There's no such thing as a band born to greatness. To succeed in the world of music there's a whole energy-sapping storm of hard work to plough through. Florida's Trivium has surely earned the major contender status that has been afforded them by the international media. After spending the last few years up to their necks in blood, sweat and tears, the formidable foursome, whose 2005 sophomore release (and Roadrunner debut) Ascendancy made them a hit with discerning music fans everywhere, have paid their dues. Relentless touring around the world with over 350 shows in the past two years has sharpened the band's live prowess, making their new album, The Crusade, one of the most hotly anticipated hard rock albums of 2006. The level of charisma and energy that they've harnessed since hitting the global gig circuit has built Matthew K. Heafy, Corey Beaulieu, Paolo Gregoletto and Travis Smith a huge international fan base that is as devoted as it is ever growing.
Formed in Orlando, Florida at the dawn of the 21st century, Trivium was soon picked up by small independent label Lifeforce Records, which released their debut album Ember To Inferno in 2003. One track from this album appeared on a magazine compilation CD, which fell into the lap of Roadrunner Records Senior VP of AnR Monte Conner (Slipknot, Sepultura) who immediately heard the potential in the band. "Monte heard the song, gave our manager a call," recounts the now 20-year-old Heafy. "Of course, we all know who Monte Conner is so we started freaking out. It felt like fate because every time I turned on the radio or the TV, there was a Roadrunner band playing. It felt like some kind of omen." To drive it home for Monte, the band recorded a new demo and shot a video for the song Like Light to the Flies" and sent them to him. "He almost immediately responded, saying 'This is what we're looking for. Let's do this!' It was pretty mind-blowing."
In March 2005 the band released Ascendancy a bold and dynamic statement of intent that confirmed the potency of these young men's precocious talents and charisma. The album garnered a large number of frothing, ultra-positive reviews throughout the music press around the world, including the NY Times, Stuff Magazine, Revolver, Decibel and Metal Hammer, Rock Sound and Kerrang! in the UK, who declared Ascendancy 2005's album of the year. Trivium soon graced the covers of a lot of these magazines and picked up a fistful of coveted awards in the UK, including 'Best International Newcomer' at the 2005 Kerrang! Awards ceremony and several Metal Hammer Golden God statuettes. Suddenly it seemed that the sky was the limit! "The UK just rocked, right off the bat," smiles Heafy. "It all happened so quickly. The first show we had in Wolverhampton, we were the first of three bands. We took the stage to this huge Trivium chant, something we never experienced before. When we finished our set the whole room cleared out and people were running out to get our signatures. It was an amazing feeling. The next thing we know, we were given the offer to play at Download."
Globally renowned, the Download Festival takes place on the hallowed turf at Donington Park - one-time home of the legendary 'Monsters Of Rock' festival. Trivium were eager to make their mark in front of such a huge audience... "We were booked to play on the third stage, playing to maybe two or three thousand people," recalls Heafy. "Then they swapped us to the main stage. We were all really stoked, but I remember that at 10:59am there was no one there at all. 30 seconds after that, 40,000 people came swarming across the hill towards the stage. We were thinking 'What the fuck do we do now?' The next thing I know we've played the biggest show of our lives."
Trivium didn't slow down after that tremendous accomplishment. Instead they continued to traverse the globe seeking to spread their metallic gospel. Festivals and headlining shows around the world followed. They even returned to Download in June of 2006, this time as one of the festival's headliners. In the U.S. they were one of the headliners on the Sounds of the Underground Tour. Upon the release of The Crusade, the band will embark on their first U.S. headlining tour and later, be direct support to Iron Maiden on their world stadium tour. "The ride has been completely awesome," states Heafy. "
"Everything that's happened in America, everything that's happened in the UK, all that has allowed us to make an album like this," says Heafy. As we got to the end we realized we were making something really special. To me, The Crusade is still Trivium. As a band, you can either release the same album again, keeping the same number of people interested and not really branch out, or you can evolve. I feel that The Crusade is the next logical step in our evolution. We took one big step between the first two albums, but this time we've taken about ten huge leaps forward."
"Every album title has been a statement about the band and where we were at that time," furthers Heafy. "'Ember To Inferno' meant that we went from a spark to something special. Ascendancy was about the dream of domination and a gradual rise to success. The Crusade is literally what we've been doing for the last two years, crusading around the planet and getting our music out to everyone."
Recorded at Audiohammer Studio in Sanford, Florida, The Crusade is a faithful account of a great young band's swift and bewildering evolution, from up-and-comer to world-beating behemoth. With long-time engineer Jason Suecof at the controls sharing co-production credits with Trivium, the album is as distinctive and immense as any other metal record in recent memory. It is a dazzling explosion of neck-snapping riffs, grandiose scream-along choruses and outstanding musicianship from all four members of the band. Drummer Travis Smith underpins the sharp brutality of his band's songs with a startlingly dextrous percussive attack, all machine-gun kick drums and octopoid bursts of round-the-kit athleticism. Bassist Paolo Gregoletto reveals a hitherto unheard depth and maturity to his playing through the album as well his inspired note-heavy runs and earthshaking bottom end providing a devastating counterpoint to his band mates' deft compositions. Finally, both frontman Heafy and his six-string counterpart Corey Beaulieu have reached a new plateau of blurred-finger brilliance, with instantly memorable riffs and ear-searing fret-melting solos. Additionally, on the album, Heafy sounds more raw, aggressive and emotive than ever before.
From the opening future-thrash twin-blast of "Ignition" and "Detonation," with their anthemic refrains and blizzards of lacerating lead work, The Crusade is clearly a body of work that could raise the bar for rock bands around the world. There's the staggering, precocious "Anthem (We Are The Fire)," which blends the scathing thrash riffs of Megadeth with the infectious swagger of Motley Crue at their succinct best. The intricate, rumbling bludgeon of "Becoming The Dragon" has a pummelling, cyclical rhythmic drive and soaring, left-of-centre chorus. The doom-laden, emotion-stuffed "And Sadness Will Sear", reveals a new, darker, edgier side to Trivium's otherwise hook-laden chops. The deceptively accessible "The Rising" is a sumptuous hymn hewn from the juiciest licks that boasts a phenomenal crowd-rousing chorus... imploring the faithful to &lsquoRaise your voices with me...and sing this song of unity!' This collection of gems culminates in the album's monumental, shape-shifting title track a nine-minute instrumental monstrosity that twists, turns and torments the listener with rapid-fire tempo shifts, immaculate musicianship and a thrilling sense of adventure. It's an obscenely brave and ambitious end to a glorious collection of songs that seems destined to cement Trivium's reputation as the heaviest, sharpest, smartest and hardest working band of their generation.
"We're four very determined people," concludes Matthew. "When I was 12 years old and got into metal, I wanted to be in a huge band. That will never change. We don't take anything for granted and will work hard to make that dream come true. And we've only just started."
Jumat, 31 Juli 2009
Trivium Biography
The Ramones Biography
In the mid-'70s the Ramones shaped the sound of punk rock in New York with simple, fast songs, deadpan lyrics, no solos, and an impenetrable wall of guitar chords. Twenty years later, with virtually all of their peers either retired or having moved on to forms other than punk, Joey and Johnny Ramone, the band's core, continued adamantly to parlay the same determinedly basic sound. The cultural importance of the Ramones became most apparent in 2001, when leader Joey Ramone was eulogized not only in the rock press but the New York Times and other general media.
The group formed in 1974 after the foursome graduated or left high school in Forest Hills, New York. The original lineup featured Joey on drums, Dee Dee sharing guitar with Johnny, and Tommy as manager, but they soon settled on their recording setup. Their name and pseudonym came via Paul McCartney, who had briefly called himself Paul Ramon back when the Beatles were the Silver Beatles. The Ramones gravitated toward the burgeoning scene at CBGB, where their 20-minute sets of rapid-fire, under-two-and-a-half-minute songs earned them a recording contract before any of their contemporaries except Patti Smith.
In 1976 Ramones was a definitive punk statement, with songs like “Beat on the Brat,” “Blitzkrieg Bop,” and “Now I Wanna Sniff Some Glue”- 14 of them, clocking in at under 30 minutes. The group traveled to England in 1976, giving the nascent British punk scene the same boost they had provided to New Yorkers. Before the year was out, Ramones Leave Home had been released. As throughout its career, the band toured almost incessantly.
With their next two singles, the group began to soften their sound slightly. “Sheena Is a Punk Rocker” and “Rockaway Beach” made explicit their debt to ’60s AM hit styles such as bubblegum and surf music, and both made the lower reaches of the Top 100. They were included on Rocket to Russia, which also contained their first ballad, “Here Today, Gone Tomorrow.” At this point Tommy quit the group, preferring his behind-the-scenes activity as coproducer, “disguised” as T. Erdelyi (his real name).
His replacement was Marc Bell, henceforth dubbed Marky Ramone. He was formerly one of Richard Hell’s Voidoids and before that a member of Dust, who recorded a pair of albums during the ’60s. His first LP with the Ramones, Road to Ruin, was their first to contain only 12 songs and their first to last longer than half an hour. Despite their glossiest production yet, featuring acoustic guitars and real solos, its two singles, “Don’t Come Close” and a version of the Searchers’ “Needles and Pins,” failed to capture a mass audience. Neither did their starring role in Roger Corman’s 1979 movie Rock ’n’ Roll High School.
As the 1980s began, the Ramones tried working with noted pop producers Phil Spector (End of the Century) and 10cc’s Graham Gouldman (Pleasant Dreams), but commercial success remained elusive. After Subterranean Jungle, Marky Ramone departed, to be replaced by ex-Velveteens Richard Beau. As Richie Ramone, the drummer played on four albums, before Marky returned in 1987. Too Tough to Die, with Eurythmic Dave Stewart producing the pop single “Howling at the Moon,” recaptured some of their ’70s energy, and “Bonzo Goes to Bitburg” off Animal Boy offered cutting political satire. However, the remainder of the decade too often found them parodying their earlier strengths.
In 1989 the Ramones gained their widest exposure with the title track to the soundtrack for Stephen King’s Pet Sematary, but also underwent their most significant internal shift. Dee Dee departed, first to record, as Dee Dee King, a rap album, Standing in the Spotlight, and then to form the rock group Chinese Dragons. His post-Ramones career included publishing the autobiography Poisoned Heart: Surviving the Ramones and, in the late ’90s, playing with his wife, Barbara, and Marky Ramone in the Ramones spinoff unit, the Ramainz. A heroin addict and substance abuser for 14 years, Dee Dee had been the Ramones’ truest punk (going solo, he also joined AA); his departure signaled the end of an era, if not a style. AWOL from the marines at the time he enlisted in the band, C.J. Ramone infused youthful energy - he was 14 years younger than Joey and Johnny - but the band’s sound remained the same.
Mondo Bizarro, with a guest appearance by Living Colour guitarist Vernon Reid and songs that attacked both drugs and the PMRC’s Tipper Gore, ushered the band into the ’90s, their influence by then apparent in such rowdy outfits as Guns n’ Roses and the Beastie Boys. In 1994 they persevered with Acid Eaters, a tribute to ’60s idols like the Animals and Rolling Stones. With Joey sober since the start of the decade and Marky in recovery from alcoholism, they continued their relentless touring for two more years until their final show in August 1996. Marky formed Marky Ramone and the Intruders and has released two albums to date. Joey went on to manage the Independents, a horror-punk-ska band, to act in the indie film Final Rinse, and, in 1999, to coproduce a Ronnie Spector EP, She Talks to Rainbows. In 2001 he announced he had been diagnosed with lymphoma six years earlier and was undergoing treatment for the disease. He died that year. Little Steven Van Zandt presided over an all-star party on what would have been Joey’s 50th birthday, a month after his death. The U.S. Congress proclaimed May 19, 2001, Joey Ramone Day. After being inducted into the Rock & Roll Hall of Fame in March 2002, fellow Ramones Dee Dee and Johnny soon passed away; Dee Dee from a heroin overdose on June 5, 2002 and Johnny from prostate cancer on September 15, 2004.
The Lemon Tree Biography
were one of a coterie of psychedelic pop groups who sprang up in Birmingham, England, in the mid- to late '60s. Like the Idle Race, the Nocturnes, and most of their Birmingham compatriots, their music was close in spirit to the Move, a cheerful, celebratory, and upbeat account of life in a world lit by a psychedelic glow. The group -- Mike Hopkins (guitar), Mick Taylor (vocals), Gary Wortley (organ), Derek Arnold (bass), and Keith Smart (drums) -- actually had a pretty good pedigree from the get-go; Hopkins was previously a member of Denny & the Diplomats with Denny Laine (in the latter's pre-Moody Blues days) and Smart played with Danny King & the Mayfair Set, whence Roy Wood and Trevor Burton cut their teeth before forming the Move. The latter group wasn't too far in body or spirit from the Lemon Tree -- the quintet was signed by Parlophone Records in 1968 and made their debut with "William Chaulker's Time Machine" b/w "I Can Touch a Rainbow," the A-side of which was written by Ace Kefford, who had just exited the Move, and produced by Kefford, Trevor Burton, and the Amen Corner's Andy Fairweather-Low. It failed to chart, and only Fairweather-Low was aboard for their second and final single, "It's So Nice to Come Home" b/w "Come on Girl," in 1969. After their breakup in 1969, Mike Hopkins moved on to the Idle Race while Smart passed through the final lineup of the Uglys, who transformed themselves into Balls and also played with Roy Wood's Wizzard and the '70s progressive rock outfit Mongrel before disappearing. "William Chaulker's Time Machine" has resurfaced on several '60s psychedelic compilations, including See for Miles Records' mid-'80s era Sixties Backbeat.
The Cure Biography
It all started in 1976 as 'Easy Cure', formed by Robert Smith (vocals, guitar) along with schoolmates Michael Dempsey (bass), Lol Tolhurst (drums) and local guitar hero Porl Thompson. They began writing and demoing their own songs almost immediately, playing throughout 1977 in Southern England to an ever growing army of fans. In 1978 the 'Easy' was dropped, along with Porl, and an eager trio now known simply as The Cure were quickly signed to Chris Parry's new Fiction label.
In May 1979 their debut album Three Imaginary Boys was released to great acclaim, and as the band toured extensively around the UK, the singles “Boys Don't Cry” and “Jumping Someone Else's Train” were released. Michael left the band at the end of the year, and Simon Gallup (bass) and Matthieu Hartley (keyboards) joined. In early 1980 the 4-piece Cure embarked on an exploration of the darker side of Robert's songwriting, and emerged with the minimalist classic Seventeen Seconds, along with their first bona-fide 'hit single' “A Forest.”
After an intense world tour Matthieu left the group, and in early 1981 the trio recorded an album of mournful atmospheric soundscapes entitled Faith, which included another successful single in “Primary.” The band then set out on a second global trek, named “The Picture Tour,” during which they released the non-album single “Charlotte Sometimes.” In 1982 The Cure went back into the studio, and their increasingly ugly fascination with despair and decay culminated in the unrelenting sonic attack of Pornography. An intensely volatile tour ensued, and the single “The Hanging Garden” was released just as Simon left the band.
After pushing the limits of excess, Robert felt he had to change things, and did so by 'going pop' again. Rejuvenated, the now 2-piece Cure released their first real dance single, the cheesy “Let's Go To Bed,” and during the making of the accompanying video forged a colorful and lasting relationship with director Tim Pope. The band continued into 1983 with the groovy electronic dance of “The Walk,” followed by the demented cartoon jazz of “The Lovecats.” In 1984 The Top was released, a strange hallucinogenic mix, which contained the infectiously psychedelic single “The Caterpillar.” The world ‘Top Tour’ saw the band expand to a 5-piece, with the addition of Andy Anderson (drums) and Phil Thornalley (bass), and the return of Porl Thompson (guitar).
The new Cure sound was captured live for the album Concert. Andy and Phil left soon after the end of the tour, and were replaced by Boris Williams (drums) and further returnee Simon Gallup (bass). This new incarnation started work on 1985's The Head On The Door with a very real sense of 'something happening'... The vibrant hit single “Inbetween Days” was followed up by “Close To Me,” and the ensuing world tour paved the way for the massive success of the singles collection Standing On A Beach in 1986. That summer saw the band headline the Glastonbury Festival for the first time, and a year of extensive gigs and festivals was crowned by Tim Pope's live concert film The Cure In Orange.
In 1987 The Cure brought out Kiss Me Kiss Me Kiss Me, an immense double album of extreme and extraordinary stylistic range, and with the arrival of Roger O'Donnell on keyboards the 6-piece Cure traveled the world with the 'Kissing Tour', enjoying 4 more hit singles along the way. The wonderfully atmospheric Disintegration was demoed in 1988 and released in 1989, and despite being a work of powerful brooding grandeur, it too gave rise to 4 hit singles. The awesome 'Prayer Tour' that followed, with the band back down to a 5-piece following the departure of Lol Tolhurst, included some of The Cure's best performances to date, and was captured live for the album Entreat.
In early 1990 Roger O'Donnell left the group, and was replaced by long-time band friend Perry Bamonte, just in time for a series of headlining European festival shows that included the band's second Glastonbury headline slot. The album Mixed Up was released, supported by the re-mixed singles “Never Enough,” “Close To Me” and “A Forest,” and in 1991 The Cure at last won some long overdue “home” recognition with a Brit Award for “Best British Group.”
In 1992 they produced Wish, a richly diverse multi-faceted guitar driven album hailed by some as their best work to date. It spawned 3 fabulous hit singles, and the glorious ‘Wish Tour' that followed was a worldwide sell-out. The sheer power of the shows inspired the release of two live works in 1993, Paris and Show. Immediately after the tour ended, guitarist Porl Thompson left the band again (this time with a smile!), and The Cure headlined the XFM 'Great Xpectations Show' in London's Finsbury Park as a 4-piece. The band also contributed '”Burn” to the film ‘The Crow’ and covered “Purple Haze” for the Hendrix tribute album 'Stone Free'.
In 1994 Boris Williams decided to move on, and in early 1995 Jason Cooper took up residency behind the drum kit, with Roger O'Donnell rejoining once more on keyboards. Work on the next album was interspersed with recording “Dredd Song” for the film ‘Judge Dredd’, a cover of Bowie's “Young Americans” for an XFM album, and headlining several major European festivals, including the 25th Glastonbury. Wild Mood Swings was released in 1996, and went straight into almost every top ten around the world. The Cure hit the road once more with 'The Swing Tour', their longest to date, and released 4 more singles.
Galore, the follow up singles and video compilation to Standing On A Beach, was released in 1997, after which work took place in 1998 on a variety of projects, including “More than This” for the ‘X Files’ album, and a memorable appearance by Robert in the TV cartoon show ‘South Park’! In 1999 the band completed the recording and mixing of what many regarded as their best studio album so far, the Grammy Nominated Bloodflowers. With it's release in 2000 the band set off on the massive world-wide ‘Dreamtour' - playing to more than a million people in 9 months.
2001 saw the long awaited release of the Cure's Greatest Hits album, which featured all the band's biggest selling singles along with 2 new songs, the elegiac “Cut Here” and the ebullient “Just Say Yes,” a duet with Saffron. This year also saw the end of the group's relationship with Fiction Records, the label they had been instrumental in starting 23 years before.
In 2002 the band spent the summer headlining a number of European Festivals before going into rehearsals for two very special nights in November at the Tempodrom Berlin, where they performed all the tracks from Pornography, Disintegration and Bloodflowers plus encores! Both performances were shot in Hi-Def video on 12 cameras, and Trilogy DVD was released.
In 2003 as another chapter of The Cure story opened, the band signing a 3 album global deal with the Geffen label. 2004 saw the release of Join the Dots, a 4cd Box set compiled by Robert of all the B-sides and Rarities, followed by the widely acclaimed new album The Cure, co-produced with the renowned Ross Robinson. 3 singles, “The End Of The World”, “alt.end” and “Taking Off” all hit big, and another hugely successful world tour ensued, with the 23 date North American Curiosa Festival leg especially notable for seeing the band supported by a number of hand picked younger bands including Interpol, Mogwai, The Rapture and Muse. The year ended with an MTV Icon Award presented at a special televised London show.
In 2005 Perry Bamonte and Roger O’Donnell left the band and Porl Thompson joined for a third time. The quartet’s debut show was headlining Live 8 Paris, followed by a number of other summer European Festivals. The first four Cure albums (Three Imaginary Boys, Seventeen Seconds, Faith and Pornography) were re-released, with Robert providing 'rarities' for Deluxe Edition extras CD's, as part of an ongoing campaign to re-master and re-issue all the Cure albums. Immediately after closing a week of Teenage Cancer Trust Shows at the Royal Albert Hall in April 2006, the band started recording their 13th studio album, breaking off in June to allow Robert to work on a live DVD. In August the second set of re-releases (The Top, The Head On The Door, Kiss Me Kiss Me Kiss Me) was released, each album as a 2CD Deluxe Edition, along with 1983’s Glove album Blue Sunshine. In November Festival 2005, a 155 minute 5.1 DVD comprising a 30 song selection of live performances captured the previous summer by a mix of fans, crew and ‘on-the-night-big-screen cameras’, was put out.
Spring 2007 saw The Cure headline the Miami Ultra Music Festival before heading back into the studio to continue work on new songs. The 11 show Australasian leg of ‘The Cure 4Tour 2007-2008’ kicked off in July with a headline slot at the Fuji Rock Festival, the band’s first performance in Japan since 1984, before moving on through Hong Kong, Singapore, Australia and New Zealand. In October the band headlined the San Francisco Download Festival, before playing 3 wild nights in Mexico City at the Palacio de los Deportes, followed by an outstanding performance at the MTV Latin America Awards.
In February 2008 The Cure kicked off the 23 date European leg of ‘The 4Tour’, and in May released “The Only One”, the first of 4 singles to be released every 13th of the month for 4 months. “Freakshow”, “Sleep When I’m Dead” and “The Perfect Boy” followed, and as the band continued ‘The 4Tour’ with a sell-out 27 date North American leg, all 4 singles reached #1 on the Billboard chart. Indeed, for one remarkable week in August, 4 Cure singles were in the USA Top 20 at the same time! In September the “Hypnagogic States” EP was released, featuring remixes of the first 4 singles by acclaimed younger artists Gerard Way (My Chemical Romance), Pete Wentz & Patrick Stump (Fall Out Boy), Jade Puget (AFI) and 30 Seconds To Mars. 4Tour support band 65 Days Of Static joined in the fun, remixing all four singles as one track. All artist royalties from this EP were donated to the International Red Cross.
In a radical move the new album 4:13 Dream was performed in its 13 song entirety by The Cure 2 weeks prior to release at a live broadcast MTV event in the Piazza San Giovanni in Rome before an estimated crowd of 75,000 and a potential TV audience of 200 million. The reaction to the event has been awesome, with many fans already acclaiming this new Cure album as a bona fide classic…
