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▓▒ Destrage-The_Chosen_One-WEB-2019-ENTiTLED ▒▓
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░ artist........ | Destrage ░
title......... | The Chosen One
label......... | Metal Blade Records, Inc.
genre......... | Metal
rip date...... | 2019-05-23
retail date... | 2019-05-24
runtime....... | 37:35
tracks........ | 8
size.......... | 88.02MB
quality....... | 320kbps 44.1kHz
░ codec......... | MP3 (MPEG-2 Audio Layer III) ░
▒░ encoder....... | LAME ░▒
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▀▀█ · ·< t r a c k . l i s t >· · █▀▀
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01 > The Chosen One < 03:24
02 > About That < 04:48
03 > Hey, Stranger! < 04:24
04 > At the Cost of Pleasure < 04:48
05 > Mr. Bugman < 04:13
06 > Rage, My Alibi < 04:39
07 > Headache and Crumbs < 04:33
08 > The Gifted One < 06:46
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█▓▀ · ·< RELEASE NOTES >· · ▀▓█
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According to guitarist Matteo Di Gioia, going into the writing of The
Chosen One, Destrage's fifth full-length, the plan was simple: "No
bullshit. No half-baked or lukewarm stuff. No self-indulgence. No
'Okay, let's keep that because it's pretty good and we're friends'
weak ass attitude." The results speak for themselves, building upon
their already exemplary discography with humbling self-assurance. At
the same time, it is very much an empowering record, encouraging both
the members themselves and others to make peace with choices taken.
"It doesn't matter what the outcome of a choice is, if it was taken
with courage and good will, pursued with tenacity and driven by love,
then that's the best choice you could ever take at that time, with the
means you had," states Di Gioia. "We live in a very result-driven
society that leads to a silent, intimate fear and sense of inadequacy,
and we just want to infuse some confidence in people from the little
point we can speak from."Though persistently and consistently writing
without break, the quintet - rounded out by guitarist Ralph Salati,
bassist Gabriel Pignata and drummer Federico Paulovich - locked
themselves away for nearly an entire year to specifically pen the
songs that made it onto The Chosen One, choosing to work in a far from
lavish studio that was essentially "a subterranean, work-in-progress
three-room mess hall with no heating and no air system." Closing
themselves into such an uncomfortable space forced them to focus on
what they were doing with no distractions, leading it to become their
most intense release. "There was nothing else to do!" says Di Gioia.
"Drop the guitar, and you had to stare at a rotting ceiling, smell the
acre sweat of the Earth while listening to Milan's traffic under the
beat of a polluted rain. But, no good music on Earth was born of
comfort." This process also led to them writing - and discarding -
more material than ever before, exercising high quality control and
determined to make the record the perfect culmination of their
collective talents. "We spent a huge amount of time talking about
guitar sound, drum sound, bass sound, electronic sound etc, doing
tests, doing comparisons", says vocalist Paolo Colavolpe. "Hundreds of
riffs and structures changed or were deleted. In the end we had eleven
or twelve songs ready to be recorded. Only eight of those convinced
the entire band, so I said, 'Fuck the other songs, let's put on the
record what we really dig and trust', and the band agreed." As with
all of their previous efforts, they make it impossible to pigeonhole
their sound, with numerous labels applicable to the record but no
single one able to tell the whole story. Moreover, from start to
finish, The Chosen One seethes with an energy that is undeniable. "I
strongly believe in the power of the people, and energy came from
those who worked on this album, from the band, the producers, through
to the mixing and mastering engineer. There was a lot of energy in the
whole project, and that's the most important thing to me," Colavolpe
enthuses. The record also sees the band once more experimenting,
taking risks and exploring territory they have not previously entered
into, demonstrating a fearlessness when it came to chasing ideas - and
almost half the songs are in a completely different guitar tuning. A
pair of unique tracks also bookend the record, the title track and
"The Gifted One", their relationship obvious as they came together in
the writing stage. Explains Di Gioia: "The song 'The Chosen One' is
brief, has no repetitions and an unresolved structure. The unexplored,
unrepeated sections of that unwrap with more patience on 'The Gifted
One', which also has an uncommon structure, but in the opposite sense.
Here we have a long, pacing, reflexive closing song that shares many
elements with the opener but feels completely different." Further
adding to the heady mix is the incorporation of extra instrumentation,
among these a baritone saxophone and something the band nicknamed
MEGATRON, which is essentially "a badass synthesizer playing guitar
riffs together with the human guitarists. Like the saxophone, it's set
to disappear and fuse with the guitars to achieve a slightly unreal
sound, and we knew we didn't want these extra sounds to emerge and be
obvious. Instead, we really looked for the listener to experience the
'What the fuck is that sound?' effect."Lyrically, the band draws from
that which they see and pour it through the filter of their own
experiences. On The Chosen One, this sees them covering a lot of
ground, refusing to limit themselves, and again making it hard to
neatly place them in a box. The opening and closing tracks deal with
the aforementioned theme of choices made, "About That" is about
building a thick skin when it comes to mockery and alongside "Hey,
Stranger" also forwards the idea of solving problems by talking about
them with irony. For Di Gioia, lyric writing is about "all this rage
boiling in me without any real reason, moving me around, and if I
didn't have extreme music to burn this energy, I think I'd possibly be
in danger. Thank you heavy metal for making use of something like
anger." For Colavolpe, it's about expressing both the best and worst
of himself. "The best part of me is the person who tries to change
things, who's trying to make 'Mr. Bugman' understand that he will
always find something wrong if he looks for it, therefore he should
drop his skepticism and run for his lost cause. The worst part of me
is the one that goes deeper, a sort of a dark side, where I face my
deepest fears. My limits. Lyrics like those on 'At The Cost of
Pleasure' and 'Headache And Crumbs' have very different moods, but
both of them have suffering, frustrating and angry roots. Both these
processes are essential and feed each other, because if you never face
your limits, your fears, you'll never be able to give your best."With
drums tracked at FM Studio, in Lecco, Italy by Salvatore Addeo, and
guitar, bass and vocals recorded at Raptor Studios in Vicenza by
Matteo "Ciube" Tabacco, the band committed themselves 100% to every
stage of the process. Guided and pushed by Ciube, who consistently
ensured they went "beyond the limit with his calm, comprehensive,
gentle lead", they took the lessons learned from their previous
experiences in the studio, which made for an engaging and constantly
productive process. "The most important thing is to seize everything.
Take care of what is in your domain and put as much personality into
every single detail before handing it to others. Always take a
decision and commit to it. Don't leave space to bullshit. If a lead
needs an effect, record that effect. If a percussion needs heavy
treatment, treat it. Josh Wilbur was handling the mix and mastering
and we knew not to send it overseas to mix in its rough version. It's
confusing, lazy, and unnecessarily demanding towards other technicians
and artists involved in the chain." A smattering of guest musicians
also contributed to the album, with "master of evil" Luca Mai of ZU
providing a wild saxophone solo on "Mr Bugman" and dubbing the main
riff of "At The Cost Of Pleasure". Jazz musician Fabio Visocchi added
keyboards to "At The Cost Of Pleasure" and "The Gifted One", while
Fabrizio "Izio" Pagni produced the electronics and handled the
programming. Working with Wilbur also proved to be both rewarding and
thrilling for the band, who were unable to physically be in LA, but
were involved every step of the way. Admitting to being a little
intimidated at the thought of working with such a "hot producer"
initially, the collaboration was nothing but fruitful: the first mix
great, the second better, but they persisted, with the eighth run
making it onto the record to everyone's satisfaction. "We were talking
every day on the phone, sending messages back and forth and Josh said
to us, 'Hey! I don't have a deadline. We mix this until it's fucking
great. My goal is having everybody jumping up and down to this
record!' And he kept his word."
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█ · ·< GREETINGS >· · █
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█▀ Shout out to all of those who keep the dream of the scene alive. ▀█
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█▀ Special thanks to those who have paved the way and parted. ▀█
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