SOILWORK Frontman On 'Verkligheten' Album: 'We Always Aim To Surprise Ourselves And Our Fans'

SOILWORK Frontman On 'Verkligheten' Album: 'We Always Aim To Surprise Ourselves And Our Fans'

Metal Wani‘s Jake Patton recently conducted an interview with frontman Björn “Speed” Strid of Swedish metallers SOILWORK about the band’s forthcoming studio album, “Verkligheten”. You can listen to the entire chat below. A few excerpts follow (transcribed by BLABBERMOUTH.NET).

On still releasing studio albums over two decades since SOILWORK‘s formation:

Björn: “I didn’t really predict that. I was just glad to get a record deal back in ’98 and releasing the first record. I didn’t really have any plans. It’s crazy to think about it. It’s like half of my life I’ve been doing this. That’s pretty insane. I don’t know…I’m just really proud that we’re able to put out such interesting records still that sort of stick out in the metal world, which is really hard in the end. Yeah, it gives you perspective. I just turned 40, too.”

On what the “Verkligheten” album title represents:

Björn: “I think David [Andersson, guitar] came up with the idea a couple of years ago. He said, ‘We should totally name it ‘Verkligheten’.’ At the time, it seemed sort of weird, but it sort of marinated for a couple of years, then it picked up again, especially with this record that has so much Swedish melancholy written all over it, especially with the melodies. It seemed like the perfect title. I guess, lyrically, when I write lyrics, they’re usually very socially realistic and when David writes lyrics, they’re usually full of escapism and escaping reality and at the same time, I sort of want everything to be as normal as possible. The older you get, the more you have to face reality, so, I guess it’s a very fitting title in the end.”

On whether he is concerned about the four-year gap between studio albums for SOILWORK, with their most recent effort, “The Ride Majestic”, coming in 2015:

Björn: “Not really. I mean, we never want to release an album as an excuse to tour. I think there’s too much of that already out there. It’s very sort of emotionally-driven. We did so much touring for ‘The Ride Majestic’ and I think that’s the main reason in the end why it took so long. We did three North American tours; we did two European tours; we did South America, Australia, Japan and we did all the festivals. It left us pretty drained in the end. I guess we needed some time off and then we sort of slowly approached the songwriting process carefully and you never know what’s going to happen, how the songwriting is going to go, but it came to us. There was a constant flow of inspiration present. We were honestly very happy to feel that. It was pretty easy to write this record and it’s hard to say why, but, we had gone through a lot in the last years, both as a band and the personal level, so I think that also sparked this album in a way.”

On how different “Verkligheten” sounds in comparison to other SOILWORK studio albums:

Björn: “I mean, it’s hard to sort of realize these things when you’re so deep into it. To me, it all makes sense. Maybe some people will be, like, ‘Oh, what is this?’ And they get really surprised, but that’s what we always wanted to do. We always aim to surprise ourselves and our fans and I think that’s why we make so much sense today. We’re not trying to recreate albums, we keep on developing, but there’s always a theme running through our songwriting, especially this new one, I think it’s a really good summary of our career. It might be a cliché, but it really feels like that. I think it would even be a great introduction to someone who hasn’t heard SOILWORK if they got this album, then they could go back from there.”

On the songwriting process for “Verkligheten”:

Björn: “There’s some amazing guitar [work] on there. It was actually me and David who wrote the whole record, so it’s been interesting for me to sort of, pick up the guitar again. I mean, I already did that for ‘The Living Infinite’ and I also wrote some songs on ‘The Ride Majestic’ and the new one, it’s only been me and David, which was not planned at all. Normally, Sven [Karlsson, keyboards] and Sylvan [Coudret, guitar] would write some songs as well, but they didn’t come up with anything, so it ended up being just me and David. It’s been really interesting for me to write a song from scratch instead of getting a demo, then adding the lyrics and the vocals. So, it’s about building it up from the ground up. Yeah, I mean, it’s been a challenge for me to play all these riffs, at least for the demos. I didn’t record any guitars on the actual album, but I wrote the songs. David is a fantastic guitarist, he can play whatever he wants. For me, I’m really good at realizing ideas I have in my head into my fingers, even though I wouldn’t be able to do a play-through, so to speak. It’s kind of hard to match David‘s guitar work, too. He has all the technical abilities in the world whereas I sort of have to really practice for each and every riff to realize what I have in my head.”

On the involvement of new drummer Bastian Thusgaard, who replaced Dirk Verbeuren when he left for MEGADETH in 2016:

Björn: “We always write demos with programmed drums, but we always want to leave it open for interpretation. He added a lot of stuff in the studio as well. I also think it has to do with the fact Bastian has done so much touring with us already. When he stepped in for Dirk, when Dirk was leaving for MEGADETH to fill in for one month to begin with, then Dave Mustaine, he popped the big question, he became a permanent member. At that time, Bastian was already touring with us, so it was a pretty smooth transition. I think that’s really, really good that we got to play together live before approaching a new album. I think you can definitely hear on the new album as well. He’s a solid drummer. He can play really extreme stuff, but also a classic, good old Phil Rudd [AC/DC] rock stomp.”

“Verkligheten” will be released on January 11, 2019 via Nuclear Blast. The first-edition digipack, as well as the vinyl versions, will also contain the exclusive “Underworld” EP, containing four more songs. The digipack version will also feature special artwork with lavish foil print.

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SOILWORK Frontman On 'Verkligheten' Album: 'We Always Aim To Surprise Ourselves And Our Fans'
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THOMAS GABRIEL FISCHER On HELLHAMMER: 'The Music We Played Kept Everybody Away That We Hated'

THOMAS GABRIEL FISCHER On HELLHAMMER: 'The Music We Played Kept Everybody Away That We Hated'

The Jimmy Cabbs 5150 Interview Series conducted an interview with former CELTIC FROST and current TRIPTYKON frontman Thomas Gabriel Fischer prior to TRIPTYKON‘s appearance at the 2018 Decibel Metal And Beer Festival, which was held December 1-2 in at The Wiltern in Los Angeles, California. You can watch the entire chat in three parts below. A few excerpts follow (transcribed by BLABBERMOUTH.NET).

On how he developed as an artist in the 1980s while organized religion and conservative politics were in control:

Thomas: “Isn’t organized religion always out of control? Hasn’t it been for the last 5,000 years? You said I have an impeccable record — I’d like to disagree. I wish I had, but I don’t. I’m a human being like everybody else. I’ve made huge mistakes in my career that I have to live with, just to set the record straight. It’s very kind of you, but it doesn’t reflect reality. As far how I was able to accomplish all of this, if there’s anything I accomplished, the fact of the matter — and that’s not P.R speak; it’s really how I feel — people gave me a chance. I owe everything to the people who gave my music a chance and listened to it. ‘Cause we started our path being ridiculed. When we formed HELLHAMMER, it was a band that was an outcast, a band formed by outcasts and a band that was an outcast. People ridiculed us, we got really bad reviews and everything and it was a very long path. We owe it all, everything that happened afterward, we owe it to people who actually gave our music a chance, who were open and listened to us and gave us a few minutes of their lives and then decided it was good. Without these people, I wouldn’t be here. I wouldn’t have had a so-called ‘career.’ That’s how I accomplished it by the grace of our audience and that’s simply the fact. I’m a human being; I owe it all to the people who listen to us… That’s the way it is. I know the scene is filled with self-styled celebrities, but when it comes down to it, we wouldn’t be here…I used to be in the front row before I was a musician myself. I was a die-hard fan of many bands, bought their records, their t-shirts and everything. Then I became a musician and I could only do this because of other fans like this. It’s simply a fact. It doesn’t hurt to notice.”

On whether everything he composes comes from a place of “sincerity”:

Thomas: “For better or for worse, yes, of course. Of course, you’re exposing yourself when you’re honest and when you let your music reflect the deepness of your personality — whether it’s shallow or deep, whatever, if you let music reflect that, you’re exposing yourself. It’s not a kind world. Once you’re exposing yourself, you become very vulnerable and there again, you’re dependent on the grace of those who listen to it and what they make out of it. but, yeah, of course, I try to be honest. What else can I do? It’s the only thing I have. I didn’t study music, I didn’t have a fantastic youth. I didn’t have rich parents, I come from a very poor background. All I had was me and my emotions. I had no connection, no money, no nothing. I had to depend on what I was and what I had.”

On the “rebellious” nature of his early HELLHAMMER and CELTIC FROST compositions:

Thomas: “The rebelliousness didn’t exist by design. It was all we had. For one reason or another, usually our upbringing and the nature of the home we came from, we weren’t accepted in the mainstream. We didn’t really have a choice than to be rebellious. It wasn’t like we sat down and [decided] to be hipster rebellious. The only path left for us when nobody accepts you is to be rebellious or to commit suicide. So, HELLHAMMER and early CELTIC FROST was simply a gathering of people who were, in one way or another, outcasts. Most of us had a very challenging youth. And because the existing world didn’t accept us, we created our own world. And the happy side effect was that the music we played kept everybody away that we hated. In the small picture, parents, teachers; in the big picture, politicians, whatever. Nobody wanted to have anything to do with these people playing this music and looking the way that we did. It was a give-and-take. We had to be rebellious and it fueled itself. And it’s not the worst thing; at least we did something constructive with that situation. Some of my friends resorted to drugs and alcohol, and it ended really badly. We put our frustration and our being outcasts, we put it into music. And at least something positive came out of it and some other people enjoyed it too. So I think we were very lucky. There again, not really by design. It all happened the way it happened, but we were very lucky. It could have been different. But I’m proud we did this. I’m proud we didn’t give in. I’m proud we didn’t bend to the pressures of society and everything. We were outcasts and we stuck with it.”

On whether he’s been able to adapt HELLHAMMER‘s early catalog to where he is as an artist today:

Thomas: “Of course. Otherwise I wouldn’t do it. As I said, I got immensely lucrative offers throughout the ’90s and 2000s for a reformation of HELLHAMMER. I never did it, because it has to feel right. And, of course, I do it because I feel enthusiastic about it musically. There was also a long time when certain members of HELLHAMMER, myself included, felt uncomfortable with it, because of how closely HELLHAMMER was connected to certain very difficult aspects of our lives, our youth. And for a while, we were very happy to leave these periods behind ourselves. Later in my life, I was able to look at HELLHAMMER more… to separate these things and look at HELLHAMMER more musically without all the baggage attached to it. And that was a very healthy thing. And I feel much more comfortable with all of this. And, of course, as I said earlier, these songs are very important for my life, my own path in life. And during rehearsals of the TRIUMPH OF DEATH project, it was fantastic to hear this. There’s a certain youthful innocence in these songs; they’re very punky. Some of these songs are more punk than metal. They reflect the do-it-yourself attitude of the time, the desperation of the time, the extremity, the fanaticism. And these are all positive things to me now, because they were the roots of the music that we are still playing. And it feels fantastic to be so closely connected to this again. It kind of closes a circle to me.”

On TRIPTYKON‘s plans for a new studio album:

Thomas: “I know we’re very overdue with a new album. We would actually have a finished album now, but then Roadburn festival in Europe contacted us and asked me if I would be interested in finishing CELTIC FROST ‘Requiem’, which was a plan I had for many, many years. And Roadburn offered me an orchestra and everything. So I dedicated most of this year to writing the missing part of the ‘Requiem’ and everything else in TRIPTYKON had to be put into the background. TRIPTYKON has been working on the ‘Requiem’ all year. It’s a hugely complex undertaking, so that’s what we did this year. So the new album will be finished next year. Unfortunately, yet another year without an album. I regret that myself too — we’re totally overdue.”

Fischer recently announced the TRIUMPH OF DEATH project, which commence playing HELLHAMMER‘s music onstage in 2019. TRIUMPH OF DEATH will not record any new music but is solely dedicated to performing both well-know and obscure HELLHAMMER songs.

TRIPTYKON‘s latest studio album, “Melana Chasmata”, was released in 2014 via Century Media.

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THOMAS GABRIEL FISCHER On HELLHAMMER: 'The Music We Played Kept Everybody Away That We Hated'
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BULLET FOR MY VALENTINE Frontman On 'Gravity' Album: 'We Were Just Trying To Challenge Ourselves'

BULLET FOR MY VALENTINE Frontman On 'Gravity' Album: 'We Were Just Trying To Challenge Ourselves'

Heavy magazine conducted an interview with BULLET FOR MY VALENTINE frontman Matt Tuck and bassist Jamie Mathias at this year’s Good Things Festival, which was held Sunday, December 9 at Flemington Racecourse in Melbourne, Australia. You can watch the entire chat below. A few excerpts follow (transcribed by BLABBERMOUTH.NET).

On the experimental nature of their latest studio album, “Gravity”:

Matt: “We were just trying to challenge ourselves to write different music to what we’ve done in the past. I think every BULLET album has its moment in time and I think it blends into the other. We’ve always been very focused on making each album ‘in the moment’ and focused on making them different from each other and it’s quite challenging to do that. But it’s very rewarding when you finish it and that’s what we kind of wanted to do.”

On whether “Gravity” has reinvigorated Tuck‘s creativity and passion:

Matt: “Yeah, absolutely. It’s album number six and we’ve been doing it for nearly 15 years. To kind of do the same stuff again and again, it just wasn’t interesting for me anymore. It was a little bit scary to steer away from formulas that worked so well in the past but I think that’s copping out, really. I wanted to be challenged. It opens the door for the next album to do what we want again, which, for me, is brilliant and scary for everyone else. For me, I think.”

Jamie: “It just bring something fresh to the live performances.”

Matt: “It adds a new dynamic and it makes the set far more eclectic and dynamic. Live, all the songs we’ve been playing live, it just fits so seamless into the set. For us, it’s not really that big of a difference or shift. It’s a just an evolution from what we’ve done in the past. A different way of writing. It was always important to keep the DNA of the band. It was never in question. It’s just how we do it differently. What we did was kind of flip things on the head from ‘Venom’, really, and that was all technical and thrashy and this one is far more simpler and bigger-sounding.”

On whether writing “Gravity” for Tuck was “cathartic”:

Matt: “It was scary, weird, a bit of a dark point in my life, but as soon as I started writing about it, it was the strongest hooks I’ve ever written that actually mean something rather than sitting there trying to get inspired by something. It was there all the time. It was good. It was a difficult experience, but looking back now, I’m glad I did it. It made the album a definite thing; it had a theme and had a concept. It was real. That’s really important for me that it’s real.”

On what the members of BULLET FOR MY VALENTINE would tell their younger selves:

Matt: “I don’t know. It’s not something I really thought about it until I’ve gotten older over the last couple of years, really. It’s been such a whirlwind and you just go with the flow, because you spend half of your life wanting it, then it’s given to you, then off you go and you forget about that bit. It’s only when I’ve gotten older is when I’ve started to really appreciate the importance of that time. I’d tell myself to do what I wanted to do because that’s what I did and we did. We just stay true to ourselves and we never gave up when we could have easily like many bands do. You get to a certain level at a certain age and nothing’s happening and you get to a crossroads, but we didn’t veer off to the left, we kept on the path. I was 23, I was still living at home, I was losing jobs, I didn’t have any money in the bank. I dedicated everything toward the band becoming something and I was getting nothing back. It was difficult, but, all of the sudden, it suddenly clicked and off we went and here we are.”

On whether they still feel like they’re learning lessons this far into their career:

Matt: “Yeah, absolutely. It’s become a huge deal. It puts food on all our tables. It’s a huge, global business, so we have to make sure we take care when we do things and we make the right decisions for the longevity of the career. It’s quite an intense thing behind the scenes, especially for bands at certain levels. But it’s all good. We’re learning every day. You just never stop being creative and there’s always something you can learn if it’s something about music, something about the running of the business. It’s all good. You’re constantly learning.”

On the band’s 2019 plans:

Jamie: “We’re starting in Mexico in January with some touring. Quite a busy schedule.”

Matt: “We’ve got a schedule in the pipeline. Nothing confirmed yet, but it involves a lot of touring between January and the end of August. The first eight months of next year are pretty busy, [and] then we’ll knock it on the head for this cycle. We’ve been out since January of this year, six months before the album came out. It’s been a really intense, long year, but it’s been really enjoyable.”

“Gravity” was issued in June. The effort was made available through BULLET FOR MY VALENTINE‘s new label home, Search And Destroy, the imprint launched in 2014 by Spinefarm and international artist management company Raw Power Management.

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BULLET FOR MY VALENTINE Frontman On 'Gravity' Album: 'We Were Just Trying To Challenge Ourselves'
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SODOM Frontman: 'I Hate The Situation In This World. I'm Scared For The Kids And The Next Generation'

SODOM Frontman: 'I Hate The Situation In This World. I'm Scared For The Kids And The Next Generation'

Diamond Oz of Metal Underground conducted an interview with frontman Tom “Angelripper” Such of German thrash metal veterans SODOM after the band’s December 6 concert at Electric Ballroom in London, England, United Kingdom during the MTV “Headbanger’s Ball” tour alongside EXODUS, DEATH ANGEL and SUICIDAL ANGELS. You can watch the entire chat below. A few excerpts follow (transcribed by BLABBERMOUTH.NET).

On playing the songs live from their recent “Partisan” EP:

Tom: “That was a big question — if we’re going to do the new songs. Playing both of the songs with just one hour — we have to promote the new songs, we want to show the people what we’re going to do next, keep the direction for the next album, whatever, so it’s always hard to choose songs for a setlist for one hour. There is so much material. We want to change the setlist from time to time. I remember playing in Russia a couple of weeks ago. We played two hours, so we could put everything in. This tour is explosive with great bands, so we just have an hour. An hour is 11 songs, maybe 12.”

On the lyrical themes on “Partisan”:

Tom: “I think it’s about the partisan fighters in Germany where they were fighting against the regime, against the government for their own rights, against opposition military. The whole world is getting out of control, so that’s what I write down. Sometimes I wake up in the middle of the night and I write something down. I hate the situation in this world. I’m scared. I’m not scared for myself — I’m scared for the kids and the next generation. It’s nothing serious. There is no message, but being a singer in the band gives you the chance to scream it out.”

On the status of the band’s next studio album:

Tom: “We’ll start writing the new songs, but we have no release date confirmed with the record label. I talked to the record label. I don’t want to work with all this pressure. We just start writing the songs and if the songs are arranged, we can talk about it before we start mixing and mastering or whatever. So, it could be the end of next year or beginning of 2020. I can’t work with a date. If you say, ‘If you want a release next year.’ The record company then tells me ‘Okay, we need a master in August or September.’ I don’t know…that’s the deal. Record companies told me, ‘Okay, you get your time. Start writing the songs, start writing the material and then we’ll see.”

On whether SODOM has any plans to play shows in North America:

Tom: “We have to think about a North America tour because it’s a long time since we’ve been there. The timing has to be right. We always have problems with paperwork and working licenses, papers, shit and all that stuff. We have to find a serious promoter. That’s the thing. The promoter will want to tell us we can go to North America as tourists, but we can’t. If there is some metal festival around, they’ll know exactly we’re a band. We want have to find a serious promoter in America who is going to help us and do a good job and then we will go. It works in South America, it works in Australia, it works in Russia. It never works in America. I don’t know why. We are sitting at home when we get good offers, then we off we go.”

Such is joined in the band’s current lineup by guitarist Frank “Blackfire” Gosdzik (also formerly of KREATOR, ASSASSIN), drummer Stefan “Husky” Hüskens (ASPHYX, DESASTER) and second guitarist Yorck Segatz (BEYONDITION). Blackfire previously played with SODOM on the seminal albums “Persecution Mania”, “Mortal Way Of Live” and “Agent Orange”.

Former SODOM guitarist Bernd “Bernemann” Kost and drummer Markus “Makka” Freiwald released a joint statement in January claiming that they were fired from the band by Tom via messaging platform WhatsApp even before Tom had a chance to hear any of the material the duo had been working on for the group’s next album.

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SODOM Frontman: 'I Hate The Situation In This World. I'm Scared For The Kids And The Next Generation'
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THE DEVIL WEARS PRADA Is 'Trying To Do Something Very Different' With Upcoming Album

THE DEVIL WEARS PRADA Is 'Trying To Do Something Very Different' With Upcoming Album

Alex Haber of Heavy New York conducted an interview with THE DEVIL WEARS PRADA vocalist Mike Hranica prior to the band’s December 11 concert at The Gramercy Theatre in New York, New York. You can watch the entire chat below. A few excerpts follow (transcribed by BLABBERMOUTH.NET).

On whether he has a different perspective on the band’s 2009 “With Roots Above And Branches Below” studio album now that they are playing it live in full:

Mike: “Yeah. Certainly. We’ve always been pretty forthright and outspoken about not really loving our old material. I say that as generously as possible. We do not like our older material. But at the same time, we wanted to celebrate this record. It does feel close enough versus if we were to do ‘Plagues’. It’s been really great, actually. I thought it might drag. It’s the longest set we’ve ever played. But it actually really flies by. It feels that it goes faster than the 40-minute sets like the [set supporting] PARKWAY [DRIVE], which was more like 35 minutes. It goes by fast. It’s been cool talking to a lot of folks that the record meant something to them 10 years ago in a different stage in all of our lives.”

On whether playing “With Roots Above And Branches Below” makes him appreciate their older material a bit more:

Mike: “No one will ever hear ‘Plagues’ in its entirety. That would be a cold day in hell. But, yeah, as much as older material is what it is and we kind of look down on it, I’ve always admired our honesty, and that’s something I’ve always been unapologetic about as far as it wasn’t like we were saying things for the sense of money or fame or any of that bullshit. It was always coming from a very authentic, real place in us. So it’s cool to look back on that, even though I have varying opinions on some of the things I wrote on the record. But it’s nostalgic and cathartic, all in all. As far as songwriting goes, we’re writing a new record right now. We know we need to include some riffs, because that’s what all ‘With Roots Above’ is: riff, riff, riff, riff.”

On whether he needs to hear music first in order to develop a lyrical concept or theme:

Mike: “I’ve kind of always approached it similar. We’re writing the new record now and something we’ve been doing is I’ve been writing a song’s worth of lyrics and then write the song to it. We certainly have times where we write to vocal parts, but there’s been times where I have, like, a sort of like a poor piece of poetry and then say, ‘This would work as the chorus.’ Then John [Gering, keyboards], Kyle [Sipress, guitar] and the band will write around it. I think to answer your question, we’ve approached it from as many different angles as possible. Early on, it was, ‘Hey, here’s the song. Put vocals over top of it.’ That’s how it always was. I think we want to create more of an identity and more composition to each song, more of a story and a narrative to each individual piece. That’s had to change rather than having 12 songs with 12 sets of lyrics over it. We’ve changed it, if that answers your questions.”

On the band’s sometimes odd choices for songtitles, including “Ben Has A Kid” and “Assistant To The Regional Manager”:

Mike: “We always heard goofy songs like DILLINGER [ESCAPE PLAN] and UNDEROATH with these lackadaisical song titles. ETID [EVERY TIME I DIE] as well. The songs were always very serious, but we’ve always had a prevailing sense of humor in the band. We all have a particular sense of comedy amongst the group. Back then, we were just, like, ‘Ah, just call it whatever.’ That’s what we did. I think the furthest we went was ‘With Roots Above’ — [that] was the last time we didn’t have serious song names. From there, we started giving the songs real names. But ‘With Roots Above’, it was like a shoutout to different guys in the crew back then. Ben was our manager and sound guy for ten years. He now has two kids. Back then, he only had one kid. Robert, our tour manager, for a while, he always used to say, ‘Give me half.’ Wiggly was a guitar tech. Wildman was our friend Steven. So, yeah, ‘With Roots Above’ had a few songtitles that were just like sort of inside jokes with our crew guys.”

On THE DEVIL WEARS PRADA‘s plans for a new studio album:

Mike: “We’re still in the planning stages as far as a hundred percent locking in studio time, although it’s looking like late March, April-ish or something. And hopefully a record [out in] November. I would love November — that’s what I’m kind of aiming at — but we also don’t wanna rush it and compromise the rollout process. Especially ’cause we’re trying to do something very different this time around and put out a record people haven’t heard… When we first started writing, Kyle and John had almost 30 songs put together and they listened to them and they were, like, ‘This just sounds like ‘Transit Blues Part 2’.’ So we were, like, ‘We’re not doing that.’ We look back on ‘Transit Blues’ pretty fondly. We would definitely change a number of things if we could, but there’s no point in redoing it… For this record, the goal was to write 20 songs, which is way more than we usually do — we usually write 13 songs or 12 songs and those songs make the record. So we’re putting together a bunch of ’em and then we’ll sit down and look at ’em and say, ‘What didn’t make the cut?’ So, it’ll be interesting. There will be friction, but all for the better and hopefully a better, different record than what folks have heard.”

THE DEVIL WEARS PRADA recently announced a deal with Solid State Records for the release of its next album.

The band’s tour celebrating the tenth anniversary of “With Roots Above And Branches Below” wraps December 16 in Columbus, Ohio.

“Transit Blues” was released in October 2016 via Rise Records.

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THE DEVIL WEARS PRADA Is 'Trying To Do Something Very Different' With Upcoming Album
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