Matt Hyde

• coming soon...
• Producer, Mixer and Recording Engineer
• With meticulous attention to detail, strong technological background, in-depth knowledge of backline studio equipment and extensive Protools experience, Matt has emerged as one of the best producer engineers around. Over the past 10 years Matt has worked with some of the world’s most established bands, including Slipknot, Bullet For My Valentine and Trivium.

• • Gordon Raphael

  • Gordon was probably the first producer to take me on board as his regular engineer. Best known for his work with The Strokes, producing their first two albums, he spent a year living in London and starting his own label 'Shoplifter'. It was many of the bands he was signing and developing that I had the opportunity and pleasure of working on with him. Artists such as Kill Kenada, Miss Machine, and the success story that is Regina Spektor. Gordon had this approach that was quite inspiring at the time. He really was the producer that brought the 'live' element back into the studio, and I learned so much about what really is important in recording. However technically good a sound may be, if you don't capture that magical performance, it will never be as good as it can be. Gordon currently lives in between New York and Berlin.

  • Colin Richardson

  • I first met Colin working on the debut Funeral for a Friend album 'Casually Dressed and Deep In Conversation'. We hit it off immediately, and he asked me to come on board and finish that album with him. I really see that record as a career turning point, so feel that Colin has definitely played a massive part in my success this far; from giving me those first early opportunities through to everything I have learned from him in the studio environment. Although for a large part of his career he may have been pigeon holed into the Metal scene, I think with recent productions such as Fightstar and Bullet for my Valentine, he has proven that there are many more sides to his work. I think he is a perfect example of making sure you keep your sound current and making sure you are not left behind with new technologies or production techniques. It is fantastic to still enjoy such a productive working relationship with him now!

• Orchestra Of Wolves ReIssue (New Tracks), Gallows

  • Prod / Rec / Mix
  • Black Envelope / Warners
  • This was a great project for me. It was such a breath of fresh air working with these guys, and the results were fantastic. I produced 4 tracks with them, of which three are now going to be used on an album re-release since the band have signed with Warners. This band definitely live up to all the publicity surrounding them, and I really think that 2007 is going to be a big year for them.
  • www.gallowsrocknroll.com
  • iTunes
  • • Punk & Oi UK
    • he assent of Gallows has been both rapid and explosive. Formed in the conurbation town of Watford in early 2005, the quintet’s members cut their teeth playing in various lauded local punk/hardcore bands before coming together to create what Kerrang! have called ‘the future of punk rock’. With a live performance that, in terms of sheer energy and passion, out-strips any band you care to mention, the band (Frank Carter (vocals), Steph Carter (guitars/vocals), Laurent Barnard (guitars/keys/vocals), Stuart Gili-Ross (bass) and Lee Barratt (drums) quickly built up a reputation as an incredible live act. By the close of 2006 Gallows were the most talked about band of the UK underground. The band signed to Nottingham’s In At The Deep Records and recorded their debut album ‘Orchestra Of Wolves’. Released in September 2006 this fraught collection snow-balled as word on the record spread through the underground and into the national press and radio. Accolades followed from the likes of NME, Kerrang! Rock Sound and Metal Hammer and much airplay from the Radio 1 Rock Show and Punk Show and the XFM Rock Show. As a DIY hardcore band, it was an interesting juxtaposition. But with their feet in the underground and their eyes looking towards bigger things Gallows proved themselves more than ready to make that leap. Others agreed and in January 2007 they became the smallest UK band to grace the cover of Kerrang! in many years. Following a now legendary UK headline tour in March that climaxed with a night of sheer chaos at the 100 Club that saw major record company executives having to sneak into the fire-escape to see the band and a series of incendiary performances at SXSW in Texas, Gallows inked a deal for their own Black Envelope Records through Warner Bros Records and signed to Epitaph Records for North America. June 11th sees the welcome reissue of ‘Orchestra Of Wolves’ in its original form and as a special edition with bonus CD. The album will also get its first vinyl pressing, a limited edition gate-fold album that will also feature a CD of the album enclosed in the sleeve.

  Abandon Ship (Live Mix), Gallows

  • Mix
  • Warners
  • Mixed the recording from their now infamous 100 club show in London. The footage from this performance was used as the music video which got heavy rotation on MTV2.
  • www.gallowsrocknroll.com
  • iTunes
  • • Richard Edge - ContactMusic.com
    • Gallows are the brightest, hottest bundle of raw, intense energy on the underground scene for a number of years, and have been receiving universally positive plaudits in the press lately. Their sound is an in your face mix of straight out punk and melodic hardcore, delivered with a distinctive British edge. British punk somehow always sounds a little more 'real' than its American equivalent doesn't it? Crass vs. The Ramones? No contest! On Abandon Ship, the Watford snarlers manage to stuff 3 minutes full of more passion, rage and intensity than a lot of bands manage to deliver during their entire careers. Coupling this sort of fierce rage with their departure from the fantastic In At the Deep End Records to the world of the major labels is surely a recipe for guaranteed success.

  Scream, Aim & Fire, Bullet For My Valentine

  • Rec / Eng / Mix
  • Sony BMG
  • I spent a gruelling 7 weeks out in Texas with the guys, tracking the follow up album to the bands succesfull debut 'The Poison'. The album took over a year in the end, due to tour schedules, illness and a host of other things that seemed to try and derail the project along the way. Everyone stuck with and finished the album in the end, and it is a sure fire hit for 2008!
  • www.bulletformyvalentine1.com

  • • Colin Richardson

    • I first met Colin working on the debut Funeral for a Friend album 'Casually Dressed and Deep In Conversation'. We hit it off immediately, and he asked me to come on board and finish that album with him. I really see that record as a career turning point, so feel that Colin has definitely played a massive part in my success this far; from giving me those first early opportunities through to everything I have learned from him in the studio environment. Although for a large part of his career he may have been pigeon holed into the Metal scene, I think with recent productions such as Fightstar and Bullet for my Valentine, he has proven that there are many more sides to his work. I think he is a perfect example of making sure you keep your sound current and making sure you are not left behind with new technologies or production techniques. It is fantastic to still enjoy such a productive working relationship with him now!

  The Road To Bloodshed (Album), Sanctity

  • Mix / Eng
  • Roadrunner Records
  • Brand new signing to RoadRunner, actually discovered by Matt Heafy of Trivium. Like Trivium's albums this recording was produced by Jason Suecof, and at times proved challenging in the mix. The guitar tones were great, and I think the final album sounds fantastic.
  • www.sanctityweb.com
  • iTunes
  • • Shattered Future
    • I'll admit, I'm quite suprised with Roadrunner Records these days. Once a haven for some absolutely terrific metal bands in the 80s and 90s, they somehow managed to sign almost every crappy band on the planet when nu-metal became all the rage. Thankfully, RR has (almost) learned the error of their ways, and has made an effort to sign many well respected names in the metal scene, including Nightwish, Opeth, and Megadeth. However, one of Roadrunner’s newest acquisitions is starting to make waves in the American metal scene. With their debut album Beneath The Machine, Sanctity appears to be one of American metal’s next big thing. And I have to say, out of anybody, these guys do deserve it. Sanctity appeared out of nowhere to snag a support slot on last year’s Gigantour, and since then have built up a fanbase. Ironically enough, they were discovered by Trivium’s Matt Heafy, a man who has almost single-handedly ruined everything American metal has strived to achieve. But I guess there’s a silver lining to every cloud, even one that doesn’t know that Metallica died 20 years ago. All Trivium bashing aside (ok, last one: seriously, what the hell is wrong with these guys? They’re ***ing TERRIBLE), Sanctity is nothing like them. I think the only way to classify Sanctity is neo-thrash, even though I hate labels like that. They’re probably one of the only bands to deserve a label like that. They took the sound of 80s thrash metal, including all the chugging and shred solos, and brought it into the 21st century. It may sound bad, but for the most part, Sanctity pulls it off. However, Sanctity also manage to blend elements of power metal and (sigh) American metal into their music. Every so often, some string arrangements will make an appearance in the music, and they do work out well for the band. They complement the downtuned palm muted riffs that Sanctity cranks out very well. However, Sanctity being a RR band, some American metal (and metalcore) influences did make it into their songs. Occasionally, the listener will come across one of those oh so familiar palm muted patterns that plagues the majority of Victory Records’ bands. While there are thankfully not too many moments like this, every so often one of these riffs rears its ugly head. I think vocalist Jared shares influences from both Lemmy from Motorhead and Johan from Amon Amarth. While there are some clean singing moments, most of the vocals churned out on this album are a form of “shouting in key�?. They are probably the weakest part of the band; while they are tolerable, the vocals do get extremely irritating if listened to for long periods of time. If Sanctity had either Jared concentrate more on straight cleans, or found a new vocalist who did only cleans, it would work out well in their favor. However, the music is what sets them apart from the rest of their American counterparts, save a few exceptions. Sanctity ACTUALLY know how to write music. It’s catchy, but at the same time, there is an actual sense of musicianship from all of the members. Chugging riffs and terrific solos make their way into every song, backed up by passable drums and a bass that you can actually hear, which is a rarity for RR bands. While this record still shows the band’s immaturity as songwriters, they have chops to burn, and with more experience, they could become an extremely good band. Sanctity’s debut is an above average release from some rising stars in the American metal scene. While they still have a ways to go, one cannot deny the talent these four North Carolina natives possess, in both instrumental and compositional ability. I’m very interested to see where this band goes in their future: if Road To Bloodshed is any indication, this band has a very bright and illustrious career ahead of them.
    • Metal Hammer/Jun '07
    • While others are getting more attention and praise, don’t be at all surprised to see this fearsome North Carolina band make the mark in the long run. This might be their debut album, but it’s full of sophisticated, albeit brutal charm. The musicianship is tight and formidable, the influences – from Megadeth to In Flames – are proudly worn, and the songs have all the atmosphere you’d expect bright-eyed riff mongrels who possess the intelligence to merge modern delivery with traditional dependability. Discovered by Trivium’s Matt Heafy, they have what it takes impact their mentor. Songs like ‘Flatline’, 'Brotherhood Of Destruction’ and ‘Zeppo’ are confident and strident. This foursome are gonna be a huge milestone name. Malcolm Dome 8/10
    • Terrorizer/ June 07
    • Those of you with nothing better to do than indulge in a spot of Trivium bashing will doubtless be poised to deliver a similarly damning verdict here, as Roadrunner wheel out their latest signings, as recommended to them by a certain Mr Heafy. Forget all that tiresome cynicism, however, because ‘Road To Bloodshed' is a joyous slab of gleaming, straight-ahead, largely mis-paced thrash, with each of its twelve succinct episodes blessed with a huge, anthemic chorus. Astutely, Sanctity avoid the expected pitfalls by ditching their sound somewhere between Megadeth's ‘Countdown To Extinction'. Testament's ‘Practice What You Preach' and the first WASP album, with vocalists Jared McEachern's throat-rending bellow and knack for unleashing brief bursts of Halford-esque falsetto adding a peculiarly timeless edge to proceedings. It's a familiar but ferociously refreshing sound that rattles and pounds with purity of intent. Seriously, what's not to like? Graham Ellis 8/10

  • • Colin Richardson

    • I first met Colin working on the debut Funeral for a Friend album 'Casually Dressed and Deep In Conversation'. We hit it off immediately, and he asked me to come on board and finish that album with him. I really see that record as a career turning point, so feel that Colin has definitely played a massive part in my success this far; from giving me those first early opportunities through to everything I have learned from him in the studio environment. Although for a large part of his career he may have been pigeon holed into the Metal scene, I think with recent productions such as Fightstar and Bullet for my Valentine, he has proven that there are many more sides to his work. I think he is a perfect example of making sure you keep your sound current and making sure you are not left behind with new technologies or production techniques. It is fantastic to still enjoy such a productive working relationship with him now!

  The Blackening (Album), Machine Head

  • Mix Eng
  • Roadrunner Records
  • Machine Head are a band in the metal community that needs no introduction. Long term collaborator of mine Colin Richardson still feels he owes his career to their debut album 'burn my eyes'. I was naturally very excited to hear I would be working on this album, but at the same time very curious as to what the band would deliver. The album was self produced, and when I heard there were only 8 tracks it really did become intriguing. Only on receiving the tracks did I find out they were 8 ten minute songs!! It could have been seen as a brave move by a band who have been savaged by music press in the past for following trends, but this record has been a triumphant return for Machine Head back to the top of the scene. I feel so proud to have been part of this record, and am really pleased that it has been so well respected throughout the industry.
  • www.machinehead1.com
  • iTunes
  • • Paul Gargano (Live Daily)
    • Even the greatest metal bands stumble sometimes. Despite the fact that they've never achieved the commercial success of some of their peers, Machine Head (music) are one of the greats. And it could be argued that they may have stumbled on occasion. But on new release "The Blackening," there's no stumbling. There are also no attempts at fleeting mainstream viability, no flirting with trends, and, most importantly, no compromise. In short, Machine Head has delivered one of the most brutally resplendent albums of its 13-year career. On album number six, guitarist/frontman/mastermind Robb Flynn is in prime form, crafting a heavy-metal beast so haughty, history might just herald it as neck-in-neck with the band's illustrious 1994 debut, "Burn My Eyes"--albeit for different reasons. Where "Burn" delivered blunt-force trauma to the skull, "Blackening" opts for a more prolonged attack; 60 minutes, eight tracks, and four songs clocking in at the 10-minute mark. Throughout, the band delivers pulverizing blow after pulverizing blow, its Bay Area thrash roots interwoven seamlessly with elements of death and speed metal, and an occasional jolt from the industrial genre. Flynn and Phil Demmel (who were co-writers on all but one of the tracks) are as tight as any guitar tandem in metal, whether it be the scalding leads and searing back-and-forth of epic opener "Clenching the Fists of Dissent" or "Aesthetics of Hate," or the more controlled rage of "Now I Lay Thee Down." Anchoring the fury, the rhythm section of bassist Adam Duce and drummer Dave McClain are equally as potent. As naïve as it may be to think that Machine Head will ever get the recognition they so justly deserve, "The Blackening" is as convincing an argument as any band could offer. Take notice: there's a band breaking down the door to metal's elite, and they have no intention of going away quietly.
    • Ian Scott - Anthrax guitarist
    • "This should've been the soundtrack to the movie 300! "'The Blackening' is a great metal record. From the opening riffs of 'Clenching The Fists of Dissent' you know you’re in for brutality. This song takes you on an epic journey all leading up to the monstrous riff that happens at the 8:41 mark. HOLY FUCK!!! CLENCHING THE FISTS OF DISSENT!!!!! "The next track, 'Beautiful Mourning', shows how MACHINE HEAD can so perfectly balance modern metal with old-school thrash. Track 3, 'Aesthetics Of Hate' is a riff-o-rama showing off Robb Flynn and Phil Demmel's killer guitar work. "Next up, 'Now I Lay Thee Down' is like the DEFTONES on steroids. Track 5, 'Slanderous' starts with a pick slide. I fucking love pick slides and they're all over this record. More crushing guitars in the middle breakdown take this song straight to hell. The lead trade-off has hints of Hammett. "Robb screams 'THIS IS A CALL TO ARMS WILL YOU STAND BESIDE ME' at the beginning of the next song 'Halo'. I can only imagine the audience response. This song is classic MACHINE HEAD but with so much more maturity and melody in the chorus. Great hook. The next two, 'Wolves' and 'A Farewell To Arms', clocking in at 9:01 and 10:12 respectively are so chock full of riffs, breakdowns, hooks, leads, harmonies and pick slides you'll need multiple listens to take it all in. The songs are epics and in a lesser bands hands that could be a terrible thing. "It's extremely hard to maintain a cohesiveness and focus after five minutes. It's also hard to keep the listeners interest after five minutes. "I've been listening to the record all the way through over and over again and the strength of the song writing and riffs maintains a depth and intensity that never lulls. The hooks are deep. Like a great book or movie, this record takes you out of your life for an hour to a place of pure unadulterated listening pleasure. "I love the record. Yay metal!!!"
    • Kerrang!/March '07
    • ‘This is a call to arms, will you stand beside me? This is a time to fight, no more compromising’. Furiously spits Robb Flynn on ‘Halo’. It’s not only a plea to anyone who wrote them off after the dreadful ‘Supercharger’ and patchy ‘Through The Ashes Of Empires’, but it’s a firm statement of intent that resonates through every savage riff, frantic drumbeat, thundering bassline, screaming solo and venomous lyric of ‘The Blackening’. Seemingly on a downward trajectory since their stunning debut ‘Burn My Eyes’, Machine Head needed to deliver the album of their career or face the metal scrap heap. And they have delivered. In spades. For their sixth album, the Bay Area metallers have dropped all gimmicks – the hip-hop of ‘The Burning Red’, the nu-matal-isms of ‘Supercharger’ – and directed their focus on the very elements that make them Machine Head, amplifying every aspect of their sound, pushing the envelope of their abilities and distilling it all into their most ambitious, powerful, credible and accomplished work to date. With only one of its eight tracks clocking in at under five minutes – half of them weighing in at a mammoth nine minutes-plus – it’s epic without being self-indulgent, diverse without being drawn-out and angry without being clichéd. Opener ‘Clenching The Fists Of Dissent’ begins with a distant, echoing bass strum, building to an acoustic intro crescendo before exploding into a raving riff for a 10-minute thrashfest. ‘Beautiful Mourning’ bursts into life with a cyclonic swirl of guitars and defiant ‘fuck you all!’. Slowing the pace a little with ‘Now I Lay Thee Down’ – featuring the obligatory shredding breakdown, natch – it’s the closest they get to a ballad; in the most viciously powerful sense of the word, of course. The slow-burning ‘Halo’ is another hefty epic, with all the ammo in the Machine Head arsenal thrown into the ring, each musician stretching himself with every not and drumbeat, the fury balanced with serenity allowing the suffocating anger room to breathe. Their crowning glory, however, is ‘Aesthetics Of Hate’, written in response to the media circus surrounding the death of Dimebag Darrel. Clattering into life with a galloping opening gambit it charges at a furious pace, Flynn snarling his vitriol through gritted teeth before taking on Phil Demmel in a frantic duel of a guitar solo before exploding back to life, breaking down into a solemn death march and collapsing in a squall of feedback. To coin a lyric, Flynn and co have taken their rage to overcome and ploughed all their fury into producing their definitive album. In ‘The Blackening’, Machine Head have not only created a monster; they have produced their absolute masterpiece. KKKKK - Caren Gibson
    • Metal Hammer/Apr '07
    • It’s hard to believe that less than five years ago, Machine Head were on the brink of devastation. The relative failure of 2001’s ‘Supercharger’ album and the subsequent split from their record label had robbed them of their confidence and direction. Appallingly, the future looked bleak. As a result, the manner of their comeback – the astonishing return to form of 2003’s ‘Through The Ashes Of Empires’ and the triumphant live shows that followed – was all the more welcome and heartening for old and new fans alike. And now that stirring tale of victory snatched from the jaws of defeat continues: ‘The Blackening’ is absolutely fucking stunning. With only eight tracks but coming in at over an hour in length, the created quantum leap the band made last time round with min-epics like ‘Imperium’ and ‘In The Presence Of My Enemies’ has clearly gathered pace, resulting in an album that takes the best form all that Machine Head have achieved in the past, and cranks everything up an insane number of qualitative notches. Gargantuan opener ‘Clenching The Fists Of Dissent’ sets the tine with maximum dramatic impact. It begins with an ominous, somber intro and then erupts into a swirling labyrinth of brutal riffs, structural twists and textural turns. Every member of the band is playing out of their skin as Robb Flynn unleashes his finest ever vocal performance; something he sustains throughout the album. Far more than just an exercise in technical showboarding. ‘Clenching…’ is also a wonderfully crafted song, brimming with emotion and controlled ferocity. Remarkably, each of the remaining seven songs matches it. ‘Beautiful Mourning’ is a slamming, succinct anthem that soothes as it crushes. ‘Aesthetics Of Hate ‘ snarls, rips and lacerates at a breathless pace; thrash metal’s corpse regenerated via an eye-popping dose of fiercely modern progressive protein. ‘Now I Lay Thee Down’ swings like a buffalo’s nutsack, Flynn’s voice veering from roar to soar, while the vitriolic ‘Slanderous’ is a celebrity onslaught of sinewy riffs; air-tight, relentless and irresistible. ‘Halo’ is the album’s grand dynamic ballad, albeit one with the pulverizing, slow-burn momentum of a runaway steamroller. Best of all, the closing brace of ‘Wolves’ and ‘A Farewell To Arms’ – two turbulent, shape-shifting colossi that contain more moments of savage perfection than most bands could squeeze out in a lifetime of trying – are the best of the lot; an exquisite, 20-minute valediction that should have fans jumping off their sofas and breaking into spontaneous applause. More than any band since Maiden, Machine Head have cultivated a powerful bond with their fans through sheer honesty, humility and a fervent devotion to metal’s sacred principles. Once this magnificent album reaches the ears of the faithful, that bond will be set in stone forever, and you will sense that Flynn and in comrades know it. No wonder ‘The Blackening’ hums and crackles with such overpowering confidence and pride. Not just the finest album of their career, this is Machine Head’s victory address. We never doubted the, they never doubted us. And this masterpiece represents the spoils of war. Enjoy it. 10/10 - Dom Lawson
  • • Machine Head - Aesthetics Of Hate
    • iTunes

  • • Colin Richardson

    • I first met Colin working on the debut Funeral for a Friend album 'Casually Dressed and Deep In Conversation'. We hit it off immediately, and he asked me to come on board and finish that album with him. I really see that record as a career turning point, so feel that Colin has definitely played a massive part in my success this far; from giving me those first early opportunities through to everything I have learned from him in the studio environment. Although for a large part of his career he may have been pigeon holed into the Metal scene, I think with recent productions such as Fightstar and Bullet for my Valentine, he has proven that there are many more sides to his work. I think he is a perfect example of making sure you keep your sound current and making sure you are not left behind with new technologies or production techniques. It is fantastic to still enjoy such a productive working relationship with him now!

  The Hinderers (Album), Daath

  • Mix Eng
  • Roadrunner Records
  • This album started out as a nightmare mix session! The files we were delivered were bordering on unusable. The drums are in fact all re-programmed and the guitars are all re-amp'ed. Despite all the troubles, the final sound still stands up as a world class sounding record though which I am so pleased about. This is a hugely talented band, and I am glad to see the album getting the acclaim it deserves.
  • www.daathmusic.com
  • iTunes
  • • Greg Majewski (Sputnik Music)
    • Not since the debut of technical death metal titans such as Atheist and Cynic has this most heavy of heavy metal subgenres experienced such an evolution. Barring the explosion of the melodic sound of the Gothenburg scene a decade ago, Daath and a few of their experimental contemporaries have given the notoriously polarized death metal scene a significant facelift. This Atlanta, Georgia sextet is making particularly large strides towards this evolution with its Roadrunner debut The Hinderers. While many newer death metal bands have tried to take the genre back to its brutal "old school" roots (i.e. death metal supergroup Bloodbath), Daath have instead taken the more intelligent approach to writing their music, opting to write refined, melodic riffs and to inject an industrialized, electronic sound into the background of the brilliantly composed tracks. Every song on The Hinderers plays like a schizophrenic overview of the last fifteen years of death metal history; melodic leads and refined death growls fearlessly collide with vicious blastbeats and intricate, virtuosic solos. Vocalist Sean Faber's delivery is of particular importance, as he channels Jeff Walker circa Heartwork era Carcass and gives one of the best death metal vocal performances on a major label debut ever. The flawless production of death metal legend James Murphy – who played lead guitar on Obituary's landmark Cause of Death album and also briefly played with genre originators Death – doesn't hurt either. James' other contributions to the album in the forms of his exquisite soloing and his pristine addition of electronics on strange but intriguing tracks like "Cosmic Forge" and "Dead on the Dance Floor" make The Hinderers stand as a shining release in what will be another great year for heavy music. If only timing was more on Daath's side. With all of the other great albums being released later this year by established names such as The Dillinger Escape Plan and Neurosis, the promising newcomers could be left at the back of the heavy music herd by the year's end. It would be a shame to see such a great up-and-coming act be overshadowed, so hopefully this release will make enough noise to rise up against the big name releases coming this year. If Daath is in fact the next iteration of death metal, then the kids are most certainly alright.
    • Kerrang!/March '07
    • Once upon a time there was thrash, and it was fast and catchy, parents and teachers got extremely worried but it was okay because it stopped being scary pretty quickly, unless of course you downloaded anything on Metallica’s watch. Then came death metal, and that was basically thrash but heavier, faster and so scary it would be forever irreconcilable with the mainstream. But somewhere along the way, bands forgot about writing songs and instead it degenerated into a fierce cockfight to make the loudest, nastiest noise they could about whatever subject matter could tickle the gag-reflexes. Enter Dååth with the first of 13 albums about the mystical tree of life. Apparently pronounced ‘doff’ as opposed to ‘darth’, thus killing a multitude of potential Sith jokes, ‘The Hinderers’ is a powerful – long overdue – declaration form a bunch of unknowns. Written in thundering Decide riffs, thick industrial pace and melodic black metal atmosphere is the simple statement that the songwriting is about to make a comeback. While refusing to overwhelm you with the technicality they embrace, Dååth pick out a whole host of seemingly unworkable elements (dance beats, people!) and fuse them into an original being that’s as much an heir to Fear Factory and Dimmu Borgir as it is to Cynic and Death/ Drummer Kevin Talley has a CV that could dwarf all but the most prolific of extreme metallers: a live stint with technical metalcore outfit The Red Chord, session work for Hate Eternal and regular duties with Chimaira, Cattle Decapitation, Dying Fetus and Misery Index. When a man who crops up on your iPod time and time again throws in his lot with the rookies, there’s no better evidence that something special is afoot. KKKK - James Hoare
    • Metal Hammer/Apr '07
    • Daath are one of Roadrunner’s big hopes for 2007, which automatically makes our ears prick up since past candidates for similar plaudits include Killswitch Engage and Trivium. About to explode forth from Atlanta, the home of Mastodon, they fuse elements of death, thrash and black metal with some frickin’ ass-kicking guitar chops and the occasional genius breakdown. Don’t be put off by their Madonnic exploration of “the inverted tree of life – a Kabalistic concept,” they’re as far removed from Madonna as Dani Filth is from choir practice. What they are doing is pushing our buttons as we had ‘headbangers’ neck’ for about three days after listening to this. Crushingly heavy, unusually catchy and possessing of groove that would make even Stephen Hawking nod his head, Roadrunner have given us yet another top treat. 8/10 - Nick Cracknell
  • • Daath - Subterfuge
    • iTunes

  • • Colin Richardson

    • I first met Colin working on the debut Funeral for a Friend album 'Casually Dressed and Deep In Conversation'. We hit it off immediately, and he asked me to come on board and finish that album with him. I really see that record as a career turning point, so feel that Colin has definitely played a massive part in my success this far; from giving me those first early opportunities through to everything I have learned from him in the studio environment. Although for a large part of his career he may have been pigeon holed into the Metal scene, I think with recent productions such as Fightstar and Bullet for my Valentine, he has proven that there are many more sides to his work. I think he is a perfect example of making sure you keep your sound current and making sure you are not left behind with new technologies or production techniques. It is fantastic to still enjoy such a productive working relationship with him now!

  This City Needs A Hero, Crash Car Burn

  • Prod / Rec / Mix
  • Sovereign Entertainment
  • I think this band are fantastic! Formally known as 'Tweak', the band was forced to change their name in early 2006 due to legal reasons. The change of name does not change their impressive history. The band has managed to sell over 80000 records in their home country, South Africa without ever signing a recording or publishing deal! They have headlined every major festival back home and are a household name in South Africa with press coverage across all media. In January 2005, sheer determination and self belief led CrashCarBurn to sell everything they owned and head for the United Kingdom. Roll onto September 2006, and we went into the studio together to record 4 tracks with them toward their first album under the crash car name. This was hopefully going to get them the record deal they wanted to enable them to stay in the UK. Unfortunately it hasn't happened yet and the guys have been forced to move back home after their Visa's expired. Since returning to SA, 2 of the tracks I produced for them have been used as singles, both going top 5, with serenade being the most requested song on radio! I really believe in this band and hope that we can work together again.
  • www.myspace.com/crashcarburn
  • • Serenade

  Inside the 9. DVD Live Mixes, Slipknot

  • Mix Eng
  • Roadrunner Records
  • This was mixing 3 tracks for the DVD filmed at Germany's Full Force festival. Having nine crazy members on stage at once really does make for quite a live spectacle.
  • www.slipknot1.com
  • • CD101
    • If any metal band has the power to educate, entertain and change lives, it’s the nine-headed, hard rock enigma known as Slipknot. Since their formation in Des Moines, Iowa, in September 1995, the band has released three studio albums that have sold over five million copies in the U.S. (over 750,000 in the UK) . Their latest studio record, Vol. 3: (The Subliminal Verses), released in 2004, debuted at #2 on the Billboard 200 album chart, #5 in the UK, spawning the singles “Duality,” “Vermillion” and “Before I Forget.” The first disc, titled Voliminal, is a 80-minute film made up of rapidly edited scenes shot on handheld digital cameras, for 28 months; during the making of Vol. 3: (The Subliminal Verses) and on “The Subliminal Verses” world tour. This is not a slick concert film with interspersed backstage footage. Nor is it a travelogue of fantastic sights and fabulous babes. This is survival in the belly of the beast. Crahan has assembled the shots into a dizzying cacophony of deafening sound and jarring imagery that’s both challenging and impossible to ignore. Like the films of Harmony Korine, Voliminal juxtaposes seemingly unrelated ideas into a collage of disturbingly surreal reality. The result is a shocking, disorienting view of the thrill and terror of dangling on the precipice of the abyss. “It’s vomit at its finest,” explains Crahan. Buried within the septic folds of the first Voliminal: Inside The Nine disc, are nine “rabbit holes” that viewers can access with their DVD remotes. Each “hole” will feature a short starring each member of the band. The second disc of Voliminal: Inside The Nine features exclusive, in-depth interviews with each of the band members. The discussions cover 10 years of band history in unflinching candor. “The band is 10 years old and I felt that we needed to talk for real,” Crahan says. “We’re going into our places of choice, individually, and you’re being invited all the way in. Hopefully you’ll be able to stomach what is real.” In addition to personal band interviews, the second DVD will include bonus live footage taken from festivals and television performances from around the world and the music videos from Vol. 3: (The Subliminal Verses) - “Duality,” “Vermilion,” “Before I Forget,” “The Nameless” and the controversial “Vermilion 2,” which was never officially released. Fans will also get an up-close view of the “death masks” Slipknot use in concert.
    • ROCKSOUND/DEC '06
    • “Being in Slipknot is a lot like having cysts removed from your body its gotta be done, it's painful as fuck, but at the end of the day it feels really, really good” So speaks Corey Taylor during his vignette on this mammoth four-hour Slipknot extravaganza. In the fast paced world of the music business, where the flavours of the month literally last a month before fans and critics lose interest, it's easy to forgot about some of the most important bands in metal. What 'Voliminal…' does is remind everyone just how vital Slipknot are. Of course, the primary purpose of this DVD is to entertain too, and it does so with ease, even if watching it all in one sitting is an exhausting process. The live footage and promo videos from the 'vol. 3: The Subliminal Verses' album are included in this two-disc package, but put in context among what else is on offer, these pale into insignificance. Not in a negative way, but simply because of the quality viewing that is the nine individual, unmasked interviews, and the main attraction of this epic – clown's art-house movie-cum-documentary of Slipknot. The interviews – all in different styles – are absolute classics, not only giving the viewer insight into the personalities behind the masks, but also providing a chuckle along the way. Highlights have to be Chris Fehn's remarkably laid back, sun-tanned golfing excursion and Mick Thompson's straight-talking no-bullshit dry humour, while Craig Jones' inclusion is tremendous! It'd be unfair to give away the full details, but it's great viewing all round! And so to 'Voliminal…' the main film directed by M Shawm Crahan, which documents Slipknot over 28 months, 34 countries and 233 shows. Sounds simple enough, but prodiced by a man who wears a clown mask and beats drums for a living it was never gonna be easy viewing. Filmed on hand-held cameras, if 'Disasterpieces' was the slick, high budget DVD, then this is the punk rock home movie. The live footage is distorted, reminiscent of the band bootleg tapes you could find down your local record fair, and we're treated to everything from outside gig punch-ups to close-ups of pigeons and clown pissing in a hotel toilet (and more). Throughout the madness there is a cohesiveness about the film, and while it's not something you'd watch time and time again, it's nice to see someone putting such creativity back into an increasingly mundane world. Still, this is Slipknot we're talking about, so did you expect anything else? 9/10 - Darren Sadler

  • • Colin Richardson

    • I first met Colin working on the debut Funeral for a Friend album 'Casually Dressed and Deep In Conversation'. We hit it off immediately, and he asked me to come on board and finish that album with him. I really see that record as a career turning point, so feel that Colin has definitely played a massive part in my success this far; from giving me those first early opportunities through to everything I have learned from him in the studio environment. Although for a large part of his career he may have been pigeon holed into the Metal scene, I think with recent productions such as Fightstar and Bullet for my Valentine, he has proven that there are many more sides to his work. I think he is a perfect example of making sure you keep your sound current and making sure you are not left behind with new technologies or production techniques. It is fantastic to still enjoy such a productive working relationship with him now!

  Pura Vida (Album), Hamlet

  • Mix Eng
  • Locomotive
  • A very talented Spanish Metal band, who have enjoyed huge success in their home territory.
  • www.hamlet-irracional.com
  • • The Metal Circus
    • HAMLET: Pura Vida { Locomotive} Puntuación: [ 8.2/10] Puntuación de los lectores: [ 6.3 /10] “Syberia” no era simplemente un disco más en la carrera de HAMLET. Supuso un nuevo paso, una nueva exposición de ideas y, como en muchos casos, un disco que encontró la controversia entre sus seguidores. Lo defendieron a capa y a espada, no solo en diferentes entrevistas en las que no faltaba el suscitante morbo de conocer la respuesta de los madrileños ante tantos entrecejos fruncidos en el público, también lo defendieron como mejor saben hacerlo: en vivo y en directo, entremezclando sus cortes de nueva factura con los grandes clásicos de su ya longeva carrera, dotando a las actuaciones de HAMLET de más dimensiones. ¿Balance? Positivo para unos, negativo para otros. Curiosamente, ahí es donde reside la grandeza de una banda, el punto en el que no tienen que demostrar nada a nadie, el punto en el que su propio convencimiento y honestidad vale más que la búsqueda de la complacencia de su masa de seguidores. Y que duda cabe que con “Pura Vida”, HAMLET demuestran seguir grabando sin ataduras y sin opiniones externas. Tal vez “Pura Vida” debería haber sido el disco que marcaría su nuevo camino tras ese cañonazo que era su disco negro, pues reconozcamos que “Syberia” era un cambio de tuercas demasiado brusco de cara a sus seguidores para absorber ese carácter intimista y ese contraste melódico por el que se movían. Aunque, repetimos, una banda del nivel de HAMLET puede hacer siempre lo que le venga en gana. Este nuevo disco recoge esa esencia, pero, esta vez sí, el equilibrio de voces limpias, guitarras relajadas y atmosféricas, con la contundencia y la profundidad marca de la casa, esta más lograda. Pero en resumidas cuentas, “Pura Vida” desde el primer riffs de “Arruinando Nuestra Vida” suena a HAMLET, a los HAMLET de hace bastantes años, y a lo largo de todas las pistas van recogiendo los frutos de la siembra de discos como “Insomnio” o “El Inferno”. Todo ello con una producción intachable. Colin Richardson a los mandos, sobran las palabras. “Pura Vida” es de recorrido corto, treinta y tantos minutos son suficientes para que plasmen de una tacada y sin concesiones, que siguen siendo un grupo sumergidos en el arte de escribir buenas canciones. “El Diablo” es desde ya otro clásico del grupo, intenso, sin aspavientos y con un estribillo rompedor que no carecerá de una acogida efusiva en sus directos. Los contrastes de “En Mi Nombre” o “Fronteras De Tu Mente”, con esos riffs corrosivos y esa batería taladrante por momentos, son la muestra del sonido tan genuino del que HAMLET hacen gala a día de hoy. No pierden comba para seguir los madrileños registrando temas cargados de vitalidad, cambiantes en ritmos, amenos en su escucha, y no son pocos los cortes que se ajustan a estos patrones. Más patente se hace en “Acaba Con El Poder”, otro de los temas estrella de este redondo, especialmente por la interpretación de Molly, rasgando su voz en algunos momentos puntuales como muchos echaban de ellos en “Syberia”, pero al mismo tiempo convirtiendo su registro vocal en un amplio abanico de posibilidades. Una constante que se repite a lo largo de “Pura Vida”, haciéndose igual de latente en “Vanidad”, tema de ritmos marcados, de guitarras machacantes, y con un interesante levantamiento de vuelo al llegar al estribillo. Cierran con “Miénteme”, el último y único reposo existente en este trabajo, tema de cariz introspectivo y atmosférico que gana intensidad y crudeza en algunas partes. De nuevo contrastes, y más contrastes. Fin de un trayecto lleno de curvas, subidas y bajadas, pero sin perder velocidad. Seguro que los seguidores y defensores de discos como “Revolución 12111”, o “Insomnio”, por citar dos ejemplos, seguirán mostrándose reticentes a “Pura Vida”, o lo que es lo mismo, a la evolución de una banda que mantiene intacta la ilusión de buscar otros caminos. Cuestión de gustos, no hay que darles más vueltas. El caso es que HAMLET iniciaron su andadura practicando un estilo inexistente en nuestro país (me refiero a “Sanatorio de Muñecos” obviamente), desarrollaron (y desarrollan) dicho estilo (su estilo) con total coherencia, y “Pura Vida” es el fiel reflejo de ello. Satur Romero

  The Crusade (Album), Trivium

  • Mix Eng
  • Roadrunner Records
  • This was a hugely anticipated record in the metal community. Young Florida band Trivium took the heavy world by storm with 2004's Acendency, so naturally any follow up had to be ambitious. The guys went for a real change of direction with this record, choosing to ditch the screaming vocals which had been a theme through their previous album. Some critics felt this was to much of a departure from the sound that gave them success, but I believe it was a bold move by a young band with ambition. Trivium have taken some criticism in the guitar community with people doubting their abilities. It was a real buzz being able to mix this album, just for the fact that I got to see the true genius of Matt Heafy's guitar playing. The record was very well received in many areas of the metal scene, and with the band being so young, I am sure that they will only go on to even bigger things.
  • www.trivium.org
  • iTunes
  • • Chad Bower
    • Trivium is a polarizing band with legions of dedicated fans and a vocal group of haters. Many say they are the modern day heirs to groups like Metallica, who have said they admire what Trivium is doing. With their third CD, Trivium definitely pays homage to bands like Metallica and Megadeth. On The Crusade, Trivium delves deep into thrash metal with scathing riffs and plenty of solos from guitarist Corey Beaulieu. The band also shows their love for '80s metal with a couple songs in the hair/glam metal category. But even though Trivium has a lot of elements of classic metal, they also add a modern sensibility and attitude that blends the best of old and new and avoid being a nostalgia act. Vocalist Matt Heafy has almost abandoned the screaming vocals of past albums. You'll hear a few screams, but on the vast majority he sings. His singing has improved over the past few years and on this album he sounds a lot like James Hetfield. Heafy is able to move from an aggressive and angry style to more melodic and straightforward singing. Trivium's lyrics have also matured and they are now singing about events happening in the world along with more personal song topics. Trivium has made a quantum leap in songwriting and musicianship on this album. The songs are memorable and catchy with a lot of excellent hooks. While they have a ways to go to equal a great band like Metallica, Trivum is well on their way to becoming one of the most popular modern metal bands.
    • THE SUN/OCT '06
    • Trivium are four young men living out the dreams and ambitions of just about every metal fan who's ever played air guitar. 'The Crusade' is a near flawless collection of songs that enable Trivium to unite an army of fans. It caps their rise from 'promising' to 'legendary' in the space of just a few short years. Power and melody combine with sincee and intelligent lyrics throughout. The euphoric call to arms – and first single – 'Anthem (we are the fire)' is a typical example of everything that makes this hard working and down-to-earth band truly great. Refreshing and wholly brilliant. 5/5
    • METAL HAMMER/OCT '06
    • IT'S scarcely believable that Trivium entered most of our lives only last March with 'Ascendancy', an album that's now sold 100,000 copies in the UK alone. During these remarkable 18 months, the Floridian quartet have reigned in the Hammer reader's poll, performed twice on Download's Main Stage, stood bravely in Iron Maiden's corner at the San Bernadino Eggfest showdown, contributed hugely to Roadrunner Records 'The All-Star Sessions' anniversary project… and toured Britain non-stop till they can headline multiple nights at London's Astoria. [They did well at the Golden Gods too! – Ed] In the stampede to bang on about Trivium's youth, writers often overlook that 'Ascendancy' was their second album, and that the band have existed for six years. So maybe November's support slot with Maiden wasn't presented on a silver salver after all? Speaking of which, Maiden's bassist recently called Trivium a band with, “lots of potential”, but added: “personally, I'd like to hear a bit more singing”, - as opposed to frontman Matt Heafy's growls on the first to records. Well listen up Mr Harris, because 'The Crusade' is an album you're gonna love! Although Maiden would never have considered such a compromise, the smoothing out of Heafy's vocals is a perfectly logical move that should give Trivium's career a huge boost Stateside. Once again the band have co-produced themselves with Jason Suecof, a local engineer who was Chuck Schuldiner's (of Death) final collaborator. The sound is perhaps a smidgin more radio-accessible but the songs speak for themselves. 'Ignition' explodes from the speakers like 'Ride The Lightning'-era Metallica, Heafy and Corey Beaulieu's guitars drawing blood from the off to accompany a furious lyrical tirade against homophobia, racism and sexism. Trivium have previously been called a cross between Maiden and Metallica, with some death metal thrown in, but here the hat is doffed to Lars and company all the way. 'Detonation' and 'Entrance Of The Conflagration' offer a near-perfect blend of dynamic power, accomplished musicianship and subtle commercialism. 'Anthem (We Are The Fire) is a bit scrappy and disposable by comparison – surprising since it's the albums first single – while 'And Sadness Will Sear' is just too leaden for its own good, but the choppy riffery of 'Unrepentant' and sheer blitzkrieg pace of 'Becoming The Dragon' quickly restore the quality levels. Travis Smith's exemplary double-kick drumming drives 'To The Rats' which sees a pissed-off Heafy vowing to “Break every bone in your face/If you mess with my life”. 'This World Can't Tear Us Apart turns out to be the records most infectiously airplay-orientated song, followed by another intelligently arranged and highly appealing Mettalica-esque stormer 'Tread The Floods'. Tucked away at the end 'Contempt Breeding Contamination' and 'The Rising' are both destined to become stage favourites, especially the later. However, the title track, an eight-minute instrumental that could be mistaken for a jam session, sounds unfinished and ending with it is a blunder. 'The Crusade' may have minor flaws but it continues Trivium's unstoppable growth into one of metal's major league players. It will be devoured whole by fans across the globe, and rightly so. 9/10
    • ROCKSOUND/SEP '06
    • So here we are Trivium's third album, and the one hotly-tipped to send them into the upper reaches of the metal fraternity. Although it's been barely 18 months since 'Ascendancy' dropped on the world like an a-bomb of classic thrash riffs, youthful exuberance and stunning musicianship, there's an ocean of difference between the two albums. 'The Crusade' is infinitely more intriguing and immediate than its predecessor. The opening sucker punch of 'Ignition' and 'Detonation' could almost be classic Metallica (think somewhere between '…Puppets' and … Justice…'), underpinned by Matt Heafy's ever-maturing vocals. After leading the metal scene for the last year and a half, it's certain that Trivium do indeed have the tunes to back their plans for total world domination. 9/10
  • • Trivium - Unrepentant
    • iTunes

  • • Colin Richardson

    • I first met Colin working on the debut Funeral for a Friend album 'Casually Dressed and Deep In Conversation'. We hit it off immediately, and he asked me to come on board and finish that album with him. I really see that record as a career turning point, so feel that Colin has definitely played a massive part in my success this far; from giving me those first early opportunities through to everything I have learned from him in the studio environment. Although for a large part of his career he may have been pigeon holed into the Metal scene, I think with recent productions such as Fightstar and Bullet for my Valentine, he has proven that there are many more sides to his work. I think he is a perfect example of making sure you keep your sound current and making sure you are not left behind with new technologies or production techniques. It is fantastic to still enjoy such a productive working relationship with him now!

  Versus (B-Side), Leave The Capital

  • Mix
  • Org Records
  • I did this mix for this young band from Cardiff, 'all in the box' mostly working from home. It was a song that was originally recorded as a demo by a friend of the bands, but the vocal that was captured made it something special. It's amazing how a 'demo' can become a record with some specialist time, and a few sneaky arrangement changes!
  • www.leavethecapital.com
  • • Versus

  Words & Wingshapes (EP), Numinous

  • Prod / Rec / Mix
  • Artists
  • These guys were lovely to work with. We spent a few days in Dublin tracking drums, then it was back up north to a small town called Bangor, just outside Belfast. Everything you here about the Irish hospitality is completely true, and it was a great experience out in Ireland all round. We somehow managed to call in every piece of gear I could have wanted, and all from people who know people who just wanted to help out a local band. I mixed the recording back in London, and in fact also mastered it for the guys as they were at the end of the budget. I know the line up of the band has been going through some changes since we did this EP, but I believe this band can do big things with the songs they are writing.
  • www.numinous.cd
  • iTunes
  • • Tim Holden - Cross Rhythms
    • Numinous, the five-piece from Northern Ireland, have been around for a couple of years and continue to make waves with live performances and now a four track EP of outstanding quality. This is quality rock with intricate guitar lines and complex rhythms bringing to mind Limp Bizket (the Mission Impossible 2 theme song), My Chemical Romance and Funeral For A Friend. Not surprising really as Matt Hyde, who produced and mixed this EP, has recently been working with Funeral For A Friend. The songs are well written and arranged. The stop/start rhythms and quiet and shade used in the opening track, "Follow Your Gift", really make the music stand out but are almost too much and threaten to overshadow the song as a whole. Having said that, the EP holds together well and after four songs the listener will be left crying for more.
  • • Out Of Sequence
    • iTunes

  My Own Summer & She Drove Me To Daytime TV, Fightstar

  • Prod / Rec
  • Kerrang
  • These were tracks that I produced the recordings of for a series of Kerrang cover mount CD specials. Charlie Simpson is a fantastic singer, but we actually dropped the tuning of Funeral for a Friends 'She Drove Me', as his range didn't quite hit the same high notes in the chorus as on the original. It was a good move all round I think, as this version definitely sounds punchy and heavy.
  • www.fightstar.org

  Uncompromised (Album), Hostility

  • Mix Eng
  • Webb Artist Management
  • This was the first time I worked out in America at a studio called Sonic Ranch, located on the Mexican border of Texas. It was a fantastic experience for many reasons, and I am still in touch with the guys now. I actually had a birthday while we were at the studio, and I can assure you that it is a day I will not forget!
  • www.hostility1.com
  • • Scott Alisoglu
    • "If you want ultimate heaviness, go buy a HOSTILITY CD!" It is the quote from famed producer Colin Richardson on the promotional copy of HOSTILITY's debut, "Uncompromised", an album to which he lends his incredible mixing skills. Who out there really believes that of all the bands purporting to be the heaviest that HOSTILITY (not to be confused with the '90s Century Media group, members of which are now in GULCH) is truly the ultimate in heaviness? I've got news for you folks, "Uncompromised" is one of the most intense, brutal, volatile, [insert additional adjectives here], releases I've heard all year. I couldn't care less about debates over the title of "world's heaviest band," but "Uncompromised" is state of the art American metal aggression; no question about it. Those not prepared for it will get a fist in the face and a boot up the ass upon first listens to the jarring sounds of "Uncompromised". The style is one that takes the extreme metal of bands like PANTERA, early MACHINE HEAD, even the over-the-top explosiveness of SLIPKNOT's heaviest moments and forces it through a blender with the controlled chaos of acts such as PREMONITIONS OF WAR and ION DISSONANCE. Still, it is not math metal and one never gets the sense that HOSTILITY is trying to impress folks with unconventional arrangements or technical proficiency. That said, much damage is inflicted upon the listener through satisfyingly dissonant chords and non-traditional riffing. Even though there is no melody to speak of, the song structures are kept from breaking apart into a thousand pieces by plenty of memorable lines and what some might consider choruses (listen to the excellent "None for All", "Draining the Blister", "Conditioned to Fail", and "Common Ground" for examples). Considering what often sounds like the disorder of a battlefield slaughter, terms like accessibility seem ill fitting. And yet you cannot stop listening to the disc once you start. Even after nearly an hour's worth of material, the desire remains to go back and listen again. Going back to the Colin Richardson treatment, a "holy shit!" is in order. He has harnessed the band's unrelenting aggression through thick 'n' rubbery bass lines, guitars that slash and stab in several directions at once (yet somehow come together to form lethal structures), and drumming that will crumble your home's foundation. Greg Haran's vocals are a mix of vicious barks and face-reddening screams that are pure rage and conviction. Images of violence are conjured through the band's sonic vitriol at every turn; a recurring image one of a torrential downpour of jagged guitar shards and severed limbs. Bands cannot fake this kind of remorseless aggression. "Uncompromised" is the definition of heavy and the height of aggression. You will not walk away unscathed from sessions spent with the album. Crawling away is a possibility…if you're lucky.
  • • Conditioned To Fail

  • • Colin Richardson

    • I first met Colin working on the debut Funeral for a Friend album 'Casually Dressed and Deep In Conversation'. We hit it off immediately, and he asked me to come on board and finish that album with him. I really see that record as a career turning point, so feel that Colin has definitely played a massive part in my success this far; from giving me those first early opportunities through to everything I have learned from him in the studio environment. Although for a large part of his career he may have been pigeon holed into the Metal scene, I think with recent productions such as Fightstar and Bullet for my Valentine, he has proven that there are many more sides to his work. I think he is a perfect example of making sure you keep your sound current and making sure you are not left behind with new technologies or production techniques. It is fantastic to still enjoy such a productive working relationship with him now!

  Gabriel & The Vagabond, Foy Vance

  • Rec / Mix
  • Wurdamouth Records
  • I recorded these tracks with Foy in an afternoon, at Miloco's Hoxton Square studio. 'Gabriel & the Vagabond' was featured in hit US TV show Grey's Anatomy, after which demand was so high it led to the tracks being released on iTunes.
  • www.foyvance.com
  • iTunes
  • • Avril Cadden - Sunday Mail
    • Vance is a Belfast-based singer-songwriter who sounds like a young Tom J Waits and has a voice that will stop you in your tracks. Gabriel And The Vagabond is a poignant song about homelessness, while Indiscriminate Act Of Kindness captives and has a catchy chorus. The lyrics are spellbinding.

  Live In Brighton, Fightstar

  • Mix
  • Island Records
  • Mixing a low key 'Acoustic' show the guys did. Some of the tracks went on to be used as b'sides and download versions for some singles.
  • www.fightstar.org

  Album tracks, Deekline & Wizard

  • Rec
  • Southern Fried
  • Wizard (or Greg as I still know him) has been a friend of mine since childhood. I often work with him on projects where live recording is involved. Recently we have been in France tracking drums with Mass Hysteria drummer Raphael Mercer. I think these guys are doing a fantastic job at crossing over live music elements into the club scene. this year is going to be good for them with the releases they have planned.
  • www.deeklineandwizard.com

  Tears Don't Fall (Single Version), Bullet For My Valentine

  • Eng
  • Sony BMG
  • I first worked on recording this song during the tracking for debut album 'The Poison'. For the single version (particularly in the US), it was deemed to have to much screaming vocal, so we re-recorded part of the song with a sung melody instead. Strange thing is, when the video was released, it was cut against the album mix!
  • www.bulletformyvalentine1.com
  • iTunes
  • • James McLaren - BBC Wales Music
    • One of the fullest, most anthemic songs from their debut album, The Poison, Tears Don't Fall is the sound of a band making hard metal sugary-sweet and getting away with it. Bullet For My Valentine belong to the raft of bands who scream, bellow, riff and double-kick-drum their way onto the walls of teenage rock fans, but they're possibly the most successful. This song explains why. Starting with echo-y, dark and minimalist guitar, they explode into life with huge-sounding choruses and mean-sounding verses. Not content with making Tears Don't Fall as shinily noisy as possible, they then chuck in a totally ridiculous guitar solo to make fans of Iron Maiden throw their snakebite in the air and get in the pit. Tears Don't Fall then: preposterous. But huge fun.
  • • Tears Don't Fall
    • iTunes

  • • Colin Richardson

    • I first met Colin working on the debut Funeral for a Friend album 'Casually Dressed and Deep In Conversation'. We hit it off immediately, and he asked me to come on board and finish that album with him. I really see that record as a career turning point, so feel that Colin has definitely played a massive part in my success this far; from giving me those first early opportunities through to everything I have learned from him in the studio environment. Although for a large part of his career he may have been pigeon holed into the Metal scene, I think with recent productions such as Fightstar and Bullet for my Valentine, he has proven that there are many more sides to his work. I think he is a perfect example of making sure you keep your sound current and making sure you are not left behind with new technologies or production techniques. It is fantastic to still enjoy such a productive working relationship with him now!

  Fight For Us (B-Side / US Album), Fightstar

  • Prod / Rec / Mix
  • Island Records / Trustkill
  • This is a track I produced and mixed for the band as a b-side for one of their single releases. Most of the song melody was written in the studio, and it was one of those sessions were so many great ideas came about spur of the moment. Everyone was so pleased with how this song came out, it was actually added to the album as an additional song for its American release.
  • www.fightstar.org
  • • Fight For Us

  Live @ Brixton Academy 5.1 DVD Mix, Bullet For My Valentine

  • Mix Eng
  • Sony BMG
  • I mixed this in true 5.1 surround and found it so thrilling to work with. The space that can be created by moving sounds around the speakers is fantastic, and the excitement you feel as the sounds can be made to jump out at you was very powerful to work with. Bullet have a real energy when they play, which I think was captured perfectly on this DVD.
  • www.bulletformyvalentine1.com
  • • James McLaren - BBC Wales Music
    • Bullet For My Valentine understand the value of rock iconography - the star quality that teenage kids can recognise and buy into, literally and metaphorically. This DVD, the bookend of a triumphant year since the release of The Poison, is none more black - the DVD is black, the cover is and the four musicians (arguably the UK's biggest heavy metal band of the moment) dress in black. Disaffected teens and fans of melodic metal understand BFMV with their huge riffs, bludgeoning breakdowns and a melodic sensibility rare in the world of metal. As they pad down corridors on their way to the Brixton Academy stage, gurning and raising the devil sign, it's a nod towards This Is Spinal Tap, but BFMV look like proper rockstars. The 4000-strong audience know they're rockstars, and there's a devotion that's palpable. Each of these 13 songs is gospel to the black-clad masses and BFMV's trick of melding bubblegum pop with hardcore extremity works blindingly well in the live arena. The singles, most notably Tears Don't Fall, elicit maelstroms of flailing limbs. Given that the set is almost exclusively culled from The Poison, there's not a lot to convince newcomers to the Porthcawl metallers of their merit - but for fans, the lush photography and potent rockstar action poses are just fine, thank you very much. As extras, you get the promo videos tacked on at the end. All five are very slick, nice-looking affairs, if slightly run-of-the-mill. But this is an impressive package designed for fans, and as such, it's doubtful that this DVD will be collecting dust on the shelves for the time being.
    • James McLaren - BBC Wales Music
    • Bullet For My Valentine understand the value of rock iconography - the star quality that teenage kids can recognise and buy into, literally and metaphorically. This DVD, the bookend of a triumphant year since the release of The Poison, is none more black - the DVD is black, the cover is and the four musicians (arguably the UK's biggest heavy metal band of the moment) dress in black. Disaffected teens and fans of melodic metal understand BFMV with their huge riffs, bludgeoning breakdowns and a melodic sensibility rare in the world of metal. As they pad down corridors on their way to the Brixton Academy stage, gurning and raising the devil sign, it's a nod towards This Is Spinal Tap, but BFMV look like proper rockstars. The 4000-strong audience know they're rockstars, and there's a devotion that's palpable. Each of these 13 songs is gospel to the black-clad masses and BFMV's trick of melding bubblegum pop with hardcore extremity works blindingly well in the live arena. The singles, most notably Tears Don't Fall, elicit maelstroms of flailing limbs. Given that the set is almost exclusively culled from The Poison, there's not a lot to convince newcomers to the Porthcawl metallers of their merit - but for fans, the lush photography and potent rockstar action poses are just fine, thank you very much. As extras, you get the promo videos tacked on at the end. All five are very slick, nice-looking affairs, if slightly run-of-the-mill. But this is an impressive package designed for fans, and as such, it's doubtful that this DVD will be collecting dust on the shelves for the time being.

  • • Colin Richardson

    • I first met Colin working on the debut Funeral for a Friend album 'Casually Dressed and Deep In Conversation'. We hit it off immediately, and he asked me to come on board and finish that album with him. I really see that record as a career turning point, so feel that Colin has definitely played a massive part in my success this far; from giving me those first early opportunities through to everything I have learned from him in the studio environment. Although for a large part of his career he may have been pigeon holed into the Metal scene, I think with recent productions such as Fightstar and Bullet for my Valentine, he has proven that there are many more sides to his work. I think he is a perfect example of making sure you keep your sound current and making sure you are not left behind with new technologies or production techniques. It is fantastic to still enjoy such a productive working relationship with him now!

  Watermelons & Oranges (EP), Foy Vance

  • Co-Prod / Rec / Mix
  • Wurdamouth Records
  • I first met Foy a few years ago, and was instantly captivated by his songwriting and voice. I honestly thought his talent was incredible. He actually called me about working on this EP together when I was 2000 meters up a mountain in Austria. For some reason, that day I actually had taken my phone up the mountain with me, so was able to take the call and bite Foy's hand off at the chance to work with him again. There is an honesty about his music that I find so touching, and he is a fantastic guy to be in the studio with as well. It was so much fun recording this release, and even made use of a water bottle for some percussion!
  • www.foyvance.com
  • iTunes
  • • Jamie Curtis - Contact Music
    • When Foy Vance signed to Freshwater Hughes Management, he was only their second ever recruit, the first being a naive 13 year old Joss Stone. The flowery soul his music is so easily classifiable as however somewhat defies his physical appearance. As free-thinking bohemians listen to this on organically composted roof gardens in Hampstead, they will be rather surprised but pleased to learn that it comes from a bald 32 year old rather than a bounding Jamie Cullum. Attributed to the fact that Vance is a real son of a preacherman (yes he was), the EP carries heavy gospel influence. All five of these tracks include some powerful vocal harmonies and the last two feature many rounds of clapping. You could cite much of Mariah Carey's work as an example where this kind of stuff can seem horribly ostentatious, inflating songs that never really had any substance in them with a load of hot air. But Vance - he pulls it off. 'Don't Please Yourself' with its moral message shouted from the rooftops has no hint of pretension; it's all quite genuinely joyous. Whether a gospel choir of uplifting energy and words of wisdom will float your boat though is another matter. 'Homebird', probably the highlight of his debut would quite frankly make Jack Johnson blush. It's undeniably beautiful music. The song is so simple in rhythm and so bright in its melody; all down to an acoustic guitar and what I'd like to think is a skin drum reveals Foy's song writing ability to be highly impressive. It's no wonder 'Grey's Anatomy' bagged this one to be played on their TV series. Foy isn't afraid to showcase his vocal talents either; on 'Home' he belts his voice so bloody forcefully but yet still retains a tender passion and friendly optimism that makes his sound so accessible. This is everything you'd expect from the endearing musical pocket that is the care-free variety - it's all here. It's just a little more, well.mature. There's always a danger with such artists as Foy Vance that they can lose their appeal once they reach wider-acclaim; those picking up 'Watermelon Oranges' in record stores will probably be those who prefer intimate shows and the warmth of an undiscovered gem. Freshwater Hughes Management may have just struck gold twice, but what rewards it will reap we can only wait and see. 8/10
  • • Stoke My Fire
    • iTunes

  Leper Messiah, Fightstar

  • Prog / Rec / Mix
  • Kerrang
  • Kerrang produced a special album for the 25th anniversary of Metallica's 'Master of Puppets'. They got eight of the worlds top bands to each cover one of the songs from the original album. I produced Fightstar's cover of 'Leper Messiah'. This record was a massive talking point in many metal forums over the internet, and this track was one of the most respected.
  • www.fightstar.org
  • • EIGHT OF rock's hottest bands have contributed to a special re-recording of Metallica's Master Of Puppets in celebration of the twentieth anniversary of the classic album's release. Remastered, which features exclusive recordings by Bullet For My Valentine, Trivium, Fightstar, Machine Head, Funeral For A Friend, Chimaira, Mastodon and Mendeed - will be given away free with Kerrang! issue 1102! "Master Of Puppets is a flawless, inspirational and hugely influential album - we're incredibly proud of Re-Mastered, which is the most exciting free CD in the magazine's history. Put simply, EVERY Kerrang! reader needs to hear this album." - Paul Brannigan, Kerrang! Editor "It's awesome to think that some of you guys weren't even born when we recorded Master Of Puppets! We're honoured that it's a record that's perceived as a milestone and a record that's been so inspiring to so many people. We're as excited to hear this as you guys are!" - Lars Ulrich, Metallica
  • • Leper Messiah

  Call to Arms, Ghosts on 31 & Minerva (B-sides), Fightstar

  • Prog / Rec / Mix
  • Island Records
  • www.fightstar.org
  • iTunes

  Grand Unification (Album), Fightstar

  • Rec / Mix
  • Island Records
  • I was involved with this album from the very, very beginning. I met the guys when they were demo'ing tracks for the album, and from very early on we struck up a great relationship. Naturally I had some curiosity regarding Charlie Simpson's past, but by the end of the first day all questions had been answered. He is very talented! Recording this album was brilliant from start to finish. There was a vision, and a real comradery in the whole creative process with everyone having an equal say in what went on the record. We actually ended up using loads of bits from the original demos I had produced with the band.
  • www.fightstar.org
  • iTunes
  • • James Pabla - Drowned In Sound
    • It has been two or so years from the separation of Charlie Simpson and Busted, and the transition or more appropriately progression has been some what impressive and ultimately respectful. The forming of Fightstar seemed be unique, and unfortunately unnecessarily scrutinized, as the ignorant majority of music reviewers and listeners would quite simply base all their views on Fightstars music with an inevitable reference to 'Busted'. Let's go back for a second, Charlie was 15 when he was forth embraced by a music company as he was recognised for his vocal and musical talents, he was offered a fantastic opportunity to become famous, and ideally to all teenagers, leave school! As an individual fixated on heavy rock such as 'Machine Head' it seemed relatively unusual for him to execute and perform such pop like songs, but all of which got him famous and relatively rich, now be realistic, would you say no to that. Remedy is the key theme here and Charlie has progressed to a scene that suits and reflects him. "For the first time since I was 15, I like what I’m playing"(Charlie Simpson). Flash to 2006, and the release of Grand Unification has had a massive impact on me in many different ways both emotionally and musically. As a guitar player for 3/4 years now I can appreciate a good riff when I hear one, and this album is completely jammed packed of fantastic, harmonised and differentiated riffs that scream authenticity to Charlie and the talented players in Fightstar. The opening to the album "To Sleep" symbolises a new path for Fightstar, a nostalgic beginning of unknown paths and mystical circumstances, ambiguous in many ways but it all builds up to the hell raising Grand Unification (Part 1), a path has been born. One aspect of this album must be taken into consideration, this is Fightstar's debut and the album does consist of a few tracks such as 'Mono' and 'Lost Like Tears In Rain’, which have been previously released on their EP 'They Liked You Better When You Where dead'. Although they have been released before, geniously fightstar have replicated the songs and fine tuned them into a new concoction of melodies to suit the overall progression of the band. Subsequently showing dedication and appreciation to the fans and buyers of their music. The majority of the album stands out to me, and such tracks as "Build An Army" and ' Lost Like Tears In Rain' enable Fightstar to be associated with the heavy/emotional musical scene. Objectively I believe that Fightstar have an association with emotional music that cannot be paralleled by any other rock band, for instance Funeral For A Friend, do have emotional lyrics but the melodies are fixated on repetitive heavy key and bland vocal talents. Grand Unification (Part 2) is the epitome of an emotional song, with ingenious references to physics, human activity to reflect upon emotional discontent, the track screams effort and beauty, quite simply nearing emotional music perfection. The album ends with 'Wake Up', and fine blend of Alex and Charlie’s vocal talents to portray a sense of unconsciousness to the album, to the fact that most of the individuals listening to the album will be surprised to how good Fightstar actually are. The repetition of "Wake up" with an orchestral injection states that the ignorant listeners out there will have to snap out of this false trance of prejudice that has occurred from Charlie and Busted, and appreciate Fightstar for what they are. Charlie has been on a path in his life, all of which we should never scrutinize as it has lead to one of the best rock bands of our time. Grand unification nails near perfection, and scores a 9.8/10 - A must buy to all rock/open minded listeners.
    • Michael Snowden - OPEN-YOUR-MIND
    • This debut album from former Busted member Charlie Simpson and his new band Fightstar will surprise a lot of people. Firstly with the sheer heaviness of the songs, secondly with the mature lyrics and finally the musical talent expressed. This is much more than a former pop star jamming with some friends. The album’s concept depicts a self-destructing world and the birth of a new world order – compare that to ‘Year 3000’ and you can see how far Simpson has come. From instrumental opener ‘To Sleep’ to the albums climax ‘Wake Up’ the album takes you on a journey of angst and anguish. Simpson is joined in the band by Dan Haigh (bass), Omar Abidi (drums) and Al Westaway (guitar and backing vocals). Westaway and Simpson’s vocals fit perfectly either when singing in harmony with each other, in songs such as ‘Sleep Tonight’, or when screaming along to represent pain and anguish in songs such as ‘Build an Army’, which smacks you in the face with its pounding drums and thunderous guitars. Some songs have been brought over from their home-recorded EP ‘They Liked You Better When You Were Dead’ but have been given a new lease of life in this new found confidence and believe the band have. ‘Lost like tears in the rain’ and ‘Hazy Eyes’ sound more refined and perfected than the originals with Westaway and Simpson again sparring vocally. The truth is Fightstar write good rock songs, none more so than the epic ‘Mono’ (also taken from their EP) which is a six minute showcase of their talent with soft guitars and vocals leading into a heavy finale. Similarly ‘Grand Unification pt. II’ drifts in and out of surprising pianos and melodies to low sounding guitars with voice clips of social commentary overtop showing a sense of maturity. The first single ‘Paint Your Target’, which reached the Top20 in the UK Charts upon release, explores the break-up of a failing relationship and has one of the catchiest choruses on the record. This album is definitely for the more rock minded and anyone wanting another radio friendly Busted-esque band will be extremely disappointed. Fightstar still haven’t fully gained acceptance, as many people cannot see past the tag that comes with their frontman, but this remains an impressive debut which more than justifies Simpson shunning his past. Many thought it was the biggest risk of the young man’s life and on the basis of this it appears it may be paying off.
  • • Last Conversation (Here Again)
    • iTunes

  • • Colin Richardson

    • I first met Colin working on the debut Funeral for a Friend album 'Casually Dressed and Deep In Conversation'. We hit it off immediately, and he asked me to come on board and finish that album with him. I really see that record as a career turning point, so feel that Colin has definitely played a massive part in my success this far; from giving me those first early opportunities through to everything I have learned from him in the studio environment. Although for a large part of his career he may have been pigeon holed into the Metal scene, I think with recent productions such as Fightstar and Bullet for my Valentine, he has proven that there are many more sides to his work. I think he is a perfect example of making sure you keep your sound current and making sure you are not left behind with new technologies or production techniques. It is fantastic to still enjoy such a productive working relationship with him now!

  9.0 Live, Slipknot

  • Mix Eng
  • Roadrunner Records
  • This album was put together from all the shows recorded on a World tour. The guitarists in Slipknot are both fantastic players fortunately, so it meant this record could be a 'real' live record. The main thing for this mix was making sure the tracks sounded exciting. If you see Slipknot live they 9 guys on stage going crazy. I think the CD certainly keeps that energy, helped not least by Corey Taylor's ability as a front man.
  • www.slipknot1.com
  • iTunes
  • • METAL HAMMER/DEC '05
    • The freakshow finally becomes yours to own. Recorded at a bunch of different locations across the US and Asia, Slipknot's first live album is a monster, in both quantity and quality. Spread over 2 discs, the 23 tracks (plus one long drum solo) give you nearly two hours of pure masked magic to enjoy in the comfort of your own bedroom. Drawing from their self titled 1999 album, their 2001 follow up 'Iowa' and last years explosive 'Vol 3: (The Subliminal Verses)' the songs blend seamlessly to give the impression of the one longest (and greatest) show of Slipknots career. All the essential musical elements of the Iowa freaks are in place. Marvel at the extraordinary skill of Joey Jordison's kit pummeling. Bang your head to monster riffs from James Root and Mick Thomson. Jump about like a right freaky maggot in the style of Shawn Crahan, and scare the shit out of your gran with a throat-bleeding Corey Taylor karaoke session. Highlights include the new thrashers 'Before I Forget' and 'Duality' as well as older classics like 'The Heretic Anthem', 'People=Shit' and the massive 'Wait and Bleed'. Still one of the heaviest bands around, the Slipknot show is an ear-bashing, face mashing, violent and enjoyable experience. Now you get all the goods bits, and none of the bruises. What more could you ask for? 9/10
    • ROCKSOUND/DEC '05
    • Slipknot '9.0 Live' Rocksound. Do you know the best way to fire up your audience? Announce just prior to jumping on stage that the band won't be playing! Slipknot did it, and in the opening seconds of this double CD live package you can feel the rage erupting through your speakers. Certainly not hiding behind any studio wizardry, this is feral, raw and warts 'n' all stuff, and features all your 'Knot faves. 'Disasterpiece' is utter blastbeat death metal lunacy, 'Pulse Of The Maggots' rips your face off, and it's probably only Joey Jordison's drum solo that slows the intensity down. It's not bad, but after watching Cream's Ginger Baker let rip a solo while performing at the Royal Albert Hall just hours before listening to this, nothing is ever going to compare! Slipknot entered the world, conquered and puked up all over it. This album reiterates their importance. 8/10 Darren Sadler
    • KERRANG!/NOV'05
    • The best live albums, like Maiden's 'Live After Death' or Thin Lizzy's 'Live And Dangerous', are thrilling and ambitious milestones not, it has to be said, a charge you could level at Linkin Park's 'Live In Texas' or Red Hot Chili Peppers' 'Live In Hyde Park'. Lead-plated donkeys, the pair of them. So which is it to be for Slipknot? This is, after all, a band whose reputation as a viscerally thrilling live act has grown in tandem with their status as makers of great studio albums. Slipknot gigs are chaotic, intense and edgy the omnipresent threat that everything could descend into unlistenable anarchy has become a selling point. Capturing that explosive madness was never going to be easy. The band's 'Disasterpieces' DVD came pretty damn close, but '9.0: Live' can't grab your attention with eye-twatting visuals. This is the full 18-legged live experience, just as the Devil intended it warts, bum notes, feedback and all. The good news starts with the fact that this sounds fucking ferocious. Even without a dash of extra studio polish, there is power and violent clarity here in abundance. With virtually every song that matters from Slipknot's three albums included, and a fistful of welcome obscurities (a punishing 'Eeyore', an abridged 'Iowa', a heroically creepy 'Skin Ticket') thrown in, all delivered with the band's traditional zeal, it's hard to imagine what else a devoted maggot could require. And if, after two gruelling hours, you're not brimming with admiration for Corey Taylor's superhuman lung capacity and Joey Jordison's utterly unique percussive talents (damn it, he even makes a fucking drum solo sound exciting), then it's time to get those ears unclogged. Ultimately this is, in the best possible way, a fans-only affair, but it's been put together with such passion and generosity that to decry its rough edges or indulgent girth would be churlish. If there is a downside here, it's that having been compiled from numerous gigs there's a slight awkward, collage-like feel to the whole enterprise, but if you're a Slipknot fan then you'll be too busy smashing your room up to hyper-wired renditions of 'The Heretic Anthem', 'Duality' and Sur Facing' to give a flying fuck about that. Two years ago, with nu-metal in seemingly terminal decline, a lot of people were predicting Slipknot's demise. Listen to '9.0: live' and you'll hear the sound of a band who've never felt so alive. KKKK Dom Lawson
  • • Duality
    • iTunes

  • • Colin Richardson

    • I first met Colin working on the debut Funeral for a Friend album 'Casually Dressed and Deep In Conversation'. We hit it off immediately, and he asked me to come on board and finish that album with him. I really see that record as a career turning point, so feel that Colin has definitely played a massive part in my success this far; from giving me those first early opportunities through to everything I have learned from him in the studio environment. Although for a large part of his career he may have been pigeon holed into the Metal scene, I think with recent productions such as Fightstar and Bullet for my Valentine, he has proven that there are many more sides to his work. I think he is a perfect example of making sure you keep your sound current and making sure you are not left behind with new technologies or production techniques. It is fantastic to still enjoy such a productive working relationship with him now!

  Roadrunner 25th Anniversary Allstar Sessions, Various Artists

  • Mix Eng
  • Roadrunner Records
  • What a fantastic project this was to be involved in. I don't think that any record label has ever undertaken a record like this before, so it really was a unique experience. All the songs were recorded in different studios, by different musicians, at different times, even in different countries. Therefore when it came to the mix situation, somehow all of it had to be tied together into a coherent album that flowed from start to finish. It was certainly a challenge, but one that was gladly taken, to be part of what is a musical first.
  • www.roadrunnerrecords.com
  • iTunes
  • • METAL HAMMER/NOV '05
    • Celebrating the 25th anniversary of metal's most popular label, 57 artists from 45 different bands from Roadrunner's past and present roster have come together to form 18 original metal compositions under the guise of 'Roadrunner United'. Arranged and composed by the four 'team leaders' – Joey Jordison of Slipknot, Dino Cazares of Fear Factory/Brujera, Robb Flynn of Machine Head and newcomer Matt Heafy of Trivium – each track features a different complied line-up from RR's past. A startlingly varied sound comes from this, on each track, so getting it all to fit here is nigh on impossible. Which means we'll stick to standouts and surprises. To begin with, the majority of the songs' identities appear to be defined by the vocalists that have narrated them, so 'Annihilation By The Hands Of God' with Decide's Glen Benton (and Malevolent Creation's Rob Barrett on guitar) crops up as a nice doom-laden gore fest. 'In The Fire', with King Diamond/Mercyful Fate' frontman, plus two young Trivium additions on shred duties, is much more of an amusing 80s battle adventure. 'Dawn Of A Golden Age' sees COF's Dani Filth squeak his way through a black metal splurge, just after you check 'Independent (Voice Of The Voiceless)' for the shocking lack of any Hatebreed member. Who'd of thought ex-Killswitch vocalist Jesse Leach had such a hidden Maiden-meets-Down croon inside him (on 'Blood & Flames'), whilst Tim Williams (Vision Of Disorder) works so neatly with strong characters from Machine Head, Fear Factory and Chimaira on 'Army Of The Sun'. In more than one instance, the combined efforts of separate bands is far more successful than the recent outputs of the individual groups themselves (see 'Tied 'N Lonely' with Life Of Agony and Murderdolls' input) and makes you wonder whether this project will cause a load of older band break-ups and new band formations. Biggest surprises come from Daryl Palumbo (Glassjaw) singsong on 'No Way Out' (with Junkie XL) – probably the most melodic/poppy inclusion on this collection – and the dreamy acoustic la-dee-dah, 'Roads', with Opeth and Type O at the helm. At some point on this album, every type of metal fan is catered for, all styles covered, all genres explored. This does mean that it's unlikely that anyone will love every single track (we're really not bothered by the Devildriver efforts on 'Baptized In The Redemption' or Ill Nino on 'No Mas Control'), but one of the most enjoyable things about this album is the fun of playing the 'guess who this is' game with your metal-savvy mates. Challenge them to spot the drumming skills of Chimaira's Andols Herrick, the bass grooves of Vision Of Disorder's Matt Baumbach, the axe tactics of 36 Crazyfists' Steve Holt or the croons of Michale Graves of the Misfits, and you'll be entertained (and stumped) for the full one hour and 17 minutes. The sheer scale of organisation involved to put this project together is what blows you away most. This could so easily have become a massive covers band, all re-doing each others' tracks, but thankfully someone took the far braver decision to arrange this massive metal beast of an album. It's one hell of a triumphant project that will, undoubtedly, go down in history. 9/10 Katie Parsons
    • BIG CHEESE/DEC '05
    • Ambitious super grouping yields groundbreaking results. Like metal? You'll shit your pants. Indifferent to metal? You'll shit your pants. Over 70? You're probably doing that regardless. Four team captains (Slipknot's Joey Jordison, Machine Head's Rob Flynn, Trivium's Matt Heafy and Dino Caazares – the tubby dude who used to be in Fear Factory) were given the task of assembling Roadrunner artists past and present to create their own line-ups over eighteen tracks (kind of like Fantasy Football, but with all the teams being Brazil rather than Clacton). So, you get Killswitch Engage's Howard Jones jamming with dudes from Still Remains and Fear Factory ('The Dagger'), King Diamond, Trivium and Ill Nino ('In The Fire'), Daryl Palumbo, Vision Of Disorder, Junkie XL and Slipknot ('No Way Out') and The Misfit's Michale Graves and Three Inches Of Blood team-up of 'I Don't Wanna Be (A Superhero)' and a whole hell of a lot more. Running the gauntlet of classic NWOBHM-styled gallop to metalcore bludgeon to straight up rock songs to industrial-tinged efforts, it's the best mixtape you never heard. 'The All-Star Sessions' has raised the bar. 5/5 Jim Sharples
    • PLANET-LOUD/OCT '05
    • In Brief - Roadrunner stars old and new collaborate to celebrate 25 years of metal.. So, just how do you celebrate 25 years of churning out some of the most important genre-defining albums of all time? If you're Monte Connor then you don't bother getting a cake shaped like a 25 and a few sarnies down the local. No, you get four of your best mates to coerce stars from your roster, past and present, into collaborating on the metal event of the year. Frankly, considering the vastness of the project to hand, it could have fallen flat on its arse but, to the credit of the Roadrunner label they have pulled off this logistical nightmare and done it in a way that it will never be matched. The All-Star Sessions has artists from every walk of Roadrunner life, from the Canadian metal of Annihilator to black metal terrors Cradle Of Filth and Deicide to the newer bands like Trivium, Still Remains and Devildriver to the heavyweights of the label like Machine Head, Fear Factory and Slipknot. Mix them all up and you have in your hands one hell of an end result. Covering everything from stoner rock to black metal, the All-Stars Sessions celebrates every musical chapter of the Roadrunner legacy. Let's face it though, once the logistics have all been ironed out, you'd expect nothing other than something truly unstoppable from a collaboration between Joey Jordison, Glen Benton and James Murphy or something mindblowing from a project featuring members of Mercyful Fate, Trivium and Killswitch Engage. Looking down the list of artists featured on this project there are members of ALL of your favourite Roadrunner bands here along with a few surprises - 36 Crazyfists, Gruntruck, Vision Of Disorder, Slipknot, Type O Negative, Still Remains - the list goes on. The All-Star Sessions is just one endless stream of great bands that sum up why this label has been at the top of its game for the last twenty-five years. Here's to another twenty-five. Happy Birthday. 10/10 - Graham Finney Link: http://www.planet-loud.com/v6/recordreview.php?id=419
  • • Joey Jordison & The Roadrunner Allstars - tired & Lonely
    • iTunes
    • Glen Benton - Annihilation By The Hands of God
    • iTunes

  • • Colin Richardson

    • I first met Colin working on the debut Funeral for a Friend album 'Casually Dressed and Deep In Conversation'. We hit it off immediately, and he asked me to come on board and finish that album with him. I really see that record as a career turning point, so feel that Colin has definitely played a massive part in my success this far; from giving me those first early opportunities through to everything I have learned from him in the studio environment. Although for a large part of his career he may have been pigeon holed into the Metal scene, I think with recent productions such as Fightstar and Bullet for my Valentine, he has proven that there are many more sides to his work. I think he is a perfect example of making sure you keep your sound current and making sure you are not left behind with new technologies or production techniques. It is fantastic to still enjoy such a productive working relationship with him now!

  Grand Unification Part 1 (Single), Fightstar

  • Rec / Mix
  • Island Records
  • This was the first track recorded for the fightstar album, and was used as a single for the band as a forerunner to the album release. This session came only a few weeks after I had demo'd the track with them, under the different name of 'Covered and Course'. The song underwent some considerable changes in preproduction, but everyone was working together and cemented a great relationship for the rest of the project.
  • www.fightstar.org
  • iTunes

  Chimaira (Album), Chimaira

  • Mix
  • Roadrunner Records
  • www.chimaira.com/
  • iTunes
  • • KERRANG!/JULY '05
    • Third Albums are infamously difficult to get right. On your debut, you set out your stall and unburden yourselves of the best songs you've written since the start. Your second album consolidates the best points of its predecessor and attempt to ensure longevity. By the time you make album number three, however, you'd better be hitting the nail on the head with ruthless frequency otherwise the downward slide beckons. Clearly wishing this to be considered their definitive statement so far by naming it after themselves, Chimaira certainly don't lack confidence. As the pitiless aggression and dizzying precision of opening anthem 'Nothing Remains' erupts, it's evident that compromise is not part of the plan either. This is sonically sharp but powerfully physical and raw modern metal, played by people steeped in the brash bravado of early Metallica, the pneumatic-drill attack of Fear Factory and the inspirational riffing of Pantera and Machine Head. What it isn't, on first impressions, is the concise, direct and oddly accessible Chimaira that deservedly drew in the crowds and, occasionally, hedged its bets on 2001's 'Pass Out of Existence' and 2003's 'The Impossibility of Reason'. Darker, more complex and infinitely more challenging than anything they've recorded before, 'Chimaira' must surely erase any doubts that these Ohio-based boys are built from the right, steely stuff. As you allow these often startlingly heavy songs to sink in, the brilliance at work here really begins to dazzle. 'Nothing Remains', 'Save Ourselves' and 'Comatose' re-write the band's blueprint with spine-tingling, almost Middle Eastern-sounding solos, militaristic percussive violence and rabid, vengeful thrash metal futurism respectively. 'Inside the Horror' explores the foul depths of Chimaira's dark side with the kind of disturbed intensity that previous albums seldom hinted at. Best of all, 'Everything You Love' superbly encapsulates their primal 10-pound-hammer appeal into six minutes of scowling, desolate audio hate, with crushing Led Zep-meets-Obituary riffs. Mark Hunter's diaphragm-rattling growls and Chris Spicuzza's subtly distressing electronics all conspiring to overpower and terrify. It is, particularly after the fifth or sixth listen, one of the heaviest things you'll have heard in a long time. Chimaira have always been a great live band and although their earlier albums arguably lacked a killer touch, their potential has never been in doubt. Here it is, then, realised with strength, passion and plenty of style. It's the album they needed to make, and now you need to hear it. Like, yesterday. KKKK
    • TERRORIZER/JULY '05
    • Mark these words, the bubble will burst one day on this whole new thrash/metalcore thing one complacent copycat band too many will break the unfortunate camel's back and that will be that. Chimaira are not that band. If anything they actually breathing new life into struggling genre, with their most vital - release to date. This could have gone either way. Some of those who profess to be 'in the know' predicted that the band would go all tuneful on us in a bid for mainstream chart success, but thankfully Chimaira have a deep-seated love of extreme metal driving their creative processes and, whilst this record is possibly the most important they will ever pout their name to, it's also their most intense. New drummer Kevin Talley is a revelation, incredibly tight and forceful, turning every riff into a neck-snapping frenzy. The subtle electronics add atmosphere and depth with once becoming intrusive, Rob Arnold peels off surely the best leads of his career, yet also knows instinctively when to ease back and let simplicity effectively reign, and Mark Hunter tortures his throat into all sorts of painful exhortations. It's an impressive offering that eclipses its predecessor, 'The Impossibility Of Reason', in both heaviness and accessibility. If people are still looking around for 'the new Pantera', here would be as good a place to start as any. Ian Glasper 8.5

  The Bright Space, The Bright Space

  • Add Prod / Mix
  • Disco Impact
  • www.thebrightspace.com
  • • Still I Stand

  The Poison (Album Tracks), Bullet For My Valentine

  • Eng
  • Sony BMG
  • www.bulletformyvalentine1.com
  • iTunes

  • • Colin Richardson

    • I first met Colin working on the debut Funeral for a Friend album 'Casually Dressed and Deep In Conversation'. We hit it off immediately, and he asked me to come on board and finish that album with him. I really see that record as a career turning point, so feel that Colin has definitely played a massive part in my success this far; from giving me those first early opportunities through to everything I have learned from him in the studio environment. Although for a large part of his career he may have been pigeon holed into the Metal scene, I think with recent productions such as Fightstar and Bullet for my Valentine, he has proven that there are many more sides to his work. I think he is a perfect example of making sure you keep your sound current and making sure you are not left behind with new technologies or production techniques. It is fantastic to still enjoy such a productive working relationship with him now!

  Glow (Track), Arthur Baker feat. Tim Wheeler

  • Protools
  • Underwater Records
  • www.ash-official.com/

  Nine Fine Branches (Single), Pretty Polly

  • Prod / rec / Mix
  • Artists
  • www.prettypollyweb.com/

  Demo Tracks, High Rise

  • Prod / Rec / Mix
  • High Rise
  • www.highriseband.com
  • • Three Days Later

  Live @ South x South West, Hard-Fi

  • Mix
  • Atlantic Records
  • www.hard-fi.com

  Demo EP, The Days

  • Co-Prod / Rec / Mix
  • Artist

  B-Sides, The Kills

  • Rec / Mix
  • Domino Records
  • www.thekills.tv
  • iTunes

  Album tracks, The Gaff

  • Co-Prod / Rec / Mix
  • 2R
  • www.thegaff.co.uk

  Mass Hysteria (Album), Mass Hysteria

  • Prod / Rec / Mix
  • Wagram France
  • I think one of my proudest projects I have ever done would have to be with this French band, Mass Hysteria. They are a very successful band in their home country, and approached me about making their third album, because they wanted to make more of a rock record, but maintaining the metal elements. I think they had some great ideas on the album, and I think I did a good job of fusing so many influences into a record that flowed. Sonically it is not necessarily the best thing I have done, but it was my first full on album production where I was on my own from start to finish and mentally it was a lot to take on and cope with at times. I was locked away in a residential studio in the absolute middle of nowhere, with the band for a month of tracking and only one of them spoke any English! It really did get quite hard and felt isolated. But we came to Miloco's Neve Room in London to mix it and everyone was really pleased with the final result.
  • www.surlabreche.com
  • • Un Homme À La Mer

  Demos, Kill Devil Hills

  • Prod / Rec / Mix
  • Smart
  • www.thekilldevilhills.com/

  Spires of Angels, Hide & Seek, Anything Goes (Mixes), Saint

  • Add-Prod / Mix
  • Warners
  • www.saintsite.com/

  Live @ Whitfield Street for Capital Radio, Daniel Bedingfield

  • Mix
  • Polydor Records
  • www.danielbedingfield.com/

  3 Minutes & I Am A Kamra, Charlotte Hatherley

  • Double Dragon
  • Prog / Rec / Mix
  • www.charlottehatherley.com/
  • iTunes
  • • 3 Minutes
    • iTunes

  An Ocean Between Us, As I Lay Dying

  • Mix Eng
  • Metal Blade
  • This was a very challenging mix. The guys in this band all have very strong opinions of how they wanted to hear the songs, so it was sometimes hard getting the direction perfect for everybody. Looking at it another way, I think it has only made it a much better record. All the input and opinions have helped craft the mixes into what really is a stunning album. Knowing the songs on the album, it is not hard to see why it has been grammy award nominated!
  • www.asilaydying.com
  • • antimusic.com
    • In a genre that is saturated with subpar metalcore, wanna-be poser bands trying to cop the latest "trend" in metal, and generally garbage-filled tripe, As I Lay Dying unleashes easily the strongest album of their career, and in the process, lay waste to 90% of the rest of the metal scene with an album that stands head and shoulders above their nearest rival. "An Ocean Between Us", AILD's 4th full length release together, is a step up from an already amazing group of releases that preceded it, including 2005's "Shadows Are Security" and 2003's "Frail Words Collapse". It seems with every release, AILD just gets harder and better, all the while reinventing what it means to be a metal band. The album gives the perfect build-up in its opening track with "Separation", a brief musical interlude that tears right into the band's scorching first single and video track, "Nothing Left". What ensues is a brutal onslaught of metal that doesn't let up the closing refrain of the album's last track, "This Is Who We Are". Musically, AILD is consistent and simply amazing. Well-written songs, scorching leads, none of which come off cliché or forced, fill the album from beginning to end. Lyrically, it is clear that Tim Lambesis is unashamed and upfront about his Christian beliefs. In all that is said, however, just like in past releases, there's no thumping over the head with a Bible, and certainly no air of shoving a "holier than thou" attitude down the listener's throat. It is apparent that while there may be a difference in beliefs between the band and their listener, it's not something that As I Lay Dying would ever try holding over their fans head. This is without a doubt the best metal album of the year. As I Lay Dying, according to an interview in Metal Edge earlier this year, wanted to write and record a memorable album, not a collection of songs that would be easily forgotten, but a release that would stick with the listener for a long time to come. With "An Ocean Between Us", they've done just that. This is an album that will stand the test of time, and will stay in the listeners "now playing" rotation for some time to come. by Jeff Krause

  • • Colin Richardson

    • I first met Colin working on the debut Funeral for a Friend album 'Casually Dressed and Deep In Conversation'. We hit it off immediately, and he asked me to come on board and finish that album with him. I really see that record as a career turning point, so feel that Colin has definitely played a massive part in my success this far; from giving me those first early opportunities through to everything I have learned from him in the studio environment. Although for a large part of his career he may have been pigeon holed into the Metal scene, I think with recent productions such as Fightstar and Bullet for my Valentine, he has proven that there are many more sides to his work. I think he is a perfect example of making sure you keep your sound current and making sure you are not left behind with new technologies or production techniques. It is fantastic to still enjoy such a productive working relationship with him now!

  Babylon's Burning (Remix), Lethal Bizzle / Gallows

  • CoProd / Rec / Mix
  • V2
  • Hit the Music Week playlist "Lethal Bizzle covering The Ruts, mixed by Gallows. An interesting combination and one that works to good effect." We knocked out this remix in a day, including all the tracking and mixing. It was just one of those things that all seemed to work and come together really well. There has been some great feedback about this remix version, and it would be nice to see such a strange collaboration do really well.
  • www.gallowsrocknroll.com

  Album Tracks, Fairway

  • Rec / Eng
  • Mills

  Fast Car (Single), Kristian Leontiou

  • Rec / Eng
  • Polydor Records
  • www.kristianleontiou.co.uk
  • iTunes

  Craving & Cinderella (Singles), Kadas

  • Prod / Rec / Mix
  • Artists

  B-Side, Kristian Leontiou

  • Rec / Mix
  • Polydor Records
  • www.kristianleontiou.co.uk/

  Over You (EP), Elysian

  • Coprod / Rec / Mix
  • Joanna Benyon

  Acoustic Tracks, Charlotte Hatherley

  • Rec / Mix
  • Double Dragon
  • www.charlottehatherley.com/

  Dogs of Lust, Kadas

  • Prod / Rec / Mix
  • Lazarus
  • • Dogs Of Lust

  Solace & Cool It Down (B-Sides), Ash

  • Mushroom
  • Mix
  • www.ash-official.com
  • • Solace

  Tinsle Town B-side, Ash

  • Rec / Mix
  • Mushroom
  • www.ash-official.com/

  Live @ Astoria - Carling homecoming gig, The Darkness

  • Mix
  • Infectious
  • www.thedarknessrock.com

  Wicked Soul (Single), Kubb

  • Mix
  • Mercury
  • www.kubbmusic.co.uk/
  • • Wicked Soul

  Demo Tracks, Razorlight

  • Eng
  • Mercury records
  • www.razorlight.co.uk

  In Case Of The Floods, The Fallout Trust

  • Rec / Eng
  • EMI
  • www.thefallouttrust.co.uk
  • iTunes

  A Hyperactive Workout For The Flying Squad (Album Tracks), Ocean Colour Scene

  • Eng
  • Sanctuary
  • www.oceancolourscene.com
  • iTunes

  Recorded Live at the Scala, Twilight Singers

  • Rec / Eng
  • One Little Indian
  • www.thetwilightsingers.com

  The Working Disguise (EP), Mydriasis

  • Add Prod / Mix
  • Justin Hill
  • www2.mydriasis.co.uk
  • • Trap Door

  Tracks, Foy Vance

  • Rec / Mix
  • Brian Freshwater
  • www.foyvance.com

  Live Mixes, Sikth

  • Mix
  • Gut records
  • www.sikth.com

  Steady Diet Of Decline (Album tracks), No Hope In New Jersey

  • Prog / Rec / Mix
  • Atlantic Records
  • www.nohopeinnewjersey.com
  • iTunes
  • • Head Swell
    • iTunes

  Change Is Gonna Come, Charlie P & Paradise

  • Mix
  • Fas Fwd
  • www.fasfwd.com

  Live @ MTV - Brand Spankin' New Music, No Hope In new Jersey

  • Mix
  • Atlantic Records
  • www.nohopeinnewjersey.com

  Faster The Chase (B-Sides), InMe

  • Mix
  • Music For Nations
  • www.myspace.com/inmeofficial
  • • Inside

  Thirteen Days (B-Sides), X Is Loaded

  • Prog / Rec / Mix
  • Music For Nations
  • www.xisloaded.com
  • • Ride

  Spill Your Guts in 8mm Live DVD, Funeral For A Friend

  • DVD Mix
  • Atlantic Records
  • ffaf.co.uk

  Live @ Islington Academy, The Gliteratti

  • Mix
  • East West
  • www.theglitterati.com/

  Live Session, Ram

  • Mix
  • BBC Collective

  Live Session, Chikinki

  • Mix
  • BBC Collective

  Album Tracks, Texas Fences

  • Double Dragon
  • Prog / Rec / Mix

  Sober & Narcolepsey (Singles), No Hope In New Jersey

  • Prog / Rec / Mix
  • Atlantic Records
  • www.nohopeinnewjersey.com
  • iTunes
  • • Narcolepsy
    • iTunes

  Live tracks, InMe

  • Add Rec / Mix
  • Music For Nations
  • www.myspace.com/inmeofficial

  Golden Touch (Single), Razorlight

  • Eng
  • Mercury records
  • www.razorlight.co.uk
  • iTunes

  Believe In Me (B-Sides), Razorlight

  • Rec / Mix
  • Mercury records
  • www.razorlight.co.uk
  • iTunes
  • • Believe In Me
    • iTunes

  George Best (Single), Vinegar Brain

  • Add-Prod / Mix
  • Chris Marksberry

  Album tracks, Jamie Scott

  • Rec
  • Sony BMG

  Demo Tracks, Big Brovaz

  • Eng
  • Sony BMG
  • www.bigbrovaz.com

  Album tracks, My Vitriol

  • Eng
  • East West
  • www.myvitriol.com

  Casually Dressed & Deep In Conversation (Album), Funeral For A Friend

  • Eng
  • East West
  • This is a record that will always be very special to me. It was on this album I first met Colin Richardson, whom I have since enjoyed a fantastic working relationship with. But also, I was completely taken in by 'Funerals' music. I was a fan of many of the American bands around at the time, and to hear a British band making slick sounding rock music, but maintaining the great melodies was so refreshing for me. I guess working on this record helped me focus on a direction in my career more than anything else. I really see this album as my first big 'springboard' onto other things, and even now still meet bands that were big fans of the record.
  • www.ffaf.co.uk
  • iTunes
  • • James W Roberts - BBC Wales Music
    • A triumphant genre-busting debut from Funeral For A Friend. Few bands, let alone ones from Bridgend and its satellite villages, have generated such expectation with their debut album. Funeral For A Friend, however, have effortlessly garnered unprecedented acclaim from all quarters for the handful of releases that bear their name. And so the question is poised - does their debut album prove worthy of the hype? Well, the answer is a resounding yes. Opening with Rookie Of The Y