In Flames


In Flames

All That Remains, Periphery

Wed, May 13, 2015

7:00 pm

$33.50 - $1,610.00

Off Sale

This event is all ages

In Flames
In Flames
What doesn’t kill you makes you stronger. Perhaps one of the big clichés, but unusually evident when it comes to In Flames and their new album “Siren Charms”.

To lose one of the musical engines of a band usually means a ticket to the graveyard of bands for an eternal rest among abandoned careers and reasonably forgotten last albums. Sure, history has proven the opposite once or twice - but one could question if anyone has risen from the ashes with such
strength and power as In Flames? When guitarist Jesper Strömblad left the band following 2008’s “A Sense of Purpose”, the harbingers of doom were very vocal on the imminent collapse of the Gothenburg band.
That never happened. In what must be described as a pure backlash, the band delivered it’s strongest album to date – “Sounds of a Playground Fading” - which was both awarded for gold-level sales and topped charts in both Sweden and Germany. “Siren Charms”, the first album with Niclas Engelin as
permanent guitarist in the band, cements the greatness hinted at with the previous album; this is a band taking it’s game several steps forward, leaving both imitators and nay-sayers far behind.

The first sign that the band have taken a different route is the choice of studio. Where they previously have recorded at home in Gothenburg, the whole operation was now moved to Berlin and the legendary Hansa Ton Studios. At the Köthener Strasse-location, artists like Iggy Pop, David Bowie, U2 and Killing Joke have all recorded some of rock history’s most spoken of classics, and it is no exaggeration to say that history can be felt in the walls. Here, the band settled in with producer Roberto Laghi and vocal producer Daniel Bergstrand. Based at Hansa since a few years is also swedish mix-engineer Michael Ilbert, who was appointed to mix the album after keyboard-wizard Örjan

Örnkloo once again contributed with his characteristic programming and synthesizers. Both guitars Björn Gelotte and vocalist Anders Fridén are convinced that the choice of environment has had an influence on the final results. All details, big and small, interconnect and have given the eleven new songs a darker sound and tone. A darkness and sadness in the music’s atmosphere that anyone who has wandered home drunk through a rainy Kreuzberg at four in the morning can recognize.

If “Sounds of a Playground fading” took more than three months to complete, the band gave themselves six weeks to record “Siren Charms”. They brought ”a bag of riffs” and a hand full of song structures to start off. The method meant a self-inflicted pressure to feed creativity and was a daring move. It also meant that Anders Fridén and Björn Gelotte got to collaborate in a new way as songwriters.

Previously, Björns love of classic rock and Fridéns wish to experiment resulted in clashes with both parties claiming ”You ought to think like this… No, YOU ought to think like THIS!”. With the limited time in the studio, they instead had to embrace each others different approaches and turn them to strengths.
Daniel Svensson, drummer of In Flames, got demos of the songs with simple programmed drums, and could then add his personal touch to the sessions. Given the intricate and highly intense drumming on the album, one would easily guess that he’d been playing the songs for months, but it is often first-take
recordings delivered with laser-sharp precision. Fridén and Gelotte can’t give him enough praise, claiming him to be one of the world’s best drummers who doesn’t make too much fuss around his drumming (”He doesn’t go around doing drum-glove endorsements really”), but always delivers flawless takes in the studio and on stage. Together with bass player Peter Iwers, they create a foundation for the music so solid you could build Burj Khalifa on it.

Fridén had to pay a high price for the heavy time pressure and creative stress. On his return to Sweden, his body caved in and he found himself physically and mentally exhausted. Straight after the album sessions were finished, work at his own label Razzia Notes started without any chance of recuperation and recharging of the batteries. His attitude of ”I’ve always done this - toured and recorded” finally took it’s toll and he found himself knocked out at home. When Anders talks about the crash today with some distance, he can see the experience as healthy; the insight that one has to listen to the bodies signals and shut down for a while. Above all, he’s content with the knowledge that
he’s taken the new recordings as far as is physically possible. The result being an album showcasing exactly where In Flames are 2014.

One of the biggest differences from previous albums comes from Fridén as well. Where he used to mix his vocals with both screaming and growls, “Siren Charms” is more or less completely fragile and delicate when it comes to the vocal delivery. It is the result of a vocalist with no holds barred, bearing
his throat and letting the listener come closer than ever before. It’s intimate, emotional and powerful.

The album title refers to the female creatures from the Greek mythology who lured sailors with their singing, only to watch their ships crush against the cliffs and sink. A story that is told in different ways over the albums lyrics and is applicable to the many aspects of the human need to intoxicate ourselves, and submit to seduction. They are fascinating tales of what we are prepared to sacrifice to achieve those states of mind.
“Siren Charms” secures In Flames position as a metal band that never stands still, and it is doubtlessly a band that continues to take risks, push boundaries and challenge themselves as much as their audience. That the adversities haven’t killed the band is quite obvious - but the question is if In Flames have ever been this strong?
All That Remains
All That Remains
All That Remains have no choice but to be honest. Ever since their formation in 1998, they've stayed true to themselves with each successive record. There's no pretense. There's no posturing. There's no pandering. Their seventh full-length effort, A War You Cannot Win [Razor & Tie], is no exception. The Massachusetts quintet—Philip Labonte [vocals], Oli Herbert [guitar], Mike Martin [guitar], Jeanne Sagan [bass], and Jason Costa [drums]—unabashedly unleash tight and taut heavy metal with arena-size hooks. Defying preconceived notions, the music is as genuine as it gets, and All That Remains wouldn't have it any other way.

Going into A War You Cannot Win, the group didn't tinker with their process much. Beginning in early 2011, they commenced writing in a Massachusetts practice space together between touring for their last offering, For We Are Many. Coming off the road, the musicians hit the studio with longtime producer Adam D [The Devil Wears Prada, As I Lay Dying, Killswitch Engage] to record. As they cut the album's twelve tracks, one paramount goal loomed.

"We just want to write good songs," admits Labonte. "We're not trying to be the heaviest or most technical band in the world. We're not trying to write math problems. We aim for balance. It's not about pleasing anyone or fitting into a scene. For us, it's always been about making music that's memorable and we would actually enjoy listening to it. That's the big point."

That point becomes proven tenfold on the anthemic first single, "Stand Up". From the scorching lead to the propulsive beat, it's an incendiary and infectious introduction to the record that's meant to be chanted along to.

"People can interpret it in many different ways," Labonte reveals of the song. "It's a little abstract. This band has never been about one style of music though. Any creative ideas are fair game, and everybody has input. We've always pushed the boundaries of what we are, and we'll continue to do so."

At moments, A War You Cannot Win retreats into the warmth of Herbert's classically-infused acoustic instrumental "Calculating Loneliness" before reloading the thrash firepower of the politically-charged title track or the visceral stomp of "Down Through the Ages". In other places like "What If I Was Nothing" and "Asking Too Much"—self-proclaimed "pining love songs"—the melody entwines with the lyrics, evincing tangible vulnerability. Most importantly, those vulnerable moments hit just as hard as the heavy ones in true All That Remains fashion.

"I'm fortunate to be in a band with people who have such incredible ability," Labonte smiles. "Jason and Oli make everything musically interesting and complex. They're phenomenal. Mike and I add the pop metal aspect."

As far as the album title goes, it encapsulates a deeper meaning for the outspoken singer. "I drew from a political perspective," he goes on. "It's an election year and the record drops Election Day, but it doesn't matter if you voted for one side or the other. It's still the same crap. The idea that the government can control someone's life is where A War You Cannot Win comes from. You can't go ahead and tell individuals what they can and cannot do. There will always be people who fight that power."

All That Remains has been fighting since day one. Granted, it hasn't been easy, but they've had some very significant victories rising from the much-written about East Coast metal scene into an international phenomenon.

To date, they've sold more than a million albums worldwide and 1.5 Million tracks over the course of Behind Silence and Solitude [2002], This Darkened Heart [2004], The Fall of Ideals [2006], Overcome [2008], and For We Are Many [2010]. For We Are Many actually debuted at #10 on the Billboard Top 200 and has moved over 180,000 copies. At Active Rock Radio, they've become a mainstay. "The Waiting One" hit Top 5 on the Active Rock Radio chart, becoming their first-ever Top 5 single and fifth consecutive hit for the format. "Hold On" and "The Last Time" spent over a year charting as well. They've destroyed stages worldwide with everyone from Asking Alexandria and Buckcherry to Hollywood Undead and Five Finger Death Punch as well as giving unforgettable performances at OZZfest and Download.

Ultimately though, it circles back to the fans for Labonte. "The most important thing is people can pull from the music what they want," he concludes of A War You Cannot Win. "Do the songs reflect on you? Do they affect you? Do they inspire you somehow? Do they make you think? It's not about the person who wrote the song. The listener is the most important. If people are entertained by it and they think a little bit, we couldn't ask for anything more."

All That Remains definitely accomplish that mission on A War You Cannot Win.
Hailing from Washington DC, Periphery is one of the freshest progressive metal acts on the scene today. With their signature blend of polymetric grooves and soaring melodies, the band continues to push the envelope of modern metal music. The Band released their first full length album 'Periphery' on April 20th in 2010. It debuted at #128 on the Billboard Top 200, as well as #2 on the Billboard Heatseekers chart.
Venue Information:
London Music Hall - CA
185 Queens Ave.
London, ON, N6A 1J1

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