Torrenten erocN<- fentvan a 2010-es album!!! Zuuuuznak!
Rég nem írt senki ide a fórumba, pedig azóta már a Transgression is megjelent. Jó hír, hogy a Fear Factory jön a Szigetre!
Valószínûleg egy "listening party" anyaga lehet, mert az eredetiben nem beszél senki, bár mit értesz beszéd alatt... :)
végighallgattam egy albumot, de vannak elég furcsa részek, amikor fél percig semmi zene csak beszélnek, meg hasonló szinvonalas dolgok. egy cd ripbe hogy kerülnek ilyenek??? vagy tényleg ez volt az eredeti cédén?
Jó ötlet. Annál is inkább, mivel ott az amerikai digipak is kapható, amivel random csomagolják vagy a már említett Ausztrál turné DVD-t, de kifoghatsz egy "behind the scenes & making of archetype" DVD-t is. Ráadásul az még olcsóbb is, mivel nem a Roadrunner terjeszti az USA-ban.
akkor lehet holnap lesz kiterom headbanger fele... bar az uj machine head dvd-t is be akarnam szerezni:)
Végre valahára kapható. Digipak és normál verzió is kijött belõle, de érdemes a DVD miatt inkább a Digipak-ot megvenni. A DVD-n az Ausztrál turné, a lemez felvétele és a videó felvétele található, meg persze live klipek (replica) és egy próbáról is vettek fel dolgokat, Raymond a Cyberwaste-t nyomja elõben, brutális. :)
hat csupa olyan dolog amit mindenki vag....:] de ezzel a maguktol nyulas temanal arra gondoltam hogy szinte csak dino riffek vannak es ezert nem volt nehez... pl van ilyen tok replica stilusu szam szinte abszolute ua felepites stb:] a hangzas meg siman digimortal imho es inkabb utobbi lemez fele hajlik az egesz persze a regi elemek is dominalnak... szal tisztara remake de megse az:) meg is vmi uj:]
Boltból? Mert akkor csak itt nem lehet kapni, hogy rohadnának meg. Egyébként általános hiba ez a 'maguktól nyúlás'-vélekedés. Nézd meg, mi az album címe. Archetípus. A FF lényege. Ráadásul visszatérõ lemez. Láttál már olyan visszatérõ zenekart, akik valami totális kísérletezõs anyaggal próbáltak visszakapaszkodni? :) A helyzetbõl adódóan nem is lehetett más az anyag, de megnyugtatásra íme két kiragadott rászlet:
MunX: So the album really sounds you’re mixing up the older stuff with the newer material of Fear Factory… Yeah it definitely is! We’re not going to do something new. This is Fear Factory! Especially with those line up changes, I don’t want to bring a record to the table that sounds totally different. Because now people are telling me that it sounds like the old stuff! And that’s exactly what I was trying to go for. I wanted to grab all the best elements of Fear Factory, the techniques we used in the past, the songwriting…I knew what I wanted to do and it was really simple, just Fear Factory formula you know? And like…what elements of what records do people like the best? Grab those and create a new track out of it.
I know for a fact that if we’d try something new than people would tell us it doesn’t really sound like Fear Factory, so the fans would be disappointed. They want Fear Factory, they don’t want something new. They can listen to like Slipknot or any other band if they want something new. We are Fear Factory, so you got to stick to that formula. I strongly admit it, I wasn’t trying to reinvent the wheel or anything.
" Hey Christian, this is Anexanhume over at the forums, and I just wanted to compliment you on a great transistion to guitar duties. Your stuff is very brutal and hard hitting, but I had a few questions for you. Do you intend to vary your style and go for stuff that is a little more catchy like around the demanufacture era? I realize it's all up to you creatively, but it's riffs like the beginning of Pisschrist that make me thank the heavens for FF. I know it seems as though I'm putting you in the shadow of Dino, but I'm just suggesting you vary things up a bit more. Unfortunately, things sort of came off to me as one dimensional as far as the record goes, and I'm certain you are capable of mixing it up a bit. Innovate, that's what FF is known for. Anyway, I'm not going to sit here and attempt to order you to change your style. Rather, I just thought it would be nice if you got some input from the fans Take it easy, and congratulations on Archetype! Anex."
His response "Sup man, i was more worried about delivering what FF needed at that time under the pressure we had. Next record will be alot different...but i'm not trying to be a guitar hero..just a good songwriter... thx for your support! Chr"
Ezért nem szerettem az MH-s ajánlót sem, mivel a cikkíró kissé felületesen kezelte a dolgot és nem keresett értelmet az eseményeknek vagy akár magának az anyagnak.
noh vegre nekem is megvan az uj lemez... nos tokeletes lemez... egyetlen bajom hogy olyan mintha maguktol nyultak volna:) olyan mintha christian dino riffeit zuzna... jelenlegi basszerosrol inkabb nem alakitok velemenyt:] lemezen ugysem o tolja hanem szinten christan... de ugytunik kezdi kinoni a hiphop fassagait ami mar pozitiv es mar egesz emberi kepe lett:]
Ipari metál :DDDD vhogy az ipari zenekarok bejönnek, csak azt hiányolom belõle hogy nem elég punkos :)
Gondolom... :) Elvileg már négy napja kijött...Európában... A Record Express viszont a nevével ellentétben nem sieti el a dolgot, egyelõre sehol nem lehet kapni, talán majd jövõ héten. Az is vicces, hogy míg az USA-ban $8-ért megveheted addig Európában -ahol még mindig a Roadrunner terjeszti- legalább 22$-25$-t kell leperkálni...mulatságos kis kiadó ez a Roadrunner, nem csoda, hogy meglógtak tõlük FF-ék. Mindegy, DigiPak meg DVD, nem lesz rossz így sem. :)
A DigiPak:
Szevasztok! Nem nagyon jártam még itt a zenei részlegben, de jó ötlet volt idejönni. Az új lemez kivételével megvan minden FF korong eredetiben. Nagy királyok ezek a figurák. Még nem sokat hallgattam az újat, de eddig jobban tetszik, mint a Digimortal.
Tessék megvenni eredetiben! :) Egyébként miért nem töltöd le? Mondjuk én is fel akartam rakni egy kis elõzetest tegnap, de a rohadt tár.hu nem engedi feltölteni még bmp formátumban sem.
Most csak Digipak verzió lesz meg egy plusz DVD-s változat, rajta a Perth-ben forgatott Cyberwaste videóval és a 2004-es BDO anyagokkal.
Sajnos már letölthetõ az Archetype. Tényleg afféle 'back to the roots' dolog lett, gyilkosabb mint valaha és dallamosabb mint valaha. Dino-t persze nem lehet pótolni és mindig hiányozni fog, de ez az anyag így is remek lett. Más, de jó. Ez már tényleg egy más Fear Factory.
ja jó, csak ugye a SS elsõ 2 albuma is ilyen betûtípussal készült...
Nem mondhatnám. Amit hallottam tõlük, túlságosan is RoadrunneR-es nu metalnak hangzott. Bár lehet, hogy csak nem a megfelelõ számokat hallottam. :) Valami ajánlat tõlük?
hm...ha az ég kegyes, valami ripper-csapat jóval elöbb felnyomja a netre...ha csak nem fogják 7(*9) lakat alatt õrizni...persze ez nem mentesít majdan a megvásárlástól :)
Végre! Elkezdõdött a keverés...Vancouver-ben, Greg Reely hangmérnökkel! Ez volt az egyetlen, amiért még drukkoltam. Összejött ismét a Demanufacture-gárda: Rhys Fulber (az ötödik tag :) ), John Bechdel (FF turné billentyûs, AotW billentyûs/hangmérnök) és most az egyetlen hiányzó tag, Greg Reely is, akinek a Demanu hangzását köszönhetjük (részben). Azt hiszem valami nagy dolog készülõdik odadát, hogy aztán áprilisban leszakítsa az arcunkat!! :)
Nekem mindig is az volt. :) Zsigerbõl hányok a rap/hiphop mindenféle megnyilvánulásától, szóval nem vagyok épp elragadtatva, hogy õ lett a 'boss'. Azonban ha végre sikerül összehozni egy méltó folytatást, akkor szavam se lesz többé. Viszont ha a legapróbb jelét is találom rap-nek, akkor rohadjon a pokolban... Egyet nem lehet rá mondani; hogy rossz basszer/gitáros, mert tényleg nagyon ott van. Más kérdés, hogy szerzõnek is olyan jó-e, mint elõadónak... Másrészt annak ellenére, hogy nagyon komálom és tisztelem a munkásságát, Dino nem épp a szeretetreméltó természetérõl híres, tehát a többieket is meg lehet érteni valamilyen szinten.
Igaz. Az viszont, hogy pótolhatatlan-e vagy sem, kiderül áprilisban. Én személy szerint persze sokkal jobban örülnék, ha még együtt lennének. Talán majd a húszéves évfordulón... :) Brujeria: Viva Don Quixote Marijuana! Viva La Migra! Viva Brujerizmo! :)))
de télleg mekkora volt már... van koncert klippem tõlük, és a nagy pogó résznél el kezd ugrálni... de télleg isten igazából... hááát... nem sok maradt a színpadból
Nincs mit. Jó olvasgatást. :) Bár kezd eldurvulni a dolog. Nézz el az újraindult honlapra...elõször ez a "the infection has been removed" most meg "nothing you say matters to us"...sajnálnám, ha le kéne mondanom a konceptalbumokról. Pontosan a filozófia miatt tartom õket nagyra, de ordenáré gyalázkodásra nem igazán volnék kíváncsi. Vajon mitt tett Dino, amiért ennyire gyûlölik?? Csak találgatni tudok, de szerintem megpróbált keresztbetenni nekik az új album kapcsán...másra nem tudok gondolni. Talán soha nem tudjuk meg, mi zajlott köztük az utolsó idõkben, engem mindenesetre eléggé elszomorít ez az egész, hisz jóbarátok voltak és annál kevés drágább dolog van.
... On Dino's statement that FEAR FACTORY could continue without Christian: If Christian were to have left the band, I wouldn't have continued. Christian is one of the best bass players there are—he really contributed A LOT to this band. The sound of FEAR FACTORY after Demanufacture—on Obsolete and Digimortal—had a lot to do with Christian. Some fans may have liked that, some fans may not have liked that, but for the better or worse, Christian made a big impact on this band, whether Dino wants to admit it or not.
On the five songs written and demoed in instrumental form for what would have been FEAR FACTORY's fifth proper full-length CD: In January, Dino and I were putting songs together for the new record. Dino said in the interview that he was writing the songs. We both wrote the five songs [together]. That's typical Dino—trying to take the credit for everything.
On Dino's assertion that the aftermath of September 11th was largely to blame for Digimortal's disappointing sales: One, amongst many, things that pissed me off [in Dino's interview] was that Dino had to throw in the whole September 11th thing. Maybe it didn't help that all that happened, but the record was already out for about six months prior to September 11, so that was irrelevant. Despite record sales, we felt that we had written a great record.
On the band's collaboration with CYPRESS HILL's B-Real in the track "Back The Fuck Up": I think that's one of the greatest songs we ever wrote.(Aha...:( ) I'm going back again to this whole thing that one of the reasons why FEAR FACTORY was so different was because everybody in the band was different. If some people didn't like "Back The Fuck Up", that's fine. We're never going to write something that everybody enjoys. But to go as far as to blame Christian because it's on the record?! That's unfair. We all said, "Let's put it on the record."
On reasons for doing this interview: I did this interview because I thought if the fans were going to hear about the story of our break-up, they should hear it from someone who will tell them the truth. Dino's interview is obviously a pathetic attempt to make himself look like the victim when he very well was the cause of the band's break-up! I'm also very disappointed in the fact that Dino felt compelled to slander the rest of us. I thought a response was necessary. Though FEAR FACTORY wasn't the biggest band in the world, by any means, we did have a certain amount of respect from each other, our fans, other bands and other musicians. We owe a response to them as well.
You mentioned earlier that you and Christian are currently helping Burt put together his solo record. How did this collaboration come about? Christian and I have been writing music since around September/October of last year on the tour bus. Burt had already kind of hinted to us that he wanted to continue working with us. So we were like, "Hey, you know what, after we break you can take whatever songs you want—they are for you.” We were willing to help Burt in whatever way we could. We got together a few times after the end of the FEAR FACTORY tour and he told us what he wanted to do and what direction he wanted to go in.
Will Burt's record come out under his name, or will it actually be a band? We have a lot of fans, so I told him he should probably just call it BURTON C. BELL or the BURTON C. BELL PROJECT, or something. I think he should use his name. (Persze most már tudjuk, hogy 'Ascension of the Watchers' a neve - thewatchers.org)
The stuff that you've recorded for Burt so far—are those album-quality recordings, or are you just doing demos at this point? Just demos, at this point.
You indicated earlier that you knew Burt was going to be coming in that day in early March to announce the he was quitting the band. Burt called me on the day before the "meeting" where he would announce his departure, and said, "I'm ready to do this." At this point, Christian and Burt were not talking to Dino at all any more. I was basically the link between Burt and Dino and Christian and Dino—I was the guy in the middle.
The only real thing that Dino and I have in common is music. Other than that, we have nothing in common. When we are on tour, the guy is a womanizer—all he does is try to pick up on women, trying to be a rock star. On the other hand, I'm not like that. I was married the entire time we were doing FEAR FACTORY and I was on the back of the bus playing video games. When we weren't touring, I didn't see Dino at all unless we were at practice. I basically went from being kind of distant to him to being his only friend.
Dino made it sound in the interview like there was at least some talk about the two of you guys carrying on in a new band. There were never any plans for me to work with him. To tell you the truth, I don't even want to do the next BRUJERIA record with him. We did this ASESINO band because everybody in BRUJERIA was doing their own record. We finished [Dino's ASESINO] record in December, with Tony [Campos, of STATIC-X, on vocals]. There were talks about doing a new BRUJERIA record, but I can assure you, I won't be writing with [Dino again].
The way you are talking right now almost makes it appear as if you feel as strongly about not wanting to play with Dino ever again as perhaps Burt did when he quit FEAR FACTORY. Dino and I had a falling out and I really don't want to get into the specifics about it because it gets ugly.
So you're saying that if Burt and Dino had gotten along famously, Burt never would have left? He never would have left. If he would have had an itch to do something different, he would have done a side project. He wouldn't have to leave the band to do that.
You touched upon this earlier as well… Why do you think that Digimortal didn't do as well as everybody expected it to do, especially in light of Obsolete's huge success? I'm really not sure. I heard a lot of good things from fans but I also heard some negativity. It was a combination of many things, I'm sure.
When you first contacted BLABBERMOUTH.NET about doing an interview, you mentioned that you would be speaking for Christian and Burt as well. Does that mean that they are aware that you are doing this? Christian is aware that I am doing this. Burt is not. The only reason I am speaking for both of them is because Christian is not going to do an interview, and I really don't see Burt doing one.
I do want to add one final thing:
I do not want to continue a war of words with Dino or his disciples—it's too late for that, I've moved on. No one is angry about the break-up—except Dino, obviously. With the less-than-successful record sales of Digimortal, and the ongoing rift between Burt and Dino, it was just no use resisting the inevitable. Hey, most bands DO break up eventually. We had to come to terms with that. We worked long and hard for FEAR FACTORY, touring for years with less-than-lucrative rewards.
We are very proud of the success FEAR FACTORY has had over the years—it has made us all who we are today. I wouldn't change a thing. But if someday, we all wanted to have a real life, own a home, etc., and carry on our lives as adults—I am not 17 years old anymore, I am 29 years old now—we all needed to work smarter. Being on the road for nine months out of the year had us pinned down to doing ONLY FEAR FACTORY. We put all our "side projects" and other aspirations aside from FEAR FACTORY on hold — all the while not having the success we all hoped for. It was very frustrating and stifling to say the least! We looked at this [the break-up] as an opportunity for change and success.
I did telephone Dino after I had read his "exclusive" interview. Of course, he didn't answer, nor did he return my phone call. I'm actually glad he didn't, because he wouldn't have liked what I had to say. After cooling down a bit, I realized one thing: he is just a bitter, bitter, fat man. Despite all the things he said to paint a distorted picture of how it all went down, I can only feel sorry for the guy.
I do wish Dino continued success in his career. He is an excellent guitarist and songwriter, with the potential to be a huge success, I just hope that he can someday thank us that it came to an end and that the break-up of this band actually made his own career a better one.
Na. Most már láthatod, hogy több volt ez, mint egyszerûen Burt kilépése a csapatból. Az a Fear Factory, amire mindig is azért voltam büszke, mert soha nem voltak náluk ilyen adok-kapok viták, tagcserék, most mégis erre a sorsra jutott. Nem volt semmi látványos, de a felszín alatt már sok éve forrhattak az indulatok. Mindenki levonhatja a maga következtetéseit a nyilatokzatokból, bár én személy szerint úgy gondolom, hogy egyikük sem a teljes igazságot mondta és a valóság valahol a két interjú között van. Mindeketten megpróbálták ártatlannak beállítani magukat és hibásnak a másikat. Persze a nagyobbrészt tényleg Dino hibája lehetett a dolog -ezt bizonyítja az alább beszúrt nyilatkozat Christian-tõl-, de a többieknek is hibásak voltak szerintem. Ez a rap dolog nekem is kezdettõl szúrta a szemem, mert a FF-ban tényleg semmi keresnivalója ilyesminek. Egyértelmû, hogy ez mind Wolbers-nek köszönhetõ. Az is igaz, hogy a dolgok akkor mûködnek jól, ha egy kézben összpontosul a produkció, és valakinek tényleg össze kell fognia az elkalandozó ötleteket, mert különben az egész inkoherens lesz. Dino -mint alapítótag- mindig megtette ezt, ami persze, hogy nem tetszett a többieknek, de hát az összkép a fontos. Ami miatt ebbõl gondok származtak, hogy hiába fogta össze Dino a bandát, a dolgok nem úgy sültek el, mint ahogy az elvárható lett volna. Elviselhetõ a basáskodás mindaddig, míg jó albumokat csinálnak és a siker garantált, ámde õk soha sem kapták meg azt a figyelmet és elismerést amit -szerintem is- megérdemeltek volna. Innentõl kezdve pedig csak idegesítõ, ha valaki a nyakadon ül és megmondja, hogy mi a jó és mi nem az, és a végkimenetel nem õt igazolja. Dino megpróbálta sikeressé tenni a Fear Factory-t, de sajnos nem a megfelelõ eszközökkel. Ugyanakkor egyetértek vele abban, hogy lelõtte a rap-kísérletek nagyrészét. Kár, hogy a Back the Fuck Up-ot nem sikerült... Minden hazugsága ellenére sem fordultam el tõle, mert tényleg kiváló zenész és három csodás album szülõatyja, ami azért eléggé megváltoztatta a kilencvenes évek metal zenéjét, sok ember életével együtt. El se hinnéd, hány olyan történet van a neten, ami arról az ominózus Mortal Kombat albumról szól, vagyis pontosabban a Zero Signal-ról, ami rengeteg egyáltalán nem metálos/mindenevõ Pop ízlésû embert (köztük engem is) vont bele a metálzenébe. Gondold csak el, hogy milyen egyedinek és tényleg értékesnek kell lennie egy együttesnek ahhoz, hogy az ilyen mindenevõ Poposokat az extrém alternatív metál mélységeibe húzzák -és többnyire fanatikus rajongókká tegyék, mert az "átcsábítottak" általában azok lettek-, holott azt még a metálosok nagy többsége is túl vadnak vagy túl furcsának találja! A történet pedig mindig ugyanaz...elsõ meghallgatásra elkönyvelte az ember, hogy milyen érdekes, de hát ez túl vad, meg különben is utálom a metált, aztán némi pihentetés következett, újbóli meghallgatásra viszont valami elkapta az embert és újból meg újból meg kellett hallgatnia, míg végül rádöbbent: Úristen, de hát ez kib*szott jó! :) Sokakat Burt elképesztõ énekstílusa és mondanivalója (mert ugye õ az "agy", akitõl a szöveg/koncepció/életfelfogás származik) fogott meg. Ha csak néhány ilyen eset lenne, nem írtam volna, de számtalan ilyet lehet olvasni (akik láthatóan szentül hiszik -én már nem :)- hogy egyedül vannak ezzel), és ami igazán bizarrá teszi a dolgot, hogy majdnem minden történet egyforma, mintha valami kollektív dolog lett volna. Érdekes ez emberi viselkedés... :) Remélem, tudtam segíteni. Egy biztos: A Fear Factory egy olyan jelenség, mely nem vonz/vonzott soha óriási tömegeket (szeretem azt hinni, hogy mert túl különleges ahhoz, hisz a zene csak 50%, a tartalom pedig a másik 50), de az a viszonylag kisebb rajongótábor tökéletesen eltántoríthatatlannak bizonyult és tényleg a végletekig lojálisnak, ezért is nem értem, hogy szapulhatják magukat rajongónak mondó emberek ordenáré hangnemben Dino-t, mikor többek közt õ volt az, aki ezt az egészet létrehozta.
... But it wouldn't necessarily be fair to say that it was strictly their (Christian and Raymond's) fault. You went along with it, and you had the power to say "No". Yes and no. I mean, yes, I did have the power, but it would have been a fight, and no, I didn't have the power, because if I did step in, they would be trying to say that I was trying to take control again. So I was kind of [stuck between] a rock and a hard place.
When Burt came to you guys and announced his decision to leave the band, there was no discussion amongst you guys about possibly trying to carry on with a new singer? No. I could never do that.
Is that because you feel that Burt is irreplaceable? For FEAR FACTORY, yes. Of course, there's better singers out there than him, there's better guitar players, there's better drummers, there's better bass players—of course there is—but there is something about all four of us clicking together which was something that was magical that we could never change. I mean, we had always said that if someone had left the band, it would be over. We always said that, and everybody knew that.
Except, I presume, if that someone was Christian. I didn't say that. (laughs) But yeah, if Christian had left the band, as far as I was concerned, the band could continue. As a matter of fact, to be honest with you, I thought Christian was gonna be the first one to go—because of his involvement with CYPRESS HILL, and because he wanted to be so hop hop that he wasn't there anymore. I thought that Christian was just going through the motions on stage, and going through the motions in the music, and I even noticed that he and Raymond were slowing down some of the tempos of the songs to make them more groovier—because he [Christian] thought that they were too fast on the record. And I think that that was because of his mentality of being into the hip hop, more groovier stuff. And if I said something, I was the asshole, so I just went along with it.
But there were never any discussions between you and Christian about him wanting to leave or being unhappy? Every day, Christian would express his feelings—"F.ck Europe, I don't wanna go to Europe, I don't know why the f.ck I'm doing this, I'm not making enough money, blah blah blah." He was constantly complaining about things. Constantly complaining. "CYPRESS HILL's got this, they fly first class. How come we don't fly first class?" And I mean, if you really are that unhappy, maybe you should just go play with CYPRESS HILL.
Which I guess he did. And the he's flying coach and he's going to Europe touring with CYPRESS HILL. So basically, he was unhappy being in FEAR FACTORY. It was obvious.
Since this whole thing happened and you guys decided to go your separate ways… [jumps in] As a matter of fact, I thought it was probably for the better, because I could tell that a few of the members of the band's hearts weren't there. Christian's heart wasn't there, Burt's heart wasn't there.
What about Raymond? Raymond's down. Raymond would be down [with continuing the band].
So out of all the guys in the band, Raymond was the only one that you felt you still had any musical chemistry left with? Yeah. Everybody else, at this point, I would have had to pull teeth and force it out of them. It was better than we all went separate ways. After spending so many years with each other, it was like, "I think it's time we did something different, new". Not necessarily meaning in the musical style being different, but just playing with different guys.
Is this something that you had made clear to Raymond and Christian as well? Was there ever any type of discussion about the three of you forming a new band together? I never would have brought it up to Christian. No way. Of course, not Burt. Raymond—yeah, I brought it up to Raymond, but Raymond doesn't want to tour.
But you would have continued playing with Raymond if he had agreed to tour? Yeah. We have other projects together. Raymond won't leave his house unless he's getting paid. He won't walk out of his door unless he's getting paid. That's what these guys' mentalities are like now—they won't leave until they're getting paid.
After you guys decided to go your separate ways, did you immediately have an idea as to where you wanted to take your next project, musically speaking? I was writing the songs for FEAR FACTORY, and I was kind of taking FEAR FACTORY in a newer direction.
What direction was that? It was definitely much heavier, much groovier, and a lot more focused and a lot more thought-out songs. But at the same time, like I said… SLAYER's still my favorite band. I'm not about to turn my back on the fans that still like heavy music that still want me to put out heavy music, 'cause that's the music that I like. But I do have a versatile side to me that can write different types of music. So I wrote five songs. I actually wrote three songs, and me and Raymond wrote two songs together. So there were five songs. And two songs were used for FEAR FACTORY, three of them were my songs, so I'm taking those three songs and I'm doing new stuff with them with the new members. And they're all three different types of songs. One of them is really fast, mechanical—something that you would hear off Demanufacture that's ripping, with brutal vocals over it. And then, I've got something that's more groovier, that's more along the lines of "Edge Crusher" meets "Descent", with melodic vocals with heavy choruses and things like that. And then I've got one that's completely like "Invisible Wounds" meets "Resurrection" that's got melodic vocals all the way through. I'm demoing these three different types of songs, and that way people could see the versatility of the new style that I'm trying to do. I definitely still do want to be metal. There's definitely no doubt in my mind that I will be heavy. And if people don't like the fact that I'm saying that I'm gonna be that way, then f.ck them.
How did you hook up with your new singer Jason "Gong" Jones? Jason is a guy that I've known for about 6-7 years, something like that. And I knew he was a talented singer. As a matter of fact, I was the one that recommended him to try out for SEPULTURA. I knew he was a talented singer, but of course, there was really nothing I could do with him, because I was already in a band. And all my other bands are singing in Spanish. So the minute FEAR FACTORY broke up, less than a week a later… He was in a band already—he was in a band called BUILT XL. And Monte Conner, [head of A&R] at Roadrunner Records, was interested in working with the band. So the minute [FEAR FACTORY] broke up, Kevin Estrada, at Roadrunner also, him and Monte were saying, "Dude, call f.cking Jason." And I'm like, "Jason's in a band." And he was like, "So what? Call him." So that was the first guy I called.
So he left BUILT XL to join your band? Well, before he left [BUILT XL], he came and tried out. He basically sang on the demo, and I was like, "Ah, you're in". So when I said he was in, he basically went and quit his other band.
How would you describe Jason's vocal style in comparison to that of Burt? Well, you can obviously tell that—and I don't mean this in any disrespect to Burt—but you can tell that [Jason] had more vocal training.
Because he has more control over his voice? Correct. And he can do a lot more with his voice, too.
And he's not just limited to the heavy stuff or the melodic stuff—he can do both? Correct. He can do a lot of the melodic stuff—really good melodic stuff. The difference between him and Burt was that… Burt was kind of like me—everything just came from the heart, and that's just where it came from. And you can tell Gong had some training. It's like a guitar player who can really know his music, or a guitar player who can just write some great riffs, just coming from his heart.
So this new band that you're going to form will be a four-piece, correct? Right now, I'm thinking of a four-piece, but it might eventually go into a keyboard player or a DJ, or anything like that.
You don't have any ideas for, or candidates for other musicians right now—you're still looking? I'm still looking for a great drummer. Someone who can do double-bass, and at the same time, do really fat grooves. I tried out a couple of guys, and either they're really good at the fast stuff, or they're really good at the slow stuff. And they're not good at nothing else. They can't do both. That's really hard to find. (végül csak Nick Barker tudta helyettesíteni a Dimmu-ból...)
You said you're looking for a drummer. Does that mean that, at the moment, you're not even looking for a bass player? Yeah, but it's not as much of a priority. I'm going at certain steps. I found a singer, and now I need to find a drummer, and then I am going to find a bass player.
Do you have name for the band in mind? I don't have a name for the band, and I don't have any [song] titles yet.
Are you finished recording the three songs by now? Musically, we're done. Vocally, we're not done. We're recording at a studio called Klown Recordings in Santa Monica, California.
Have you been in contact with any of the other former FEAR FACTORY members since the split? Only Raymond.
Do you know what those guys are doing, or what they're planning to do? I know Christian is on tour with CYPRESS HILL. I don't know what Raymond's plans are. I know he's been working with the video game industry, and I don't know exactly what Burt's doing. The only person I spoke to [since the split] was Raymond.
Are you still going to be involved with BRUJERIA and ASESINO, or are you going to focus on this new band exclusively? Yeah, I will still be involved with both of them, but my main focus will be my new band.
Tony Campos from STATIC-X is involved in ASESINO with you, right? Yes, he sings and plays bass.
What kind of stuff is it, musically? It's likea mixture of SLAYER, CANNIBAL CORPSE, and TERRORIZER.
And he sings in Spanish? Everything's in Spanish. And Tony will be talking in Spanish between songs. We were talking about possibly having an actual translator on stage translating what he's saying. (laughs) We also have a touring drummer, since Raymond [who played on the record] doesn't want to tour. The touring drummer's name is Emilio Marquez.
Do you have any idea when peope might get a chance to hear this new project of yours? Will you be playing shows before you record the album? Yes. As soon as we get a drummer, we're gonna be writing songs and we're gonna start just playing shows—anywhere, f.ckin' we don't care—your mom's house, backyard parties. It's gonna be a completely different mentality than FEAR FCTORY. I wanna get the new guys broken in.
But in terms of a studio record, you don't expect that to happen for some time? I'm gonna say [that you can expect to hear it sometime] next year.
Raymond és a többiek részérõl:
In our exclusive interview with former FEAR FACTORY guitarist Dino Cazares, which was posted here last Monday, the axeman went to great lengths to paint the picture of a man who was as frustrated by his former bandmates' quest for mass commercial success as he was by their unwillingness to assume a greater share of the band's business responsibilities, ultimately creating an irreparable rift between him and frontman Burton C. Bell that eventually led to the group's untimely split.
Unsurprisingly, it took less than a day for former FEAR FACTORY drummer Raymond Herrera to contact BLABBERMOUTH.NET with the offer of a statement telling his side of the story—or "the truth", as he put it—which he promised would shed light on the reasons behind the group's break-up and the events leading up to the quartet's decision to go their separate ways.
As per Herrera's request, we began the interview with Raymond by giving him an opportunity to directly address some of the issues brought up in Cazares' interview—which Herrera chose to do without any interruptions from our side—after which we were allowed to ask the drummer direct questions about the band's split and the deep-rooted personal differences which ultimately caused led to the break-up of what was undoubtedly one of the most high-profile and most innovative extreme metal acts of the '90s.
Part I — Raymond Addresses Specific Points In Dino's Interview
On Burt's official statement following the group's split: Burt put out a press release and said that he was leaving the band because he wanted to do something different, which was only partly true. In December 2001, he let Christian and I know that he could not work with Dino anymore. Burt devised a way to leave the band so that there was no blame put on anyone in particular. In the press release, he said nothing about the fact that he doesn't want to work with Dino or anything derogatory. Burt was trying to be diplomatic about the whole thing.
On Dino's claim that Burt told the band at the final meeting, "I don't want to play with you guys anymore": Burt and Dino had been having a lot of problems for a very long time. The fact that me, Christian and Burt are still working together basically proves that the problem wasn't with the three of us. Burt never said that he didn't want work with us [Christian and myself]. He said that he didn't want to work with Dino.
On the implication that Dino was the first one to "pick up the pieces" following FEAR FACTORY's split: About half year ago, it was obvious to us that the band would not continue. Coincidentally, we all had projects aside from FEAR FACTORY we were pursuing. Christian and I have been doing the KUSH project [with DEFTONES guitarist Stephen Carpenter and CYPRESS HILL frontman B-Real] for the last two and a half years. Christian has evolved into producer, forming a production group with B-Real and Eric "Bobo" Correa, while continuing to write and tour with CYPRESS HILL. As well, Burt, Christian, John [Bechdel, FF's old keyboardist] and myself have been putting Burt's [solo] record together now for about four months. Christian and I also have been putting a record together for Nuclear Blast [Records], which will have Oscar Garcia from TERRORIZER doing vocals. Not to mention, Christian and I have been collaborating on music for video games under my production company, Herrera Productions, which I started last September. So, to tell you the truth, Dino was actually the last one to pick up the pieces and start moving on here — everybody else in the band has already, for a while, kind of moved on.
Another thing that pissed me off in Dino's interview was that he said there was "too much freedom" in the band—as if it was a problem that other people in the band were pursuing side projects. Let me tell you something… BRUJERIA was around before FEAR FACTORY even was thought of. Side projects were already involved before FEAR FACTORY even started, so for Dino to say that is so hypocritical. What he means with that is, "Well, side projects are fine as long as I'm involved.” For example, when Burt did the G/Z//R thing a few years ago, Dino didn't like that. When Christian started working with CYPRESS HILL, Dino didn't like that either until Christian involved Dino. At one point Dino even insisted that our management inform Christian that he could no longer be involved in CYPRESS HILL and KUSH.
On the October 2001 physical altercation between Dino and Burt on the band's tour bus: I was in the back of the bus playing video games, of course, because that's all I ever do [on the road], and this fight broke out in the front. Dino's guitar tech runs to the back and says, "Burt and Dino are having a fistfight." And I'm thinking, "Well, let 'em fight." But the bus is moving and I'm thinking someone is going to hit the bus driver and we'll probably all crash and die. So I go up there and I kind of help stop it. I knew this was a bad situation—essentially, the beginning of the end. I ask Dino what happened and he gave me his story, which is the story that he [gave you] in the interview. The next day, I spoke with everyone else individually. Let's just say, I heard seven stories one way, and Dino's story another.
On the bandmembers' different personalities: Dino said that one of the reasons for [the band's success] was the fact that everybody was different and everybody listened to different types of music, yet in his interview, he goes to point out that Burt listens to NICK CAVE, trying to make it seem like a bad thing, and points out that Christian listens to hip hop, as if, for some reason, that's a bad thing (pedig ez tényleg nagyon szar! :P). But at the same time, he goes to say that our diversity is one of the reasons the band did so well. So, go figure…
On Dino's controlling ways and the band's decision-making process: Everyone in this band was an equal partner of the company itself. Everybody in this band made decisions, some good, some bad. Dino did try to control the band through manipulation of management, the record company, and people in the band. And he would straight-out lie to our faces to cover up about the things that he did behind our back. All those things eventually got back to the rest of us. Trust me, we were on to him from the beginning.
On Dino's speculation that Christian held it against him that Cazares played bass on Demanufacture: Demanufacture was originally supposed to be recorded in Chicago. There were a lot of problems with the studio—so we had to basically leave the studio halfway through the drum tracks. We were stuck in a hotel for about a week and a half trying to find a new studio. Soon after that, we found Bearsville, this place in New York, which is where we did the record, but we were already way behind schedule. After I did my drum tracks, it was Dino's turn. Dino took a week to get a guitar tone and another week to do the guitar tracks. Then, Christian had to come in and do his tracks. It did come to the point where Dino had to do half of the [bass] tracks, but it wasn't because Christian didn't know the songs, it was because Dino changed a lot of the parts of the songs while he was tracking guitars. Christian, at that point, had no bad feelings towards Dino. And as for the comment that Christian wanted to be included in his side projects, Christian never wanted to be a part of BRUJERIA or a part of any other [of Dino's] side projects. Christian would let us borrow his bass gear to do BRUJERIA records. He offered it to us—we never even had to ask him for it.
On Dino's assertion that Raymond and Christian were primarily motivated by money: I find that very funny, because literally the day after Burt quit the band, Dino called me and asked me to persuade Burt to do this last record (Terminate, a Terminator - Down of Faith játékhoz). There was a lot of money on the line and Dino wanted to get paid. ...
Legalábbis megpróbálok. Az ügy ugyanis meglehetõsen szövevényes és nagyban függ a megítélése attól, kinek a szemszögébõl is nézzük az eseményeket. Na, akkor egy "kis" átrágnivaló...:)
Dino részérõl:
Since FEAR FACTORY officially called it quits in early March, very little has been heard from the band themselves, with the four members of the group choosing to each deal with the break-up of this long-running group by immersing themselves in new projects rather than speaking out publicly on what was, by all accounts, a less-than-amicable split.
Known to FEAR FACTORY fans as the spokesperson for the group and its chief songwriter, guitarist Dino Cazares was unsurprisingly the first one to pick up the pieces and start afresh, having recently joined forces with ex-BUILT XL vocalist Jason "Gong" Jones in an as-yet-unnamed new band, which is currently recording its debut demo at a Santa Monica studio.
In a BLABBERMOUTH.NET worldwide exclusive, Cazares has spoken out publicly for the first time about FEAR FACTORY's split and his plans for the future. What follows is a phone interview with Dino that took place yesterday, May 12th:
When [vocalist] Burt [C. Bell] announced at a band meeting in early March that he was leaving the band, were you guys at all surprised, or had you seen it coming? I wasn't surprised to hear that he wanted to quit. But what caught me by surprise was that he was gonna quit this early. Because he had mentioned to us, while we were on tour with MACHINE HEAD late last year, that he wasn't really into it anymore, and that he thought that we should kill off the band, do one last album and one last world tour and that was it—we were all gonna go our separate ways. And that was kind of the plan that he kind of had. I didn't really agree with it, but at the time, he was basically trying to say, "Look, I'm gonna quit. Not right now, but I'm gonna quit later on." And the concept of the next album was basically gonna be the ending story to this whole concept that we were creating as FEAR FACTORY. So in his mind, he was writing the last chapter of the book—of the FEAR FACTORY story. So it took me by surprise that he was trying to quit early.
Did he give you a reason as to why he had changed his mind? He just basically walked in [at the rehearsal place]—me, [bassist] Christian [Olde Wolbers] and [drummer] Raymond [Herrera] were there—and he basically just straight-out said, 'Look, guys, I'm not into it anymore, I don't wanna play in the band anymore, I don't wanna play with you guys, and I especially don't wanna play with you, Dino." And that was it. He literally ran out the door. I heard that before he came to rehearsal, he had gone out and bought a bottle of Jack Daniels and drank, so I'm assuming he came to rehearsal pretty much buzzed or drunk. Probably because he was looking for enough courage to come and tell the guys [that has quitting]. So when [Burt] quit, me, Raymond and Christian decided that that was gonna be it—that we were all gonna go our separate ways and do our own thing.
At this meeting when he announced… [jumps in] It wasn't a meeting [per se]. He was there literally two minutes. Before anyone could actually react to what he said, he was gone—he had ran out the door. So obviously he didn't leave any [opportunity for any of us] to even argue what he said. He literally ran—I'm not exaggerating—he ran out the door.
When you guys had discussions about Burt leaving prior to this occasion… [jumps in] No, no, no… He only discussed that with me. He didn't discuss it with any of the other guys.
So did this come as a surprise to Christian and Raymond then? Were they aware that Burt was planning on leaving at some point? They were kind of aware, just because of, after 9/11, how things were shaky within the [music] industry, and how the record [Digitmortal] didn't do as well as [everyone had expected it to].. When things like that happen, the morale kind of goes down. I think one of the downfalls in FEAR FACTORY was that there was too much freedom in the band. In other words, there was too many projects going on.
And you would include yourself in that as well? Yeah, including myself as well. And I think that people were starting to lose focus of the whole FEAR FACTORY thing. And I think Burt sensed that, and I think this was his chance to get out. All those little things were a factor. Besides an argument that me and him had about a silly tour manager.
This argument you are referring to happened on the tour with MACHINE HEAD, right? Yeah, we argued about a tour manager that was doing a very poor job.
There was some implication in other published reports that this argument was somehow a turning point in your relationship with Burt. But you don't think that was the case, right? I think it was a lot things that were a factor [in Burt's decision to leave the band]. And I think that [argument] was just the final straw. I think it was the aftermath of 9/11, the poor sales of the last record… A lot of people in the industry suffered, and I think that was something that Burt didn't understand. He was trying to blame it on the band—that maybe it was time that we quit. And he was always talking abut stopping the band—and that was all before the argument [over the tour manager in October]. So when the argument came about—which was an argument that lasted literally a minute—it was me basically confronting the tour manager of him doing a bad job, and Burt, not knowing the facts, stood up for him, and got in my face, so I ended up pushing him, and we ended up in an argument. And that was it. And then the next day, me and him talked, and we gave each other a hug and a kiss, and we basically apologized [to each other].
In the initial reports following the split, there was some talk about the fact that Burt didn't want to sing aggressively anymore, that he didn't have his heart in it, and that he wanted to move on to a different style of music. Was that something that was an issue as well? Yeah, I totally think that that's correct. He felt that he was getting too old, and I think singing this kind of way was not something that he wanted to do the rest of his life. Burt was one of those kind of guys who enjoyed maturing. He enjoyed getting older and being more of a sophisticated kind of guy, and singing aggressively is not sophisticated. Singing aggressively is not something that he looks at as something that is intelligent. So he didn't want to do it anymore. His heart wasn't in it.
Did he tell you this himself, or was this something you had gathered on your own from being around the guy for so long? After knowing the guy for 12 years, it's not just an assumption. Burt looks forward to turning the age 35. He looks forward to being wiser. He's really a big Nick Cave guy, and Nick Cave is older and intelligent, and he plays sophisticated, artsy kind of music, and that's what Burt's really into.
What would cause Burt to say to you at this final meeting, "I especially don't wanna play with you, Dino"? Obviously, it sounds like there had been a lot of resentment built up over the years that had taken its toll on the working relationship between the two of you. Burt is a pretty reserved kind of individual. He doesn't exactly open up and say his feelings—until the last minute.
When he reaches his breaking point. Exactly. So, what led up to that, I really don't know. When he left the band and said, "I especially don't wanna play with you, Dino", the only thing I could think of that would cause him to say that was the argument in October—that he obviously still held some resentment. Even though we had talked about it, and we apologized to each other, gave each other a hug. And even though we did that, I guess it still bothered him. I think the thing about Burt is that he's much more of a sensitive kind of individual than I am. I'm more like, "OK, I've dealt with the problem, we apologized, let's move on." I don't go back and hold all that in me. I can let it out that moment. Burt's not that kind of guy. Burt'll hold it in for a long time, and then finally, a year or two down the line, he'll bring it out. And you don't even remember it.
Do you think that the dynamic of your relationship with Burt was such that he simply felt overpowered by you and by your stronger, more direct kind of personality? I think that one of the things that made FEAR FACTORY so successful as a band was that we were all completely different individuals, and somewhere down the line, we related to something and we made this music that we did. But I heard that Burt was telling people at our record company that I was an individual who was more controlling. And I think that Burt kind of mistakes that as a stronger personality than him. And that's basically what it was—that I was a stronger personality than him, that I was able to put up a better argument and stand my point better than he could.
Did he ever tell you directly that he felt you were too controlling in a band situation? Yeah. It was weird, because whenever something went wrong in the band, they were like, "OK, let's call Dino, he'll take care of it." But the minute I take care of it, and I start doing business, they'd be like, "Why are you doing too much?" There was one point when it was like, OK, we got a new management company, and they were on top of things, and all the rest of the guys said, "OK, Dino, you've gotta let go, you've just got mellow out and relax and let our management take care of things." Because over the years, we had bad management, so a lot of the times, the band—especially myself—had to take care of a lot of the business, and that's how I built up relationships with a lot of people at the record company, and people like you, and other people, and that's why most people, when they think of FEAR FACTORY, they know Dino, because I was basically the spokesperson. I was kind of put in that spot.
Not necessarily by your choice. No. Because if I didn't do it, no one would have done it. So I was put in that spot, and I was kind of getting the limelight of being in that spot. And I think certain members of the band didn't like it, so they wanted me more to let go of it, to let go of some of that.
When you say "certain members didn't like it", are you referring to some of the other guys as well, in addition to Burt? Yeah. I would say that. But the person that made a lot of the decisions behind the scenes that no one really knew was Raymond. Me and Raymond were the ones that started the band, so a lot of the stuff was one us. Because I was the guy in the front, I was the guy who, whenever something bad happened with FEAR FACTORY, I was the guy who automatically got blamed for it. Even though Raymond was the one who made the call.
Are you aware of any differences that might have existed between you and any of the other guys? I also heard from members of my band that Christian held some resentment towards me, because during the recording of Demanufacture, he was upset because he couldn't live with the fact that I had to play half the bass tracks on the record, because he didn't know all the songs, and we didn't have the time or money to have him learn the songs as we were recording. So the producer and the band asked me to step in and take over the bass tracks. So I did, thinking what's best for the band. But later on, seven years later, Christian brings up to certain people that he couldn't live with that fact—that I played on one of the best records.
Did he feel like it was a slight against him or his playing ability? It's like I took something away from him. Maybe it's a little bit of that, too. I really don't know, 'cause I never spoke to him about it, because I only heard about it other members of the band that Christian held that resentment towards me. I also heard that he held some resentment towards me because I never asked him to play in any of my other projects that I did.
So there were never any direct, face-to-face confrontations with any of the other guys that would have caused you to be aware of unresolved issues between you or any resentment that they might have held towards you? No direct confrontations. No one came to me face-to-face [and said anything].
This is all stuff that you have heard through the grapevine then? Yeah. I think that, maybe, certain guys in the band were intimidated by me. Because I am a strong person. And I can understand why people would be afraid to talk to me about certain issues. Which is really kind of funny, because I am the kind of person who could tackle an issue at the moment. When things were going bad in FEAR FACTORY, unfortunately, it became a thing where people would try to blame me for it.
You mentioned the poor sales of Digimortal. I'm not even saying "poor" sales. It's just that it didn't…
The sales were disappointing, at least. And I don't think it was because of a bad record. I just think it was because it came out… because of [events] of 9/11. I mean, look at how many records bombed because of it.
But was it really just because of 9/11? You also have to admit that a lot of the reviews were surprisingly negative, and the reactions from the fans weren't necessarily all great either. But so what? We'll come back with another great one. What it did to me was it gave me more incentive to write a better album.
But in hindsight, why do you feel Digimortal didn't connect with the fans as well as you had hoped it would? There were a few things that we did that we could have done differently. First of all, I think that having the track "Back The F.ck Up" on the record, which was more of a Christian decision—to bring B-Real [of CYPRESS HILL] into it… Nothing against those guys, but I think that it was a bad decision to try to bring that kind of style into FEAR FACTORY, and we got a lot of flak for it. And I think that there was one of the downfalls of it. I also think that at the time, unfortunately, radio was really, really big on playing heavier rock music, and everybody else in my band was really focusing on trying to write a radio-type song. And I think that when you listen to too many different people, like your record label, you start to lose a little bit of focus. Everybody wanted the quick money, everybody wanted to get rich off a radio song… I went along with it. I didn't exactly like it. I mean, my heart is still brutal, and I still love brutal music. FEAR FACTORY was a very talented band, and we could do many different things, especially when you've got versatile musicians, but we were listening to the record label, and the record label was saying, "We need a radio song", and I think we tried to do that with every song. And it kind of lost focus. And I think that, when you're doing something that is not really coming from the heart and it's coming from what someone else is telling you to do, I think that people kind of sense that. I think the kids kind of sensed that, and I think that that was one of the downfalls of that record. The kids wanted some heavy shit. It was still kind of heavy, but you could tell it was a little different—every song was shorter, a lot of the meat-and-potatoes were kind of cut out of it, or edited out of it, and Christian and Raymond were really keen on trying to get rich and be big ballers, 'cause of CYPRESS HILL and B-Real, and hanging out with those guys, and Rolexes and platinum necklaces, and everybody wanted to be driving Escalades and stuff like that. And then you see bands like SLIPKNOT on the radio, and it's like, "What the f.ck?" So that's what everybody wanted to be like. And we went along with it, and then look what happened. If FEAR FACTORY would have just been writing the stuff that we had been writing, keeping it brutal and heavy and true, I think that it would have been a more successful record. ...
Ne haragudj, de én nem ismerem olyan rég a FF történetét - ezért számomra nem teljesen világos, hogy mit is tett R.R. a banda ellenében; illetve miért "tudtuk úgy" egy ideig, hogy a 'Factory nincsen többé ('Dino vs. Burt'-ügy)...
01. Slave Labor 02. Cyberwaste 03. Act of God 04. Default Judgement 05. Corporate Cloning 06. Archetype 07. Drones 08. Bite The Hand That Bleeds... 09. Bonescraper 10. Undercurrent 11. Human Shields 12. Ascencion (outro) 13. School (NIRVANA cover) (bonus track)
És egy nyilatkozat Christian-tõl:
"Everything is going great! We just finished tracking 14 songs at Rumbo Recorders in LA. This is where GUNS N' ROSES recorded all their albums! The studio had a great vibe. A lot of history in this place! Roy Orbison still wanders thru the hallways!
"I must say this was the smoothest record we have ever recorded. We tracked the whole thing in 28 days! The record is called 'Archetype' and was produced by FF ourselves. We used Ken Marshall (SKINNY PUPPY) to engineer and record the album. Another Canadian!! LOL!
"Currently I'm finishing up programming and keyboards with Rhys Fulber, Steve Tushar and John Bechdel. We will start mixing on the first of December in Vancouver with Ken Marshall. I must say this is a pretty heavy classic FF album and our hardcore fans will be pleased!
"No watered-down songs, no stripped parts...blah blah blah...Just brutal FEAR FACTORY!!!! Raymond has especially pushed the bar in Metal drumming to the next level!!!! The drums on this record make 'Demanufacture' for beginners!!!! LOL....
"I played all the guitars and bass on the album and we will start rehearsing with Byron Stroud (STRAPPING YOUNG LAD) on bass guitar in December. He will be our bass player for FF [as first reported here last month—Ed.]. I feel Byron has the perfect mentality for FF and he's a cool motherfucker!!!! And he's from Canada!!!! What's up with all them Canucks!!!!! LOL!
"We will be touring with KORN and STATIC-X in February which we're really excited about!! Both STATIC and KORN are longtime friends and I have nothing but respect for those guys! It's gonna be a great tour...and a great year for FEAR FACTORY!
"We feel this FF is stronger that ever..more hungry than ever....and most important of all.... Burton, Ray and myself have become best friends in the last 2 years! We see and hang out more with each other now than we did in 10 years of touring!!! It feels truly amazing!!!!!
"I played [new material] some for [producer] Ross Robinson and he looked at me saying this is the best work he's heard from FF yet. Rhys is saying similar things......
"It feels good to be back!!!!!"
Mondjuk az utolsó néhány sor kimaradhatott volna. Szívembõl gyûlölöm Ross Robinsont, mint a FF elárulóját, erre megint cimborálnak... :|
akkor majd ráizzítom a haverokat, tépjék le a netrõl :)
Megjelenés: 2004 április-május A keverés decemberben kezdõdik, februárban Ausztrál turné, remélhetõleg pár új nótával. Most már hivatalos: a kiadó a Los Angeles-i D3 Entertainment Most már hivatalos: az album címe Archetype A produceri teendõket saját maguk látják el, Rhys Fulber egyelõre nem került szóba.
zsír zsír zsír :PPP
ezt vártam
A nóta egyébiránt elérhetõ itt És a hevenyészett szöveg:
You must never forget, the essence of your spark All of that which defines you, is the essence of your blood The infection has been removed The soul of this machine has improved
Look into my eyes, and tell me what you see So unreal this is real What you wish to be
You must never forget, to modernize performance But in the seeds of the system will encapsule the rust The infection has been removed The soul of this machine has improved
Look into my eyes, and tell me what you see So unreal this is real What you wish to be
Can't you see?
Open your eyes
Nekem eléggé Anti-Dino-nak tûnik a szöveg, de a szám jó.
2004 elejére ígérik. A kiadó feltehetõleg az LA székhelyû D3 lesz. Az album várható címe ugyanúgy Archetype lesz, mint a most közzétett remix.
Immáron elérhetõ a 2004-re tervezett album (Archetype) egyik remixe a Texas Chainsaw Massacre albumon. Szerintem egész jó lett.
Szomorú statisztikát ért el a Roadrunner.com hírrovata a Fear Factory felbomlásával kapcsolatban (a legtöbb -idióta- hozzászólás). Amilyen összetartók voltak a fiúk 12 évig, olyan csúnyán ér most véget ez a nagyszerû együttes. Az egész lavinát Dino (a gitáros) interjúja indította el, melyre felelt Ray, a dobos s eztán elszabadult a pokol a rajongók részérõl is a www.roadrunnerrecords.com/blabbermouth.net-en. Egyszerûen nem értem, hogy süllyedhetnek olyan mélyre rajongók, hogy "hülye, dagadt fasz"-nak nevezzék ama zenekar egyik oszlopos tagját, mely zenekarért eddig mindenek felett rajongtak. Két táborra szakadt a rajongók zöme, s sajnos maguk a volt bandatagok is. Sokkal csúnyábban ért véget a Fear Factory, mint azt valaha sejteni mertem volna. Köcsög amerikaiak!! Aki esetleg kíváncsi a szomorú részletekre, látogasson el a már említett:
www.roadrunnerrecords.com/blabbermouth.net-re, s keresse a Fear Factory vagy Dino Cazares kifejezéseket.
Bocsánat, de most vettem észre, hogy kihagytam valahogy egy részt az értesítőből, íme a teljes szöveg:
"Hunter/killeR
For those who haven`t read/seen it yet, here is a summary from RoadRunnerRecords.com about the parting of ways, which pretty much sums up everything:
"It is with heavy heart that we write this, but recent rumors you may have heard or read elsewhere regarding Fear Factory are true. If you do not know what we are talking about, the bottom line is that Fear Factory is no longer together as a band.
This past Saturday (03/02), vocalist Burton Bell sat the band down in their rehearsal studio to announce his intentions of leaving the band. For whatever reasons, Burton no longer has the want to carry on in Fear Factory. And the rest of the band - guitarist Dino Cazares, bassist Christian Olde Wolbers, drummer Raymond Herrera - do not have the want to carry on with Fear Factory without Burton. After 12 years, Fear Factory call it quits.
Fear Factory, whom had actually been writing new material - recently sending in a demo of five new tracks (just guitar and bass tracks) - will still be recording at least one last song together for the time being. To take place at some point in coming weeks, they will be recording a new, as of yet untitled track for the upcoming "Terminator" video game.
Plans after that are not yet fully known. However, we will surely be keeping tabs, and keeping you updated on all future band member endeavors.
You have yet to hear the last from Fear Factory, as plans are forming to release their never heard debut album, Concrete, containing 16 tracks - half of which were re-recorded for their Roadrunner debut, Soul Of A New Machine. The album was recorded in 1991 and was produced by a then unknown Ross Robinson. It was this album that made its way to Roadrunner's A&R dept and earned the band a record deal.
Speaking of Roadrunner's A&R dept, head of A&R Monte Conner, who signed Fear Factory, had this to say:
"It's hard to be sad when you consider that Fear Factory had a solid and successful 10 year run and for that, I am incredibly thankful. How many artists today even make it to a second album? All good things come to an end and in this case, it is a very natural thing to happen. It's nice to know that they went out on a high after making an awesome record - Digimortal. As a consolation to the most diehard fans, we've got a few interesting things in the vaults that we will be releasing in the future. I want to thank Dino, Burton, Christian and Raymond for making some incredible records for Roadrunner and helping put this label on the map. I will forever be proud of these records and thrilled that I was a part of them. I wish all four of them the best in their future musical endeavors, and hope Roadrunner can be a part of some of them. FF - R.I.P."
A toast to Fear Factory, their 12 year career, their 10 year relationship with us at Roadrunner, and all releases and feats accomplished - all impressive. All our best."
:((((((((((
Hát tényleg szívesen lemondtam volna róla, az egyszer biztos. :((
Legmélyebb fájdalommal tudatom minden itthoni Fear Factory kedvelő egyénnel, hogy néhány nappal ezelőtt a banda feloszlott, illetve hogy Burt, az énekes kilépett, de így a többiek is szétváltak, vagyis a Fear Factory nincs többé. A hivatalos értesítés: "DARK NIGHT OF MY SOUL...
Rumours circulating about the demise of Fear Factory over the last few days are true.
While we do not have an official statement from the band they have indicated that they have decided to go their separate ways after 12 years.
No reason for Fear Factory`s demise has been set in stone yet, but unofficially, it seems that the old 'irreconcilable differences' between 2 of the band members is to blame.
I`d just like to say thankyou to Fear Factory for giving me and all the other fans some of the best times and music of our lives.
You will be greatly missed by one and all - but forever remembered in our hearts.
Hunter/killeR
For those who haven`t read/seen it yet, here is a summary from RoadRunnerRecords.com about the parting of ways, which pretty much sums up everything:
"It is with heavy heart that we write this, but recent rumors you may have heard or read elsewhere regarding Fear Factory are true. If you do not know what we are talking about, the bottom line is that Fear Factory is no longer together as a band.
This past Saturday (03/02), vocalist Burton Bell sat the band down in their rehearsal studio to announce his intentions of leaving the band. For whatever reasons, Burton no longer has the want to carry on in Fear Factory. And the rest of the band - guitarist Dino Cazares, bassist Christian Olde Wolbers, drummer Raymond Herrera "It's hard to be sad when you consider that Fear Factory had a solid and successful 10 year run and for that, I am incredibly thankful. How many artists today even make it to a second album? All good things come to an end and in this case, it is a very natural thing to happen. It's nice to know that they went out on a high after making an awesome record - Digimortal. As a consolation to the most diehard fans, we've got a few interesting things in the vaults that we will be releasing in the future. I want to thank Dino, Burton, Christian and Raymond for making some incredible records for Roadrunner and helping put this label on the map. I will forever be proud of these records and thrilled that I was a part of them. I wish all four of them the best in their future musical endeavors, and hope Roadrunner can be a part of some of them. FF - R.I.P."
A toast to Fear Factory, their 12 year career, their 10 year relationship with us at Roadrunner, and all releases and feats accomplished - all impressive. All our best."
Jesszus, már a Hupikék Törpikék is a topic fölé kerekedett! Ezt nem hagyhatom, bocs! :)
Látom Atesz barátom megint nagyon vicces kedvében volt, vagy csak épp rohadtul unatkozott. Mindenesetre: Hahaha... Hm, de legalább a topic-ot feldobta...kösz! :)
Informatika és tudomány
