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Below is our complete Periphery news coverage, including columns and articles pertaining to the band. Some articles listed may be indirectly related, such as side projects of the band members, etc.
The Summer Slaughter 2013 tour will feature The Dillinger Escape Plan, Animals As Leaders, Periphery, Norma Jean, Cattle Decapitation, The Ocean, Revocation, and Aeon.
The initial dates for the tour have now been announced (with more to be released in the coming weeks). Details are as follows:
7/19-San Francisco, CA @ The Regency
7/20-Los Angeles, CA @ House of Blues
7/21-Santa Ana, CA @ The Observatory
7/24-Oklahoma City, OK @ Diamond Ballroom
7/26-Dallas, TX @ House of Blues
7/27-Houston, TX @ House of Blues
7/29-Orlando, FL @ House of Blues (w/o Cattle Decapitation)
7/30-Atlanta, GA @ The Masquerade
7/31-Knoxville, TN @ Old City Courtyard
8/01-Myrtle Beach, SC @ House of Blues
8/02-Silver Spring, MD @ The Fillmore
8/03-Worcester, MA @ The Palladium (w/o Norma Jean)
8/04-Philadelphia, PA @ The Trocadero
8/07-New York, NY @ Best Buy Theater
8/08-Toronto, ON @ The Sound Academy
8/09-Montreal, QC @ Heavy MTL
8/10-Albany, NY @ Upstate Concert Hall
8/11-Detroit, MI @ Majestic Theatre
8/12-Chicago, IL @ House of Blues
8/13-Milwaukee, WI @ The Rave
8/14-Minneapolis, MN @ Station 4
8/16-Denver, CO @ Ogden Theatre More...
The 7th annual Summer Slaughter Tour, presented by Indie Merch Store, ESP, and Guitar World, is now officially slated to run from July 19th through August 24th.
It features such heavyweights as The Dillinger Escape Plan, Animals As Leaders, Periphery, Norma Jean, Cattle Decapitation, The Ocean, Revocation, Aeon, and two bands TBA. Stay tuned over the coming weeks for official tour dates to be announced.
One of the remaining open slots will be chosen by you, the fans, so be sure to click here to get in your vote now. The voting ends on March 31st.
Ash Avildsen, founder of Summer Slaughter, comments on this year's edition of the tour: “It's year seven and I think 2013's line-up is the most exciting and diverse yet. Slaughter has never been a one dimensional experience for fans. This year is a true testament to that as we have an amazing mix of extreme music's influential icons and leaders of the new school. Let the underground unite!"
Greg Puciato (Dillinger Escape Plan vocalist) states: “We can't wait to get back on the road! We're launching a US tour in the spring, hitting Europe for some festivals and club shows, and then hitting several more cities with Summer Slaughter all summer long. We are absolutely amped. After being holed up in the studio for such a long time giving birth to One of Us is the Killer, we are all pent up and ready to share material new and old with our supporters doing what we love to do the most. Can't wait to see and either kiss or rip off each and every one of your faces on the road with Summer Slaughter and year round, everywhere.”
For being as visible a band as Deftones have been since 1995, one would think that everybody has had a chance to see them live already. Well-respected and marketed, it's nearly impossible for the average American to be ignorant about the band. Oddly enough, later on in the show, vocalist Chino Moreno called out and asked the crowd "How many of you are at a Deftones show for your first time?" and was surprised by a fairly large show of hands. That being said, the show sold out Marathon Music Works in Nashville, TN on March 15th a couple of weeks early, so it was also a fairly large crowd.
It's my guess that more folks hadn't seen or heard of opening band Periphery at this show, although the band quickly made fans out of them. Assisting on the Koi No Yokan tour had to have been a great step up for Periphery, also bringing out their own fans, which were a welcome juxtaposition to the way-too-serious-about-how-much-they-love-the-Deftones fans. You know the ones -- squinty-eyed, half-baked, but ready to fight at a moment's notice if you're not cool with their how-the-Deftones-saved-my-life story.
Thankfully, all was cool at this show. More...
Periphery has released a new music video for the track "Scarlet," which can be viewed below. The band's publicist also issued the following statement about the video:
"Since their inception, Periphery have always strived to push conventional boundaries through their artwork, both musically and visually. Once again, by teaming up with the forward thinking visual effects dynamo Wes Richardson, they have reached a new pinnacle with their video for the track, 'Scarlet.' This clip brings a fresh and exciting concept to the masses with breathtaking visuals and a dynamic storyboard. This is Periphery doing what they do best; having fun all while simply rocking your socks off. Enjoy."
Periphery's Misha Mansoor (guitars) states: “We were so happy with how the 'Make Total Destroy' video came out that we knew we would have to do our next video with Wes Richardson. We told him we wanted to do something completely different from anything we had done or seen in the past, and boy did he deliver. This new video is the bee's knees AND the cat's pajamas!”
One of the most defining moments in my musical development was back in 2004 when Yahoo Launch saw that I liked listening to Unearth, Fear Factory, and Lamb of God and thought that I might enjoy My Chemical Romance's “I'm Not Okay.” That single moment of revulsion caused me to look for music on my own terms after seeing how some corny and cheesy pop-rock could somehow be marketed towards metalheads. Today, we see a number of bands that try to look and act like they're part of the metal scene through their image (and the bands they tour with), but have a sound rooted more in traditional rock and roll than anything spawned by Sabbath.
First off, I'm not here to debate the merits of bands like Ghost and Ancient VVisdom. The debate over artistic integrity isn't at all relevant here. Instead, this is about is marketing and claiming bands that in no way sound “metal” are still technically considered part of the metal scene. Personally, I do like some occult rock as I've long been a fan of Current 93 and I've done my fair share of listening to Coven. That said, I'd never call Current 93 a metal band nor would I want the group touring with Cannibal Corpse. Variety between acts belongs to big music festivals like Bonaroo and Lollapalooza, and not to small club shows. More...
The Washington, D.C. based metal outfit Periphery will be direct support to the Deftones throughout North America from March 4th through March 30th (Periphery isn't on the dates from 3/1-3/6).
The group are still touring in support of "Periphery II: This Time It’s Personal," which was voted the #3 album of 2012 by Guitar World Magazine. Misha Mansoor (guitars) states:
“Deftones have been one of my favorite bands of all time since I discovered them when I was about 14 or so. That was around when I first started playing drums and guitar, and they were such a huge influence on my approach to music, writing and even the kinds of tones and sounds I was after. What is even more amazing is that in the 14 years since, they have consistently put out some of my favorite albums of all time, with Koi No Yokan being no exception to that. I can't even put into words how excited I am that Periphery is going to be touring with them in March. This is a bucket list tour for me.”
Matt Halpern (drums) further comments: “We couldn't be more excited to be direct support for the Deftones. As a band, they have inspired each one of us and it's truly an honor to be able to share the stage with them. We can't wait to get back out and see our current fans and hopefully make some new ones with on of our absolute favorite bands!" More...
A video documentary following the antics of the Summer Slaughter Tour has been posted online by Jeff Holcomb, which can be viewed below. Jeff also comments:
"During the months of July and August of 2012, the Summer Slaughter Tour spanned North American continent, hitting 31 cities in five weeks, including two festivals in Canada. It was headlined by the legendary Cannibal Corpse and supported by heavy hitters in the progressive and death metal scenes. I was asked to fill-in on bass for the metal band Periphery, and brought my camera along for the ride. This film documents my experience sharing a bus with Periphery, The Faceless, and Veil of Maya."
Music used in the video (in chronological order):
Periphery - "Ragnarok"
The Faceless - "Autotheist Movement III: Deconsecrate"
Girlfight (feat. Spencer Sotelo, Matt Halpern, Misha Mansoor) - "Fuckin' Fuck"
Periphery - "Froggin' Bullfish"
Periphery - "Masamune" More...
Periphery, which is out now with new album "Periphery II," has checked in with the following announcement about Matt Halpern missing upcoming tour dates due to an injury:
"Peripherals! Bad news... Matt had an unfortunate accident yesterday and dislocated his shoulder! He'll be ok, but he wont be able to play for part of our current UK/European tour.
"Luckily, our good drummer friends, Mike Malyan of Monuments and Boris Le Gal of Chimp Spanner will be stepping up to fill Matt's shoes for this run.
"Please send Matt your love, and expect him back behind the kit maybe even as soon as the end of this current tour! Thanks for understanding, and see you at the shows!"
For more info on Periphery, head over to the band's Facebook profile here.
Periphery has checked in with the following announcement about dropping off the remainder of the Summer Slaughter tour dates:
"Hello Peripherals and metal fans alike, it is with great regret that we must announce Periphery's withdrawal from the rest of the Summer Slaughter tour, due to a family emergency we are unable to continue onto the west coast.
"We also want to take this moment to thank all the amazing fans old and new who came out to support us on this awesome tour and we also want to thank all the bands we played with, Cerebral Bore, Exhumed, Goatwhore, Job For A Cowboy, Veil of Maya, The Faceless, Between The Buried And Me, and Cannibal Corpse as well as all the amazing crew who made this tour happen - we miss all of you and we had the greatest summer ever hanging and jamming out with all of you."
Periphery recently released the new album "Periphery II," and you can check out the band's latest track-by-track breakdown for the album at this location.
The inaugural Mayhem Festival Cruise that was to take place this December has been canceled. The cruise was to set sail on Friday, December 7th, 2012 from the Port of Miami, FL and travel to the Bahamas, returning to the mainland on Monday, December 10th.
Bands confirmed for the cruise included Lamb of God, Machine Head, Anthrax, Hatebreed, Suicide Silence, and Kingdom of Sorrow, Gojira, Periphery, Born of Osiris, Battlecross, Otherwise, Girl on Fire, Anti Mortem, and Gypsyhawk. Mayhem veterans JDevil (Jonathan Davis of Korn) and DJ Starscream (Sid of Slipknot) were also to perform full DJ sets each night.
Here's the official statement from the organizers:
Unfortunately, due to circumstances beyond our control, we have been forced to cancel the Mayhem Festival Cruise. If you purchased a cruise package, you will be automatically refunded to the credit card you used to purchase. If you used a prepaid card or gift card to purchase the cruise, please contact Rose Tours for your refund (215-663-8800). If you used a credit or debit card, you will see the credit within the next 2 to 3 weeks.
We are also offering anyone who purchased a cruise ticket a lifetime complimentary pass to the Rockstar Energy Drink Mayhem Festival Summer Tour. You will still receive your cruise refund in addition to the lifetime pass to the Rockstar Energy Drink Mayhem Festival Tour. This pass is valid on any tour date beginning in 2013. Details on getting these lifetime passes will be announced shortly.
We apologize for the cancellation.
We'll report on the details of the cancellation when they become known.
Of course, Barge To Hell sets sail the week prior to the planned Mayhem Festival Cruise and also goes to the Bahamas.
Taco Bell has announced its 2012 Feed the Beat roster, which includes 100 up-and-coming artists from across the United States who will receive $500 in Taco Bell gift cards to keep their hunger satisfied on the road.
The new lineup marks the most diverse Feed the Beat group yet – ranging from rock bands to DJs to country artists – some of whom will be given the unique opportunity to be a part of the brand’s marketing campaigns.
This year's rock and metal leaning bands include Adelitas Way, Chelsea Grin, Periphery, and We Came As Romans. For a complete list of bands and more info on the program, fans and interested artists can head to this location.
Periphery's Misha Mansoor has now issued the following final track-by-track breakdown for the "Masamune" track off new album "Periphery II:"
"This is the end of the 'Trilogy' on the album and this song was originally demoed in Mauritius when I was on vacation. I remember being in a particularly good mood and wondering why all my heavy riffs had to be so dark, and I decided to try to write something a bit 'happier' sounding. And that is how I Soundclick demo known as 'The Moonstar.' Again this idea felt incomplete to the band and I, and I didn't want to work on it until I could take a really good stab at it, and I ended up writing the rest of this song on a retreat. Even if the other guys aren't writing, I definitely like having them there to oversee things and get their opinion on my ideas and where the song/arrangement is heading. I wanted this song to have a Jekyll/Hyde kind of arrangement so that it could end on a dark note to really contrast the upbeat and happy first half, and the doomy middle section ended up being a good way to bridge the two halves of the song.
"When we started writing the trilogy, we realized that we could arrange this song to be not only the end of the song but the end of the album, especially as the second riff of this song is a reference to the second riff of Muramasa, and lyrically it worked perfectly for what was going on in the story. Spencer ended up taking a very different approach to this song which caught me off guard at first, but once I started understanding what he was going for I realized that he knew exactly what he was doing. I think for everyone else in the band, this song was the 'take it or leave it' song, but I was the one really gunning for it. When it all came to life in the studio and had Spencer's complete ideas, I think it quickly became one of our favorites, and on a lot of days it is my favorite song on the album. More...
After posting commentary on the song "Froggin' Bullfish," Periphery has now moved on to the track "Mile Zero" in the band's track-by-track commentary of new album "Periphery II." Misha Mansoor comments:
"This song started out as a very short soundclick demo. I had actually written all the parts that are in the demo in a Guitar Center whilst trying out the new Mesa Mark V which had just arrived, and sometimes you just get inspired by good sounding gear. The part I demoed ended up being the middle section of the song, and I remember being very intrigued by Mark's phrasing and style and was definitely letting that influence me (even though he wasn't in the band yet). This sat as a very short demo for a while because I just didn't have any other ideas for the song, and didn't want to force it. But when Mark joined up, I knew he and I would have to complete this since he was an influence on the writing. The first riff of the song was something that he had been jamming on for a while, and it is the perfect example of how a simple riff can be just as moving and powerful as a complex one if written just right. We started recording his ideas, and as I was writing riffs to add to his, I realized that my original Mile Zero ideas fit perfectly and fluidly moved the arrangement along. Before we knew it we had a complete song, and at that point Spencer started to demo some vocal ideas for the complete arrangement.
"When we heard his demos we knew that this song had to be on the album. It has a very different vibe from the other songs, and the arrangement is a lot more progressive than the beginning of the song might leave the listener to believe making it a pleasant surprise in my opinion. The finishing touch was Wes Hauch's solo. Wes is one of our best friends, and we have always told people that he is the best guitarist that people don't know about yet, we wanted show people why we believe that, and his solo is definitely one of my favorite moments of the album. Again we gave him no direction and just told him to do his thing, and he just went to town on that section. An interesting to note about the section that he solos over is that it is technically the beginning riff of the song, but with the downbeat in a different place. More...
In the daily track-by-track breakdown of new album "Periphery II," the band has now reached the 12th track titled "Froggin' Bullfish." Periphery's Misha Mansoor comments on the track:
"I originally wrote this song in 2009 on a whim one day. I believe Tom Murphy was supposed to come over to work on some songs, but ended up canceling on me leaving me with nothing to do, so I decided to record on my own. It was a while ago, so I don't really remember exactly what I was going for, but i really dug the idea of a song having a nice triplet/shuffle feel to it, and I also remember thinking the song was sounding pretty Nobuo-ish at times, so I definitely ran with that. I'll admit that the middle part of the song is heavily influenced by the FF7 slums theme (Where Cloud goes dress shopping) because it felt oh so right haha. It kinda sat there for a while, as this was before Spencer was in the band, and none of our previous singers felt inspired by it, but when Spencer first took a stab at it he ended up demoing ideas that really breathed new life into the song, and those ideas made it to the final version. This is another song that he just manages to hit all the notes I wanted to hear, and it made it feel like a fresh song even though the original arrangement was untouched. It is definitely one of the quirkier songs on the album overall, and I wouldn't be surprised if this is a song has to grow on the listener for them to really get into it, but this is one of my favorite songs that Periphery has put out just because it really doesn't sound like anything else we have done to me, and I don't even know how I would ever approach writing a song in this style again." More...
After taking a break for the weekend, Periphery has picked up where the band previously left off with a track-by-track breakdown of latest album "Periphery II." Commenting on the song "Epoch," Jake Bowen had this to say:
"Epoch is a strange one indeed, people have probably noticed the electronic influenced sprinkled throughout Periphery's catalog, usually at the end of a track. So for us to include one of these types of songs as a track is new territory for us. We realize it's not for everyone but hopefully ear candy for those do enjoy it. The guys liked the uplifting note choices mixed with the driving drum beat behind it so it got included as it's own track on the album."
Misha Mansoor also added, "Just as everyone has been practicing their craft rather obsessively since the last album, Jake has been focusing on his electronic work as much as his guitar playing. He sent us this idea one day, and we all thought it was just too good to use an interlude, and we decided to have it be its own thing, perhaps as a sign that it will be an area to explore and experiment more with in the future. This is the only song on the album that I had no input with whatsoever, and I wouldn't change a thing about it. I love my Jakey!" More...
Periphery has been posting a track-by-track breakdown for each song on new album "Periphery II," and the band has now reached 9th track "Make Total Destroy." Periphery's Misha Mansoor comments:
"My parents are originally from Mauritius, and after my Dad retired a few years ago they decided to move back to Mauritius. Every year or two (depending on my schedule), I go there for vacation, usually in the winter. My creativity unfortunately seems to be very weather dependent, meaning that in the Winter when the weather blows, I find myself writing little to nothing. Since Mauritius is in the southern hemisphere and is a tropical island, the weather is incredible there, and when I go there in the Winter I usually end up writing a bit. I wrote Zyglrox and Totla Mad during one stay. I wrote the demos for Unleash The Pwnies, Chocolate Flobs (for you Soundclick fans!) and the demos for Make Total Destroy and what eventually became Masamune there in another stay. I had been jamming on my 7 string a lot while watching tv, and ended up just tapping a lot of octaves around the fretboard, and ended up writing the song's first riff, and when I sat down to record, a few more ideas came out but I knew it wasn't complete. We knew the song had potential, so again while on a "writing retreat" at my place, Mark and I wrote some sections to help the new arrangement flow to accommodate Spencer's awesome vocal ideas. By the time this song was completed, I knew we had something very special. We ended up making this song the first single because it really seemed to showcase and almost summarize the overall feel and vibes of the album better than any other song. It doesn't hurt that it is a pretty high energy song and really fun to play live too."
Mark Holcomb also added, "Although most of this song was already written as a demo on Misha's SoundClick, he, Jake and I holed up (huh huh) for a couple days writing and adding sections to partially-imagined song ideas like this (Luck As a Constant, being another example of that). I wrote that fast thrashy riff in the middle, while Misha wrote the tapping tail end of it as well as the groove riff that follows it. We made some other changes to the arrangement to better suit the vocal ideas that Spencer had written, and it ended up turning into a far more complete song in the end." More...
Periphery has been releasing a new track-by-track breakdown every day for the new album "Periphery II." Periphery's Jake Bowen has now issued the following explanation of the song "The Gods Must Be Crazy:"
"Back when we were discussing the possibility of Mark joining Periphery, I was really trying to get a feel for his style of riffing and the result was The Gods Must Be Crazy! Misha came up with the opening riff and it starts off with a bang sounding like Opeth on steroids. As for the verse riffs, it's basically chaining together a lot of chord shapes and arpeggios rapidly to make this complete idea. I was really happy with how Spencer handled the chorus, the melody always sticks with me."
Misha Mansoor also commented, "Sometimes I have what I like to call 'retreats' where I'll have a few members stay at my place for a few days, and we just write as much as we can in that time. It has always been a successful way to bring riffs to life because we can just focus on writing and nothing else. This song was a retreat song.
"As Jake mentioned, we were definitely going for a Mark kinda vibe on this song. It's interesting because a lot of people think that Mark wrote this song, but it was based off of Jake's riffs actually! I am so lucky to have two guitarists in my band who have very specific 'voices' that I absolutely love, and they definitely influence and inspire me. Mark has such a unique approach to the guitar that i would just describe as playful and colorful, so that was definitely the feel that Jake and I were going for on this song. I vibed off of his riffs and just wrote parts that i felt would help the arrangement flow nicely and fluidly. When the verse riff comes back, I thought it would be fun to switch between straight and triplet feel on the drums, and Matt really brought that idea to life, that plus the short but ever so sweet solo Jake wrote makes that one of my favorite moments of this album. This song was a bit different from our usual fare, and I didn't really know how appropriate it would be for the album until Spencer wrote his vocal lines for it. Once I heard his ideas, I went from liking the song to loving it and that chorus line he wrote would get stuck in my head before he even finalized the full melody or lyrics. This is just a good example of a song that started out decent, and just got better and better with everyone's input!" More...
Periphery is continuing to post a new detailed breakdown of each track from new album "Periphery II." Misha Mansoor had this to say about the song "Ragnarok:"
"This is the second part of the Trilogy, and is therefore placed around the middle of the album. I was futzing around with a variation on the Totla Mad tuning (BbGDFAD) where you maintain the note relationship on the bottom two strings but on a 7 string, so with our 7s being a half step down, this also brings the low note to F#. The ideas I had for this song didn't require an 8 string, so I figure I would just downtune from our regular tuning and mess around with that. The first riff is that typical Meshuggah style groove, but with a strange motif over the top. That motif comes back at the end of the song as a more grounded version, and at a slower tempo.
"I wanted this song to have a bit more of an evil vibe but I still wanted it to groove, and I remember attempting to channel a bit of Mussorgsky's Night on Bald Mountain (you know the song, Youtube it) or something dark like that. Eventually the song makes it to a prettier and more epic section which is referencing the first riff in Muramasa in feel, but with a different progression and tempo, and it also gets linked back lyrically. When I originally demoed this song, I wanted a sort of Jekyll/Hyde moment, except in this song it is reversed (Evil to good). Masamune is the other Jekyll/Hyde song but that one is the correct way round.
"Jake wrote the interlude at the end of the song as a nod to a motif in one of our favorite sections in the last album's epic closer 'Racecar.' I have seen both Dream Theater and Devin Townsend reference songs/motifs across albums, and Jake and I love that kinda stuff, so we thought it would be a fun little easter egg as well as a cool way to revisit that theme with a twist." More...
Every day Periphery has been posting a new detailed breakdown of each track off the band's new album "Periphery II." Misha Mansoor had this to say about the song "Luck As A Constant:"
"This song started out with a set of clean riffs that I had been jamming around with on a Line 6 DL4. I was using the looping function to create clean layers, and you can also have delay going on the patch you are playing, so I was messing with these riffs that used the delay patterns as a rhythm to fill in the gaps, and layering them till I got something pretty. I had also been messing around with the first riff and realized that one led nicely into another I invited Jake over one day and we tracked the basic idea of the song which you can find on my Soundclick page.
"Jake had some riffs that he had been sitting on that just worked so well with the vibe of my riffs, you gotta love days like those! The first heavy riff is a riff that really uses 3 guitars to their full potential, because there are 3 lines that are either harmonizing or providing counterpoint at most times and it gives the riff a real wall of sound, where it may even be tough to discern which guitar is playing exactly what, but I just thought it had such a cool and rather unique sound, and the harmonies/counterpoint to the riff i had originally written came surprisingly fast. The demo ends with the clean riff from the beginning coming back a little differently, and I had a general idea of what I wanted the song to do, but I just never got around to it, and I kinda left the song alone for a while.
"When we were doing preproduction for the album, the original plan had been to do enough repeats for a vocal line and then to go into a lead that would end the song. I told that he should write the solo for that section, but for some reason I ended up jamming over the riff and coming up with a solo that I was very happy with (which is so rare) so we decided to extend the ending section, and Jake and I could trade off solos. The vocals actually came together on this very song at the end of the recording process, and I didn't hear them until the album was actually getting mixed, but I think Spencer really brought this song to life with his vocals, and the end section of the song is probably one of my favorite vocal lines that he has written, I couldn't imagine a better line over that part! The title of the song refers to the fact that I consider luck to be a very big part of my writing process, and how I almost rely on luck as a constant in my writing process rather than treating it as the variable that it truly is." More...
Continuing the track by track breakdown of new album "Periphery II," Periphery's Misha Mansoor has issued the following explanation of the song "Scarlet:"
"As a lot of you may already know, this was originally a Haunted Shores demo. Haunted Shores is a project that Mark and I were working on before he joined Periphery, and we had demoed a handful of songs. This one was a bit different in vibe from the usual fare and I think it stemmed from the tuning I showed Mark which is an open tuning of some kind (I don't know the name or notes sadly, only how it sounds).
"Mark had written the first riff of the song and I knew we had something special, we were going for 'ear candy,' just something that sounded beautiful, but still had interesting riffs rather than just being straight power chords the whole time. Mark and I managed to write that song pretty fast actually, we were just constantly bouncing ideas off of each other. Sometimes you get lucky, and songs seem to just come together before your very eyes. Haunted shores was supposed to have guest vocalists only, so Spencer demoed some vocals out on it to see what would come of it, and Mark and I absolutely loved what he wrote.
"When Mark joined Periphery, we realized that not only was this song written by 3/5ths of Periphery members (which is more than can be said for most Periphery songs) but that it really fit the vibe of what we wanted for this album and in general. This song is also really cool, because it just screams Mark Holcomb from beginning to end. Even the riffs that I wrote were just reactions to his riffs and I was trying my best to write in his style, so those definitely sound like Mark as well. Matt also ran with whatever he could on this song. In my opinion, he has this gift of being able to spice things up without it seeming like he is overplaying or deliberately trying to show off, and the drums went from just "holding things down" on the demo to driving things forward on the album version. This song will likely be the second Single that we put out in support of the new album." More...