Brewing up a wonderful headache of a sound on their debut full-length, Swedens Crowpath are set to bend and blow a few minds with this half-hour assault on your miserable senses. Embracing a technical proficiency and an angular, progressive approach to writing reserved for the likes of Keelhaul, Knut and Mastodon, these songs may make absolutely no sense and arent memorable in any way, shape, or form, but they utterly decimate while the disc is spinning. Led by Erik Halls incredible drumming, the band weaves and twirls through these musical labyrinths, laying waste to the entire metalcore genre in one fell swoop with this excellent display of aggression, musicianship and disregard for whatever may be hip today. Apart from the simple sludge of the title track, Red On Chromes only fault is that its just too much to try and comprehend. Which, of course, isnt really a fault at all.
I love the production sound. Did it come out the way you wanted it to? Hall: It was really great to record with Fredrik Reinedahl, he understood exactly what we wanted. I think we wanted it even filthier; it was on the border to pure noise, so it was good to have him put an end to all the madness at times. I guess we wanted the sound somewhere between the early Autopsy records, Converges When Forever Comes Crashing and Breachs Its Me God albums. Whether some tones or hits on the drums got lost in the blur didnt really matter. We just wanted it heavy and I think the end result is very satisfying.
What do you get out of playing music this heavy? I dont know if we ever think of our music as heavy, its just how it is. None of us are really familiar with writing pop or rock songs so this way of writing and playing music has just become standard. Its just fun, and having fun is an essential modern human need. I just love playing the drums, and with our music there is a lot of room to experiment and try new things.
Was it hard to put Red On Chrome together? We worked on the material for about a year and a half. We write songs really slow so it took a lot of work to get it together. The last song on the CD didnt even exist until the day we came to the studio and we just wrote it while recording the other stuff. The record is pretty compact so we wanted to end it in a different way.
(Willowtip)I love the production sound. Did it come out the way you wanted it to? Hall: It was really great to record with Fredrik Reinedahl, he understood exactly what we wanted. I think we wanted it even filthier; it was on the border to pure noise, so it was good to have him put an end to all the madness at times. I guess we wanted the sound somewhere between the early Autopsy records, Converges When Forever Comes Crashing and Breachs Its Me God albums. Whether some tones or hits on the drums got lost in the blur didnt really matter. We just wanted it heavy and I think the end result is very satisfying.
What do you get out of playing music this heavy? I dont know if we ever think of our music as heavy, its just how it is. None of us are really familiar with writing pop or rock songs so this way of writing and playing music has just become standard. Its just fun, and having fun is an essential modern human need. I just love playing the drums, and with our music there is a lot of room to experiment and try new things.
Was it hard to put Red On Chrome together? We worked on the material for about a year and a half. We write songs really slow so it took a lot of work to get it together. The last song on the CD didnt even exist until the day we came to the studio and we just wrote it while recording the other stuff. The record is pretty compact so we wanted to end it in a different way.
