Monday, November 25, 2002

Breed 77 Interview

Breed 77 Interview

Unlike most bands these days, Breed 77 is anything but an overnight success. Their trials and tribulations have mirrored that of many bands, but the success they have achieved, as an unsigned band is no less spectacular. One of Blistering.com is Australian correspondents, Justin Donnelly, caught up with vocalist Paul Isola at his home in Walthamstow (East End London).

“Oh man! I’m still waking up. This time difference sucks man. It’s 9.20 in the morning! I’ll be right though. I’m making the most of the week break between tours. We’ve been pretty busy touring, but we like it like that. We just came off the road with Ill Nino and Raging Speedhorn. And then we’re off on tour with Prong. Both Ill Nino and Raging Speedhorn have treated us really well. They’ve been awesome. Raging Speedhorn are really old friends of ours, and Ill Nino are Spanish Americans. We all speak Spanish, and we’ve been getting along famously. We badmouth terrible promoters and people around Europe in Spanish, and nobody would understand us. That was cool.”

While most would think that linking legendary industrial pioneers Prong with rock act Breed 77 was a clash of styles, Paul sees things differently.


“I’m looking forward to it! (After a short pause) We don’t approach tours in the sense of whether our music will suit theirs or not. It’s very hard to find people that go with our sort of music. We seem to fit in with a lot of people and yet no one at all. So I see this tour as an opportunity to play in front of somebody else’s crowd and also playing in a lot of places that appeal to us.”


After numerous years slogging it out on the local London underground scene, Breed 77 finally caught the notice of the mighty Albert Productions. The band may have breathe a collective sigh as all their hard work finally paid off, but they also knew that timing played a big part of that success. ďThe old saying that all good things come to those who wait is true.


”I’ll be honest here and say that for a while there we carried an enormous chip on our shoulders. We were asking ourselves why this was happening to us (Not being signed). After all, we’d been around and paid our dues. We’ve done this and done that. Once you’ve been in the grinder a couple of times like we have, you come to know the nature of the beast that is the music industry. Everything is up to chance, and there is no time scale in this. Things will happen when they want to. We’re just really happy that we did get a deal in the end. We now have the chance to get to places like Australia, Europe and the U.S.. We’re older and wiser and I think we’ll do better with our record deal now than if we had actually been signed five years ago.”


While some writers and musicians claim they hate putting a band into a genre box, it’s sometimes a necessary evil. Trying to label Breed 77 into any one genre is another matter entirely.


“First and foremost, we’re a rock band. I think that covers our music a broader sense. That’s the easy way out right? (Laughs) Basically we have many influences, I’d probably have to call it flamenco/Arabic/nu-rock kind of thing! (Laughs) Wait till our next album comes out. That’s going to be even harder to clarify.”


While Paul’s created a whole new genre tag for Breed 77, some critics have written the band off as another mere nu-metal band.


“I suppose that’s true to an extent, because we exist within that genre. I don’t listen too much of that stuff anyway. I think itís the nu-metal tag that puts me off rather than the bands themselves. I’m sure there’s some good nu-metal bands out there, but I can’t say I’ve heard that many. I don’t find anything particularly new about the nu-metal scene. If you mention rap rock, I think of Aerosmith with Run D.M.C., Public Enemy with Anthrax, Mordred and Faith No More. There’s also Rage Against The Machine, who have been doing that stuff for years. So you can tune your guitar down really low. So what! (Laughs) It’s just a different tuning to the guitar, but as far as being new, I don’t think so.”


For more information on Breed 77, check out - https://www.facebook.com/breed77.

© Justin Donnelly.

Saturday, November 2, 2002

Threshold - Critical Mass

 

Threshold
Critical Mass
Inside Out Music

I've always thought that the six-piece British outfit Threshold stood out from the rest of the progressive movement. Rather than become a Dream Theater clone (Like so many other bands these days), Threshold have been consistently been honing their individual sound since 1998, and with severely unrated results.
Last years Hypothetical was the album that really placed the band high in most writers favourite progressive albums of that year, and Critical Mass, Threshold's sixth album, looks set to do exactly the same.
While 'Critical Mass' pretty much picks up where Hypothetical left off, it would be unfair to call it a carbon copy of the same formula. Repeated listens highlights the subtle changes scattered throughout the opus. Opening number 'Phenomenon' provides the first distinct change, and that's the obvious overall heaviness of the material. While Hypothetical was dominated by the use of keyboards, guitars seem to win out on the mix this time around. 'Choices' follows the same dramatic chorus that make up the predominate feature of Threshold; while 'Falling Away' has the band slowing the pace just a fraction before the chorus lifts up proceedings. There's some heavy crunching throughout 'Fragmentation', while 'Echoes Of Life' has the soft strains of a ballad, yet soon turns into a mid paced rocker. One of the darker sounding tracks is 'Round And Round', with vocalist Mac (Andrew McDermott) really putting the effort and range to lift the song from what could have been a disaster in anyone elseís hands. The true ballad on the album goes to the shortest track on the album (Clocking in at close to five minutes) 'Avalon'. Unlike 'Keep My Headí (From 'Hypothetical'), this works well with the other material. The real epic arrives with the final track 'Critical Mass Part 1-3', and should please fans of songs within songs passages of music. Part one ('Fission') follows the same line as the album, while part two ('Fusion') allows guitarists Karl Groom and Nick Midson to wail away in Dave Gilmour style. Part three is a soothing acoustic outo that shows the other side of the band in a different light.
For a limited time, the album comes as a limited edition double C.D. that features the bonus C.D. single for 'Phenomenon'. Although the track is an edited version, its 'Do Unto Them' and 'New Beginning' (Both previously unreleased) that really is the prize. Both tracks could well have come off the album, and are not merely throw away tracks. Also on the bonus C.D. is a multimedia section featuring a documentary video, studio video footage and diary, screensaver, musician pages, exclusive photos, artwork and demo recordings. If you're tired of the Dream Theater clones, cheesy keyboards, singers that struggle to sustain notes, or you want something completely different, then this album may be just what you're looking for.


For more information on Threshold, check out - https://www.facebook.com/threshold.

© Justin Donnelly.