Showing posts with label The Great Mass. Show all posts
Showing posts with label The Great Mass. Show all posts

Wednesday, May 4, 2011

SEPTICFLESH DRUM CONTEST


Latest release: "The Great Mass"
Release date: Mon, Apr 18 2011, US Tue, Apr 19 2011

Now that SEPTICFLESH's new album "The Great Mass" is out worldwide, the band give you an opportunity to delve deeper into the Greek demons' music. Into drummer Fotis Benardo's parts, to be exact...

Fotis gives you the opportunity to win a Mapex "Black Panther" snare drum, Serial Drummer clothes, custom B-stick drumsticks, limited edition copies of "The Great Mass" and SEPTICFLESH posters! To enter the competition, you have to film yourself playing the drum parts along one of the following songs from "The Great Mass":

a)The Vampire from Nazareth
b)Pyramid God
c)Rising
d)Apocalypse

Post your performance to any video platform you like (YouTube, Vimeo, Dailymotion, etc) and email the link to your drum video with your name to septicflesh@season-of-mist.com. Fotis will watch all videos and will pick 3 winners early August. The competition will end on July 31st, 2011. Good luck!


On other news, Season of Mist and Supersounds are proud to announce Septicflesh enteredFinland's Rumba album charts, ranking #9. Rumba charts are compiled from actual sales of record stores. Congratulations, guys!

All physical formats of "The Great Mass" are available on Season of Mist's e-shop. Watch a trailer for the collector's artbook edition on YouTube!



Tuesday, April 5, 2011

SEPTICFLESH Unveil Full Cover Artwork!

Finally, as we have reached the month of the release of SEPTICFLESH's new masterpiece "The Great Mass", it is time for revelation. You can now witness the Suicidal God statue in all its gruesome glory, the final part that completes the cover artwork of the CD+DVD digipak, the gatefold LP and the dust jacket of the artbook edition.


All physical formats of "The Great Mass" can be pre-ordered here! 

Wednesday, March 30, 2011

SEPTICFLESH - The Great Mass


Upcoming release: "The Great Mass"
Release date: Mon, Apr 18 2011, US Tue, Apr 19 2011


As previously announced, the main artwork of SEPTICFLESH's forthcoming album "The Great Mass" will appear on the CD + DVD Digipak edition, the gatefold LP and the dust jacket of the collector's artbook. A hidden part is unveiled every week, gradually forming the nightmarish full scale artwork of Seth Siro Anton. The transformation will be completed on April 18th, the day on which the Mass will be unleashed upon mankind... Check out septicflesh to see the fifth step of the unveiling!

Here is the fifth part of the studio story, by Hard Rock Mag editor Sven Letourneur.

PART V - First mix, first impressions. Second mix, second impressions.

You left Peter TÃĪgtgren work alone for a few days, how long did he work on the mix? Did he send you some tests regularly or just one final pre-mix to have your opinion before applying your changes? When you heard the first results of the mixing done by Peter, what was your opinion about it? Were there a lot of things to be changed? Is the final result close to what you had in your minds?
Sotiris (guitars / vocals): After a period of 5 days, Peter presented us his first pre-mix of the songs. It was his suggestion for the "skeleton" of the album, focusing on drums-bass-guitars. In this pre-mix, there were no vocals, as he wanted to focus on them after the decisions about the basic sound field were taken. On this mix the orchestral parts had a more general balance. That didn't work for all the songs as on the new album we experimented with different structures, using different combinations of instruments and dynamics from song to song. On the other hand, when we listened to it, we were very pleased, as the guitars were sharp and extremely heavy and the grooves of the bass and drums were sounding so damn powerful. Our suggestions were mostly focused on the orchestral parts, as it was obvious that the metal instruments were exactly as we wanted them to be.

After some remarks, Peter did a second mix with all your ideas taken into account. How did you feel when hearing this second test? Did you feel you were close to the perfect result? Is there a third mix already done?
Fotis (drums): Yes, there is a third mix already... The good thing about Peter is that even if he is who he is and has so many years of experience, he is always open to any suggestions and ideas. We had a great time working together and I believe that both sides are happy with the result of this album.
Sotiris: The second mix was focused on the balance between the vocals and the other instruments. It was an important and difficult phase, as besides the characteristic growling vocals of Seth and my dark melodic vocals, we used two different female singers (a soprano and a mezzo-soprano) and a boy soprano, not to mention a full choir. When we listened to the second pre-mix, we felt we were getting closer to what we wanted, but there was still work ahead of us, concerning the orchestral parts. We wanted to miss nothing from the performance and emotion of the various classical instruments. There are so many different musical layers on the new album... Much more than on "Communion"! It was a very difficult task to keep the right balance between all the different elements, while retaining a huge death metal sound. And that was exactly our aim. Peter heard the material over and over, giving attention to our suggestions, even about the small details of the songs. So he continued presenting to us different mixes of the songs until we were completely satisfied. We are grateful for his patience and his hard work for the album. He managed to surpass our expectations. We are extremely pleased from the final result.

Now that you recorded everything by yourselves in your own studio, would you consider for a future album to even take care of the mixing after more experience?
Fotis: To be honest, mixing an album that combines aggressive death metal with extreme blast-beats and at the same time melodies that come not only from guitars but also from a full orchestra and a choir, is something really hard that needs a lot of guts... Peter TÃĪgtgren had the guts and patience to mix this album and make it sound so powerful. It takes years of experience to mix something so difficult.

What about mastering? You told me you were going to do it at the Abyss Studio too? Who will take care of it?
Peter's associate, Jonas, who is doing most of the mastering that goes out from the Abyss studio. I like the fact that that we can master the album in the same studio where we mixed it, because I'm sure we won't lose the sound approach of our final mix.
On April 15, supporters of SEPTICFLESH will have the opportunity to hear the entire "The Great Mass" in Athens, Greece at the Legacy Rock Area. You will have the opportunity to win copies of the album and have them signed by the whole band as Seth Siro Anton, Christos Antoniou, Fotis Benardo and Sotiris Anunnaki V. will be present!


All physical formats of "The Great Mass" can be pre-ordered on HERE! 

Tuesday, March 22, 2011

SEPTICFLESH – The Great Mass


Upcoming release: "The Great Mass"
Release date: Mon, Apr 18 2011, US Tue, Apr 19 2011





As previously announced, the main artwork of SEPTICFLESH's forthcoming album "The Great Mass" will appear on the CD + DVD Digipak edition, the gatefold LP and the dust jacket of the collector's artbook. Every week, a hidden part will be unveiled, gradually forming the nightmarish full scale artwork of Seth Siro Anton. The transformation will be completed on April 18th, the day on which the Mass will be unleashed upon mankind? Check out www.septicflesh.com to see the latest step of the unveiling!

You can watch a video trailer on Season of Mist's YouTube channel.


Tuesday, March 15, 2011

SEPTICFLESH – "The Great Mass"


Upcoming release: 
"The Great Mass"
Release date: Mon, Apr 18 2011, US Tue, Apr 19 2011

As previously announced, the main artwork of SEPTICFLESH's forthcoming album "The Great Mass" will appear on the CD + DVD Digipak edition, the gatefold LP and the dust jacket of the collector's artbook. Every week, a hidden part will be unveiled, gradually forming the nightmarish full scale artwork of Seth Siro Anton. The transformation will be completed on April 18th, the day on which the Mass will be unleashed upon mankind? Check out www.septicflesh.com to see the latest step of the unveiling, and go watch a video trailer on YouTube!


Here is the fourth part of the studio story, by Hard Rock Mag editor Sven Letourneur.

PART IV - Escape from the studio in Czech Republic / Back to work and first days of mixing in Sweden

On last October 2nd, you went to Czech Republic for a one-shot headlining show. How was it? I suppose it felt good to get out of the studio pressure and play live? Did you get some energy from this show to finalize the album?
Christos (guitars): It was a great gig but we were too tired to really enjoy Prague, which is a great place to be. Of course, it was a good break after our intensive work and it helped us to "recover" and escape from our hectic mood. Everything was recorded and Seth and Fotis would leave the next day for Sweden to go and see Peter TÃĪgtgren for the mix.

One year ago, you were initially planning on working with Fredrik NordstrÃķm. What made you switch to TÃĪgtgren in the end?
Fotis (drums): Fredrik NordstrÃķm is an amazing producer and made a great production for "Communion", but on this album we wanted a new sound, something darker and different. We decided to mix our new album with Peter TÃĪgtgren, having witnessed his amazing work as a producer for many bands in the extreme metal scene like Celtic Frost, Immortal, Dimmu Borgir, etc. So we wanted to listen to his "approach" to the final mix of our songs. We wanted a different point of view to our sound than the one that we had already explored with Fredrik. It's not a case of a better versus worst approach, just a need for something different. And I truly believe that he gave his best.

You told me a bit about the trip to Sweden. Since his studio is lost in the North of the country, it seems to have been a real adventure. Two Greeks lost in cold Scandinavia where everyone talks Swedish must have felt strange!
One day before the trip to Sweden we had to play a headlining show in Prague. The thing is, that when we got to Sweden, Peter was still on the plane coming back from a tour he had in Mexico and he had no idea that we had already arrived at the Arlanda airport. So we had to choose between either stay in Stockholm or take one train and two other busses to Ludvicka, where the Abyss studio is and wait for him there. We were really lucky that he landed an hour later and called us.

How did you decide that it would only be Seth and Fotis going to the studio for the mixing?
Sotiris (guitar / vocals): Fotis is experienced in the mixing process as he has worked at Devasoundz studios, taking care of the mix and the recordings of other bands. Also, he is the mind behind the rhythm and so it was an obvious choice. Seth has a great sense of balance so he was the most proper guy to make suggestions to Peter about both our metal and classical sides. As the main vocalist of the band he was also entrusted to take care and that field.

How was it with Peter when you first met him? Did you start right away, what was his opinion about the songs, arrangements, studio tracks as you gave him? Can you tell us how you worked with him on balancing the various parts? It seems you also did some editing with him during the mixing process?
Fotis: Peter TÃĪgtgren is a really cool guy and I like the fact that he has his feet on the ground. We started mixing the album right away, even as he was still jetlagged. He never made any remarks about our music or the structure of the songs. The truth is that when he was given the orchestra files, then he realised it was not going to be an easy task to make the mix. Seth and I knew exactly how the songs should sound and since Christos had already the orchestral arrangements and volumes fixed, we managed to mix the orchestra properly with the aggressiveness of metal. Something like a marriage between heaven and hell...
Producer Peter TÃĪgtgren made the following comment on his collaboration with the band "I can imagine how much time and planning lay behind this album... And I'm proud to have been a part of this incredible album!"




Friday, March 11, 2011

Septicflesh - "The Great Mass" teaser + The Vampire From Nazareth MP3


Upcoming release: "The Great Mass"
Release date: Mon, Apr 18 2011, US Tue, Apr 19 2011



1.   The Vampire From Nazareth   04:08
2.   A Great Mass of Death   04:46
3.   Pyramid God   05:13
4.   Five-Pointed Star   04:33
5.   Oceans of Grey   05:11
6.   The Undead Keep Dreaming   04:29
7.   Rising   03:16
8.   Apocalypse   03:55
9.   Mad Architect   03:36
10.   Therianthropy   04:28
Total playing time   43:35






Wednesday, March 2, 2011

SEPTICFLESH The Great Mass update


Upcoming release: "The Great Mass"
Release date: Mon, Apr 18 2011, US Tue, Apr 19 2011


Greek demons SEPTICFLESH will perform a headliner show at the Chaulnes Metal Fest (FR) on next April 23rd. This show will be very special insofar as all original members of the band will be on stage. That means that Sotiris Anunnaki V. (guitars / melodic vocals) will play in France for the first time in 12 years! The man's live appearances are very rare due to obligations in Greece and this will be one of the few exceptions to the rule. Be there for an exquisite Mass...

Sotiris comments: "At last, after 12 long years of absence from the stages of France, I have the great pleasure to announce that I will soon come back, for a special SEPTICFLESH headlining show on Chaulnes Metal Fest. So join me and the other SEPTICFLESH members, on Saturday, April 23rd for a Mass of Death where we will perform the new psalms, but also some favourite old material that was handpicked by our fans specifically for this occasion!"

As previously announced, the main artwork of "The Great Mass" will be unveiled through eight steps leading to the release of the album which is scheduled for April 18th. Check outSEPTICLFESH's official website every week to discover it!

Here is the third part of the studio story, by Hard Rock Mag editor Sven Letourneur.

PART III - G(r)eek zone & Actual recording of the songs

Can you tell us more about the hardware you used, recording desk, how everything was set up in the studio, what instruments, microphones, guitar sounds you chose and so on? Were you helped by someone from outside the band for all that or did you work alone?

Fotis (drums): We used Avalon and Focusrite preamps for the recording and had the chance to check all of our instruments. We ended up using a Washburn (Paul Stanley signature model) and a Gibson (Les Paul Classic 60's) for the rhythm parts, and for clean and crunchy parts we used PRS and Parker guitars. On the drums I got help from my brother Steve Venardo whom I trust and with whom I also already recorded many times. On the guitars and bass it was me and George Emmanuel from Valet Parn who made all the recs. BUT... Even if we used a powerful amp combination - Engl and 5150 (EVH) - Peter (TÃĪgtgren) didn't like our guitar sound at all and re-amped all of our guitars with a Marshall custom modified model that he owns. I really like that sound... It has nothing to do with Marshall to be honest... This one sounds killer...

Fotis, you told me about the "hellblast" on one song. Can you explain this sort of blast beat played with the left foot hammering a vertical snare drum on the floor and the right foot hitting the bass drum? Did you invent this technique?

"Hellblast" is the evolution of an idea I had few years ago. Initially, I started performing this drum technique in gigs, without thinking of using it for recording purposes. It's basically a variation of the normal "blast-beat", where the main difference is that the blast is performed by one foot only. Most drummers play blasts using both feet. By doing it with my right foot, I have the opportunity to use my left foot to kick a second snare that is positioned there vertically, exactly like a bass drum. And so I have both of my hands free to play even more notes on the drum kit, making fills without stopping the frenzied beat. After our U.S./Canada tour with Behemoth, where I witnessed the reaction of the crowd to the "hellblast". I thought that it would be nice to present how it is done and, why not, give the "tip" to new drummers that are looking for some new stuff. I used this technique on the recordings of the song "Apocalypse" and I really like how it sounds...

When did you start the actual recordings and how much time did it take?

The recordings took place at the studio that I own with Chris, and that has proven to be a really good move. Having your own equipment available without time restrains is definitely a plus. Especially for me, having the opportunity to use my own drum kit and abundance of time to improvise even more than in the previous album was something great. Even when I recorded a good take, I could return later and try something else and then I could decide which take or kind of playing would be the best option for a song. When you book a studio, your given time is limited. So you must have all your ideas written down and there's no time to be spared for trying different things. The drums were recorded in five days starting at the end of July (2010) while at the beginning of August we started recording the rhythm guitars. Late September we recorded the bass. After recording all the band's instruments, we took the recorded orchestra parts from the Filmharmonic orchestra of Prague and had to figure out and make the final arrangements. That means that in some occasions we had to remove parts played by rhythm or lead guitars in order to let the dramatic "colours" of the orchestra and the choir stand out. We made a rough mix, and finally arranged and recorded the clean vocals of Sotiris and the brutal growls of Seth. So the actual time that this album needed in order to be recorded was around two months.

Can you let us know more about the people who helped you around in the studio for the recordings? I think your live guitar player was around with you?

Christos: No, it's our guitar technician who helped us a lot in our recordings. He made the majority of them plus the editing.

Also, some additional vocals (like Chaostar singer Androniki's) were recorded in Greece. Can you tell us who is featured on the new album and who does what?

Yes, Androniki sang on three songs of the album. Her contribution was great. Although she is an opera singer, she didn't sing this way, I had in mind something more of Lisa Gerrard's style for her and her approach was unique. Iliana from a Greek band called Meden Agan also sang on one song. She is a coloratura singer and we needed tragic moments full of tension in our music. Iliana was the appropriate person for this section. Also we used some bizarre ethnic instruments performed by George Diamantopoulos, an excellent musician who will be very soon a member of Chaostar.


Wednesday, February 16, 2011

SEPTICFLESH - The Great Tracklisting

The release of SEPTICFLESH's new opus "The Great Mass" is now two months ahead! After the cover artwork of the jewel case edition last week, it is time to unveil the tracklisting of the Greek demons' new masterpiece:

  1. The Vampire from Nazareth
  2. A Great Mass of Death
  3. Pyramid God
  4. Five-Pointed Star
  5. Oceans of Grey
  6. The Undead Keep Dreaming
  7. Rising
  8. Apocalypse
  9. Mad Architect
  10. Therianthropy
The second part of the studio story is an interview with guitarist / composer Christos Antoniou, conducted by Hard Rock Mag editor Sven Letourneur.
PART II - Writing and recording of the orchestral parts

Christos, you worked on all the orchestral parts and arrangements of course. Why did you choose to work with the Orchestra of Prague again?
With "Communion" they did an excellent job and their interpretation on the new album is amazing. I know them, they know me very well and I can say, although it's still very early, that they will perform also for our next album in the future.

Were they the same musicians that already recorded the classical parts for "Communion"? Do you know what they think of the final result of this album? Are they interested in what Septicfesh sounds like once everything is mixed, as classically trained musicians, do they appreciate your music even during the metal parts?
A majority of them were already on the "Communion" album. But we used more people especially for the brass section: we had eight horns, four trumpets, four trombones and two tubas. The sound is massive. Of course we added some more players like a boy soprano and a harpsichord player for the colour. The boy soprano especially added a really dark atmosphere in the new album. The orchestra musicians haven't listened to the result yet as we are in the mastering process but I'm sure they will like it. There are nearly 130 people, but I think the majority of them will not really be interested in Septicflesh. As you understand, they record every day, but I saw some metal fans in the percussion section and they will definitely buy the record. Some of them might not understand that it was for a metal album as they only listen to the click in the recordings and they don't hear the metal parts. They do an excellent work and I consider them as our fifth member. I don't expect that everybody will like or understand our music, at the end of the day their interpretation is what counts.

How did you start working on the first orchestral ideas? Did you work on some songs starting from the metal ideas and adding symphonic parts to it or the other way around mainly?
I followed a different approach than on "Communion". Back then I orchestrated many metal riffs, but this time I composed the majority of the orchestral parts in the first place. Then Seth, Sotiris and Fotis added their ideas on top of the orchestra. I started composition on March (2010) and I had many ideas for the orchestra. During the summer I was working a lot on orchestrations, 17 hours per day non stop. But the result is really great, I'm really satisfied with the material. I composed on the piano and then I orchestrated both on paper and notation software.

When did the actual orchestra recordings happen and how much time did they need?
It took four days. As the orchestra was really big, we separated the recordings in families: first strings-woodwinds, then brass-percussion, then choir and at the end the boy soprano, the harpsichord and the piano. It was a hectic work since many people were involved but the producer and the contractor were very organized in order to have the sessions running smooth. Everything is on score, I write everything with a lot of information and they just perform what is on their music sheets. Unless there is an improvisation section, which was rare on the scores.

Wednesday, February 9, 2011

SEPTICFLESH - The Great Artwork

As previously announced, SEPTICFLESH's forthcoming album "The Great Mass" will hit the stores on April 18th (one day later in North America). It is time to unveil the cover artwork of the album's jewel case edition, designed by Seth Siro Anton himself:



Seth explains: "This is a small fragment of the artwork that will dress the new artistic experiment of SEPTICFLESH, 'The Great Mass'. It is a small part of an occult machine made from marble and flesh, fantasy and reality, order and chaos. A great machine composed from the blasphemous union of strange figures, creations of Man, the creator of the gods and demons. Their grotesque purpose will be revealed soon, when all the cover editions of the new album will be presented and will be combined together… Let the great self-cannibalistic symposium begin."

The Greek demons' new opus will be available in the following formats:
  • CD + Blu-ray Digipak
  • Collector's book including 2 CDs + Blu-ray
  • 12" gatefold LP
  • CD jewel case
  • Digital download

The main artwork for "The Great Mass" will appear on the limited Digipak edition, the gatefold LP and the dust jacket of the collector's book. To be revealed later!

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Tuesday, February 1, 2011

SEPTICFLESH Studio Story Part 1


Upcoming release: "The Great Mass"
Release date: Mon, Apr 18 2011, US Tue, Apr 19 2011


The time has come to let you get a grasp at the full writing and recording process of the upcoming SEPTICFLESH masterpiece, "The Great Mass", scheduled for an April 18th (one day later in the US) release. This six-part studio story will be spread over the next weeks. All aspects of the new album will be detailed, from the first ideas back in 2009 to the final mastering stage. Thanks to Hard Rock Mag editor Sven Letourneur, who conducted this interview on last November 15th.

PART I - Guitarist / vocalist Sotiris on first ideas and genesis.

What was the starting point of the new album?
I was the first who started composing songs, about a year ago from the actual recordings of the new album. It was something that happened instinctively, without pushing myself. I was just on the proper emotional state to create music. Actually, the most intense musical ideas always come to me when I least expect it.

Who started thinking about the main orientation, did you talk a lot about what you wanted to create right from the beginning?
At the beginning, there was not a specific direction in my mind for the overall material of the album. I tend to avoid to do that on the first stage of songwriting, as I don't want to limit the output of inspiration. After a potent period of time, when the most soulful ideas begin to stand out from the rest and when all members of the band reach the same songwriting stage, then we start discussing the general direction of an album. Our mutual agreement on the direction then influences our decision making about what idea or song prevails to the next phase and gains a position in the album. We decided the new album would be a step to new dark musical places and evolve towards an almost cinematic musical approach. Seth suggested that we should focus on our most "sick" and avant-garde elements and we all agreed.

Did everybody start with their own ideas then, before submitting them to the others?
Actually, all the members of Septicflesh are songwriters and work on their own ideas at first. When we feel ready, we present the material to one another. Then, in many cases, additional ideas for a song pop up from the other members, pushing it even further. A good example is the song "Vampire of Nazareth", which was initially based on some ideas that I had. It was then transformed into something even more challenging and powerful, after a great orchestral inspiration which struck Chris when he listened to the ideas and with the additional rhythmical aid of Fotis.

Did the good feedbacks from "Communion" add any pressure during this process?
The success of "Communion" indeed brought us some pressure at first. However, with the help of inspiration and after a lot of hard work, we gradually were relieved from the pressure, as we were very pleased from the evolution of the songs. At the end, we entered the studio with confidence and ready to kill.

Once the first ideas were created, did you each record your own demos to present full songs to the others so that they could see what was left to do? How many songs were submitted in total before you ended with the final 10 songs?
I was composing as a madman for this album so I ended up having to present to the others more than 10 songs! Also, as the other members begun presenting their songs and ideas, we had a vast pool of material to choose from. You can guess that it was a painful task to leave stuff behind and we were very strict judges to our decisions. When we took the decision about the general direction of the album, things became clearer. What you finally listen to is a very refined result, a product of a collective hard work. All members of the band know how to utilize modern recording software and have the proper home equipment. So we are able to mould our ideas into demos for the band's use and then alter them into different versions until we felt completely satisfied. Before we entered the studio for the actual recordings, we had a clear enough "picture" of the songs. However, we also had some great last minute inspirations during the recordings, adding "colour" and emotional intensity to the result.


"The Vampire from Nazareth", a brand new song from "The Great Mass", is now available for free. Download it here !

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