make something that would allow us to play to our strengths as a live band. The whole idea behind the record was to set up the tour that we’re about to do now. The big tour, with the video show and the lights and all of the antics. After Armistice, we released a live record, and I remember reading a review of it that said something like, “Why is this MuteMath’s best record? Why is their best record this live record?” And I thought, well, it probably makes sense that it is, to them. There’s probably some switch that we turn off when you go into the studio. Music can be a little like taxidermy. You can start replacing the real stuff with the glass eyeball and get real meticulous with making things seem real. And I think it has to be that way, to an extent, whenever you do music in the studio. So we tried to make [Odd Soul] sound more real.

OS: You’ve had your songs featured on the soundtracks for major motion pictures like Twilight and Transformers. How have these placements changed or impacted your fan base?

DK: Don’t forget The Sisterhood of the Traveling Pants 2! Yeah, we did get some younger fans through Twilight, and I loved it. We got some hatred through Transformers. Some people loved it, but there were some hardcore Transformers fans that were livid that it wasn’t heavier, like…[metal growl]

OS: Before the new album dropped, Mutemath played some smaller clubs on the Odd Soul Introduction Tour. How will this upcoming tour be different from those shows?

DK: It will be longer. Right now, I’m not making any promises, but right now, the setlist we have has about twenty to twenty-two songs in it. We’ll have a great opening act in our friend Canon Blue, he’s out of Nashville, on Rumraket Records. He’s great. A great musician, great songwriter. We just decided, at this point, not to take out bands that we don’t like, but will sell tickets.

I’d just really rather not subject our fans to that anymore. Actually, we’ve done a pretty good job at taking out artists that I like. But we had a couple opportunities to tour with bands, and we’re gonna go for quality. We do want to make this the most absurd show we can and I want everyone to feel like they got way more than their money’s worth after the show, and I want to make it the best tour we’ve ever done. I’m certainly excited about this 3D video. We’ve got this really neat set behind us, and I think it’s technology that’s going to be pretty common in a year. I’m glad that we’re doing it now…I feel like we’re ahead of the game if we do this tour this way. If we did it next year, someone else will have done it before us.  I know [electronic musician] Amon Tobin has done crazy stuff with projecting on 3D structures…you see it a lot with electronic artists, but I don’t know a band that’s done it yet on a tour. So the goal, unless someone sneaks in there next week, we’ll be the first band to take that kind of stuff on the road.

OS: You mentioned Canon Blue earlier…what can people seeing him for the first time expect from his performance?

DK: He’s an electronic artist. He’s opened for Miike Snow, I think that was a really good fit. So, stylistically, fans of Miike Snow will also enjoy Canon Blue. He’s done a good job with mixing a lot of really beautiful elements with some intense, glitchy electronics, as well. I know he got the Amiina Quartet to play on his record, the same group that played for Sigur Rós. So he’s got a lot of pretty strings on his record, and he’s a good singer too…it’s going to be my favorite tour, I’m pretty positive of it. Unless something goes wrong! [laughs]

OS: You guys are known for having a pretty wild live show. What inspires your stage presence? Do you tendto be more consistent with the performance aspect of the set, or more spontaneous?

DK: I’ll only speak for myself, because I think the other guys would give you a different answer… but I’ll tell you what makes me wild on stage. I’m a little hungry for attention, and you certainly get it whenever you perform. People clap for you after every single song. I can’t think of anything else where I get that much attention. From the very first show we ever did, God, it got me really excited. I’m not an only child, but my brother and sister were both teenagers when I was born, and I was just alone a lot. I would spend hours in my bedroom playing drums, pretending there was an audience in front of me. Or I would put on my Paula Abdul record and dance as a background dancer and pretend there was an audience. I look back and realize that a very large portion of my time alone as a kid was pretending I was in front of a bunch of people.

I’d even do speeches. I memorized the Gettysburg Address and I would do it in my bedroom for, I guess, a bunch of soldiers? I was raised in church, and Paul did this too, he’d preach, his family would make him preach for people…and I would preach to no one in my room. That was just my thing, I guess…pretending I had an audience. And when I finally got one, I think I got way too excited. I just get pumped up. It’s exhilarating. And to be honest with you, I’m addicted to it. Sometimes I play hard because I love it. If I’m tired but I’m still playing hard, it’s because I don’t want it to end. I’m scared of the day when I don’t have an audience in front of me. I don’t like myself when I go too long without playing a show. I’ve gotten a little bit better about it, I think being married helps [laughs]. If one person approves of you after seeing you at your worst, then that does mean more than a bunch of people who think you’re cool whenever you’ve got a bunch of smoke and mirrors. I used to go through intense withdrawal, really bad, whenever we didn’t tour enough [laughs]. So yeah, it’s kind of an addiction thing. I get excited about people, I’m like a dog! [laughs]

OS: Since we just started a new year, what’s something you hope to accomplish this year that you haven’t done yet?

DK: Like my resolutions? My New Year’s resolutions are: to not sit down to pee, because I end up playing Words With Friends on my phone…just sitting on the toilet for too long. It’s just such a waste of time. Being on the toilet for five minutes after you’ve gone to the bathroom is just dumb. I’m also going to stretch daily. As a band, we’ve already made a couple music videos, we want to make another one. We get to go to Australia and we want to make a good impression there. And I want to be a good son, a good sibling, a good husband, a good drummer. OK, here’s the real one: to get into a creative habit with music. When we’re control freaks like this and we’re working on video and working on the tour so much, I’m starting to miss getting to make new songs. So just to do a little bit every day, with songwriting, so it doesn’t take too long to come out with the next record.

This is definitely a show you don’t want to miss! Catch MuteMath’s Odd Soul Tour on these dates:

01/26 Houston, TX at House of Blues
01/27 Austin, TX at Stubb’s
01/28 Dallas, TX at House of Blues
01/29 Tulsa, OK at Cain’s Ballroom
01/31 Denver, CO at Gothic Theatre
02/02 Los Angeles, CA at Club Nokia Live
02/03 San Diego, CA at 4th and B Concert Theater
02/07 San Francisco, CA at The Regency Ballroom
02/08 Sacramento, CA at Ace of Spades
02/10 Seattle, WA at Showbox SoDo
02/11 Spokane, WA at Knitting Factory
02/12 Boise, ID at Knitting Factory
02/14 Salt Lake City, UT at Club Sound
02/16 Kansas City, MO at Beaumont Club
02/17 Chicago, IL at House of Blues
02/18 Minneapolis, MN at First Avenue
02/28 St. Louis, MO at The Pageant
03/01 Grand Rapids, MI at The Intersection
03/02 Detroit, MI at St. Andrew’s Hall
03/03 Columbus, OH at Newport Music Hall
03/04 Cleveland, OH at House of Blues
03/07 Boston, MA at House of Blues
03/08 New York, NY at Best Buy Theater
03/09 Philadelphia, PA at Trocadero
03/10 Washington D.C. at 9:30 Club
03/11 Norfolk, VA at The Norva
03/14 Charlotte, NC at Amos’ Southend
03/16 Ft. Lauderdale, FL at Revolution
03/17 Orlando, FL at House of Blues
03/18 Atlanta, GA at The Tabernacle

Exclusive Q&A: Opeth Unleashes Their Heritage

OurStage Exclusive InterviewsA few months ago, we featured a post celebrating twenty great years of music by Opeth (which you can read here ). Obviously, we have lots of respect for Mikael Åkerfeldt and company. They’re progressive death metal juggernauts who never seem to disappoint fans and critics. Despite numerous great albums, amazing tours and boatloads of positive critical reception, they’re still hard at work, releasing their tenth album Heritage earlier this year. Not too long after our article was published, we were able to put together an interview with the frontman of this iconic band, and it was well worth the wait.

OS: Opeth has been in the metal world for quite some time now, and you’re considered by many to be one of the best metal bands of all time. What helps you put out such great material so consistently?

MÅ: Well, we don’t really regard ourselves in any way as one of the best bands or whatever, we just try to write and record music that we want to hear, and I guess the big difference is that we have a wider range of influences than your regular metal band. I mean, we’ve been around a while of course, but really we’ve just been putting out records we want to listen to, first and foremost, and I guess we’ve just been fortunate that other people like that shit as well.

OS: Speaking of that, the critical reception of Heritage has been pretty great, and it sold pretty well, even though it’s quite different than your other material. How do you feel about the album’s reception so far?

MÅ: I’m pretty happy with it I think, but I don’t really go looking for it. I’m not really seeking approval from anyone. You know, even if I like getting good reviews and people telling me they like the new record, it doesn’t really matter so much for me anymore, I can’t really say why. I love it, you know, and that’s all that matters.…If you go on the Internet looking for some type of approval you’re gonna end up with a lot of shit too, and I don’t really need that in my life right now, to be honest. Continue reading ‘Exclusive Q&A: Opeth Unleashes Their Heritage’

Behind The Mic: The Power of the “3P”

With the cost of recording and manufacturing albums these days, many artists are opting to record and release songs in smaller bundles more frequently throughout the year. They are then forced to decide if it’s more beneficial to release a single or an EP.

The perfect middle ground is the “3P.” The 3P derives its name from the combination of “three songs” and “EP.” So what makes this tiny collection of songs so perfect?

From an artist’s perspective, the 3P is much more convenient than making an LP, on nearly every level. If you’re starting from scratch, writing three songs shouldn’t take more than a few weeks. In addition, recording (even with a producer who charges more than most) is significantly cheaper than it would be for an LP. Ultimately, you’re giving more music out than you would for just a single and providing a more in-depth look at your band’s sound.

Justin Branam's 3P

The 3P is also perfect for sending out with press materials  to booking agents and promoters. You aren’t flooding them with too much material, but you’re providing them with just enough music to show off your style and versatility. It’s also the ideal length for streaming on a Web site and will allow for cheaper album prices that fans will be much more willing to pay.

OurStage artist Justin Branam released a 3P called Introducing Justin Branam in May of last year, which showcased his soulful acoustic songwriting in just under 15 minutes. Though short, the album received rave reviews (and is available for just $2.97 on iTunes!). On the opposite end of the musical spectrum, rapper Bubba Sparxxx released a 3P called Miracle on Gamble Road just two weeks ago, his first new release since May of 2009. In this case, the 3P is being used in between LPs as a way to keep fans satisfied until his next full-length drops.

If you’re short on cash but still want to make a record, look no further than the 3P. Whether you choose to make a cohesive mini-album or have three completely different songs, you’ll be able to give current fans (and future fans) a taste of what you can do!

Q&A With Meg & Dia

For most bands, being dropped from a record label is a devastating experience. But for Meg & Dia, it was a blessing in disguise. The indie pop group, founded by sisters Meg and Dia Frampton, took a break from life on the road and decided to self-record and release new material on their own. The band stayed in an isolated cabin to cultivate their creativity for their new EP, It’s Always Stormy In Tillamook, which will be released on November 2nd. We caught up with Dia to learn about life off the road, the recording process for Tillamook and the band’s future plans.

OS: How has the writing process for the upcoming release been different than the writing process for Here, Here and Here?

DF: We wrote a lot more together as a 5 piece band.  We usually just forced us to sit in a room all together at first.  It was uncomfortable because we weren’t used to it, but after a while someone would start to play a riff or I’d get a melody in my head and we’d build off of it.  Also, for the songs I wrote all by myself, I tried to write lyrically more simple, because I’ve learned from my past that less is more.

OS: You wrote a blog about your separation from Warner Brothers and trying to find a job in New York. Is it difficult to transition back into a “normal” lifestyle after touring the world?

DF: It is very difficult!  In fact, today I was just talking to my roomies about how odd it is to find myself in a routine.  I get up at 9:30.  Shower, eat breakfast.  Go for a walk.  Commute to work, one hour away.  Work for 8 hours.  Take a break, in which I read and get coffee. Commute back. Watch How I Met Your Mother.  Eat dinner.  Read.  And go to bed.  It’s all very odd.

OS: What do you miss most about being on the road?

DF: Of course, playing music, and then meeting so many wonderful new people.
OS: The new material was recorded in a cabin in Oregon. What made you decide to go this route and is your music going to have more of a “homegrown” sound to it this time around?

DF: We wanted it to be really low key.  No chunky double guitars, auto-tune, perfect isolation. In fact, I think you can hear the dishwasher going in one of the songs. We set up the studio in a little cabin, so we were all just secluded in with each other.  There were no parties to go to like when we recorded in L.A.  No big industry shows or distractions.  We were literally in the middle of nowhere and it was awesome.

OS: You have always incorporated fictional stories into your lyrics, both ones that you’ve read and ones that you’ve written yourselves. What literature or music has inspired you the most in the writing for the upcoming release?

DF: I wrote mostly about my life and the things that have happened.  I still enjoy reading but none of the songs save for one, called “Teddy Loves Her,” is actually about a book.  ”Teddy Loves Her” was written actually about a romance novel that I wrote in my spare time!
OS: You perform acoustic often and you’ve even recorded some songs and videos in your bathroom, like “Halloween” and “June Gloom.” Do you ever plan on doing an “acoustic only” tour or album?

DF: I think it is definitely a possibility. 

OS: You’ll be releasing a new record next year. Is the EP a preview of the album or are they two separate pieces?

DF:  They are two separate pieces.  There might be a song or two from the EP that end up on the record, but for the most part, they are their own people!

OS: Can you tell us about the tour you’re going on?

DF: Yes…we are touring with opening bands that I think are great.  We are very, very excited.

Catch Meg & Dia on tour this fall with Joey Ryan and The Spring Standards:

Nov 09 – Salt Lake City, UT – Avalon Theater
Nov 12 – Modesto, CA – Modesto Virtual
Nov 13 – Bakersfield, CA – Jerry’s (w/The Rocket Summer)
Nov 14 – Hermosa Beach, CA – Saint Rocke
Nov 15 – San Diego, CA – Epicentre
Nov 16 – Scottsdale, AZ – Martini Ranch
Nov 18 – San Antonio, TX – White Rabbit
Nov 19 – Woodlands, TX – Shadowplay Lounge
Nov 20 – Denton, TX – Hailey’s
Nov 21 – Metarie, LA – The High Ground
Nov 23 – Orlando, FL – The Social
Nov 24 – Douglasville, GA – The 7 Venue
Nov 26 – Hoboken, NJ – Maxwell’s
Nov 27 – Philadelphia, PA – Barbary
Nov 28 – New York, NY – Webster Hall
Nov 30 – Pontiac, MI – The Crofoot
Dec 01 – Columbus, OH – The Basement
Dec 02 – Chicago, IL – Beat Kitchen
Dec 03 – DeKalb, IL – House Cafe
Dec 04 – Minneapolis, MN – Triple Rock Social Club
Dec 05 – Des Moines, IA – The Vaudeville Mews
Dec 07 – Denver, CO – Soiled Dove

Tune Up: Presonus FireStudio 2626 Review

It’s been a few months now on this Tune Up column, and I’ve spoken a lot about recording techniques, studio equipment and gear reviews. While I reviewed the Line 6 TonePort, I haven’t  given you a review of any large recording/audio interfaces yet. Well, this week I will oblige fellow recording nerds with a review of one of the current interfaces that I use in my own home studio. The PreSonus FireStudio 26×26 is a firewire-connected recording interface with a complete arsenal of inputs, outputs and features.

PreSonus FireStudio 2626

— 24-bit/96kHz sampling rate

— 8 preamp mic inputs

— 8 channel ADAT (ins and outs)

— S/PDIF ins and outs

— Surround mode (quickly switch from this and stereo)

While there are obviously a lot of other really in-depth control options (both through included software and on the device), these are the ones that I really want to draw attention to. To begin, the FireStudio 2626 has the highest bit depth/sampling rate that I would ever need for recording (much too high for the human ear to hear any bad artifacts).

The most attractive feature, to me, is the amount of parallel mic/line inputs. They are combination TS and XLR inputs (two of which are Hi-Z instrument inputs, and the rest are line; all the XLR’s have phantom power). The XMAX preamps are some of the best I’ve used. They are very clear and are even a little warmer than normal, dry interface preamps, eliminating the need to use external preamps in most cases. The ADAT in/out can easily extend your microphone inputs by connecting it with other ADAT devices that have more XLR ins (commonly referred to as “lightpipes”). The device is rounded out with S/PDIF and surround sound options.

I’d like to close this post by mentioning that the “FireStudio” and “FirePod” lines contain many different options at different pricepoints. The FP10 and FireStudio Project contain all the preamps and line ins/outs but don’t offer the ADAT flexibility. Beyond this, PreSonus also offers a FireStudio lightpipe (connected using ADAT). Just grab two of these and you have an interface with 24 parallel mic inputs, all seen separately on your DAW even if recorded simultaneously. The units can be a little expensive (anywhere from $399–$699), so I would only recommend this for at least a mid-level home studio. It’s great for drums, vocals and live instruments, though. Even PreSonus advertises it as a means for recording full bands at live shows. With such versatility, I recommend looking into this for your project studio.


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