INTERNAL BLEEDING: New York Death Metal Troupe Completes Work On Imperium; Video Footage, Including Guest Appearances By Suffocation’s Terrance Hobbs And Frank Mullen, Posted.
New York death metal icons, INTERNAL BLEEDING, recently completed tracking their forthcoming new full-length, Imperium.
Produced by the band and Joe Cincotta at Full Force Studio (Suffocation, Dehumanized, Mortal Decay) in Ronkonkoma, New York and engineered by Cincotta and Derek Boyer, Imperium serves as the band’s most sonically pulverizing output to date.
“They knew what they were going for but had been very frustrated in the past and plagued by production issues,” relays Cincotta, “I’m happy I was able to finally get them to where they always wanted to be.”
“I’m totally pumped about this,” drummer Bill Tolley enthused. “It’s the first album we’ve put out in our 20-plus year history that has everything we’ve always wanted. From spine-splitting heavy guitars, to a big solid drum sound, a bass guitar you can actually hear and completely twisted vocals. Couple that with Cincotta’s amazing production and it’s by far the best IB yet.”
Imperium clocks in at close to one hour and contains all new material from the band. “It’s INTERNAL BLEEDING on steroids,” adds bassist Jason Liff. “It’s got all the classic IB hallmarks—incredibly memorable grooves and slam parts — plus it has so much more. We really pushed ourselves on this one and I think it shows. It’s heavy. Cohesive. And crammed full of music that will make you want to rip people’s heads off in the pit.”
The band enlisted the talents of Suffocation guitar and vocal legends Terrance Hobbs and Frank Mullen who each make a guest appearance on the album: Hobbs with a ripping solo on the track, “Patterns Of Force: Act II: Plague Agenda” and Mullen with a twisted trade-off vocal alongside frontman Keith DeVito on “Patterns Of Force: Act I: The Discovery.” And to keep ties with INTERNAL BLEEDING’s roots, former IB throat Frank Rini also makes an appearances on “Visitant” and “Aftermath.”
Imperium, will be out this Fall via Unique Leader Records. Further details to be announced in the coming weeks. In the meantime, check out video footage from the studio below:
We've grown a lot since our beginnings in 1991. First and foremost, we've each gotten better at playing our instruments and second, we've become more mature and detailed in our ability to arrange songs and finally, recording technology has come a very long way since our first 16 track, analog tape recorded demo came out in 1992.
So, what does that mean for you, your ears and our upcoming album Imperium? Well, here are some highlights:
Heavy, solid guitar tone: we've achieved (what we believe) is a great guitar tone—something that has eluded us on every album. It's a pretty close approximation to our live guitar sound. Of course you cannot truly capture a live band sound in such a tightly controlled environment such as a recording studio, but we got pretty close. We managed to get all the heaviness and clarity in, with just the right touch of that patented Ampeg woof and fuzz.
Bass guitar that cuts through: you can actually hear the bass work now as it has a deep, heavy sound with just enough "clank", mids and highs to cut through and take its proper and rightful place in the mix.
Lots of slam: No IB release would be complete without our trademark slam riffs. They're all over the place—and in all different styles. Moreover, there are grooves on this album that will take the whole slam thing into newer, more interesting directions. Catchy as hell and heavy as f*ck — just as it should be. Those of you who saw us live in Europe tour or in the US have witnessed some of these new tunes (as we witnessed the pits they created!), know what we're talking about.
Dynamic vocals: from searing tortured highs to rumbling lows and mids, the vocals are incredibly varied—with vocal patterns in some parts that will have your head spinning trying to keep up. We paid a lot of attention to clarity as well, so you may not even need lyrics (although we are including them). On top of that, we have two legendary NYDM guest vocalists appearing on the album, Frank Rini and Frank Mullen—that's sure to make things interesting!
Guitar solos: Finally. One from Brian and one from Chris (hey, it's a start), plus a killer guest solo from Terrance Hobbs of Suffocation (who makes us look like beginners).
Old school meets new school: we're really striving to keep the production somewhere between old school and new school. With today's digital tools, you can work wonders to drums, guitar edits, etc. and get them completely perfect. And with today's tendency to compress for loudness, the dynamics in modern productions (the highs and lows) are all just clipped and smashed together.
We're going for an album that has a good deal of that human element in it, such as feel as opposed to strict timing in spots, a little bit of finger noise here and there when it happens, etc. We're also trying to avoid the over compressing that engineers seem so fond of. We want our cymbals to be bright and clear as opposed to squashed, and we want our bass to rumble and feel big.
As of now we hear that the release date is September 30th, but that could change.
We certainly hope Imperium will live up to not only our expectations, but yours as well. Thanks for the continued support. If you have a question or comment, feel free to leave it below.
This is the first time that we really experimented with guitar tones for an album. In the past, we just plugged our Ampegs in, or used the amps that the engineer said we should use. The result was that we were never truly satisfied with our sound.
For Imperium, we were adamant about getting a killer guitar tone and we invested a lot of time in trying to nail it. With the help of Joe Cincotta (Fullforce Studios), Charlie Errigo (Merciless Concept), Chris McCarthy (Without Remorse) and Derek Boyer (Suffocation), we went through a boatload of amplifier combinations in search of a great tone.
Here is a list of the amps we experimented with:
After a lot of back and forth, we decided that the Peavey 6505+ would be our baseline amplifier because it provided us with good crunch, lots of bass and good definition. We now needed an amplifier to compliment that by providing a bit of "fuzz" and a bit of a looser bottom end. We recorded some scratch tracks with the 6505+. then we plugged in all the other amps, fiddled with the sound and recorded scratch tracks with each different amp.
Once that was done, we all gathered in the control room and listened to side-by-side comparisons, without any knowledge of which amp we were using (only Joe Cincotta knew). Everyone unanimously agreed that option C was the winner. To be sure, we listened a few more times and still arrived at option C.
Option C happened to be the Ampeg VH150. We were almost there. The VH150 was missing a bit of punch and top end. To fix this, we added a BBE Sonic Maximizer to the Ampeg's effects loop—that solved the problem.
We're very thankful that so many great people lent us their ears for this experiment and we really owe a debt of gratitude to Joe Cincotta and Fullforce for taking the time to do this. We're very happy with our guitar tone. Finally.
Below is a little clip of the winning combination. It's only from a phone, but you can feel and hear the thickness and clarity.
Here's a little clip of drummer Bill Tolley laying down tracks for our album.
Bourbon and cigars in hand, we arrived at Full Force Studios with producer Joe Cincotta, ready to get working on drum tracks for the Imperium album.
Nothing much was going on other than getting the right drum sounds and making sure our tempo maps were just the way we wanted them.
After we loaded the tempo maps, Chris and Brian laid down some scratch guitar tracks and Bill got behind the kit. It only took a few minutes of jamming together to realize that we needed to adjust some of parts on the maps. Since the key to our music is flow and groove, everything needed to be just right. We spent the evening tweaking our maps to perfection. Bill eventually did a 'final' take of one song, "Fabricating Bliss", which we all thought was completely killer, but he called me this morning to say he was going to redo it.
Tomorrow the serious business of drum tracking begins.