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Wolverine Premieres Full New "Machina Viva" Album

Wolverine's fifth full-length album "Machina Viva" is set to drop next week on July 8th, but today we're bringing you the entire disc for advance streaming - listen in below!

"Machina Viva" was recorded and produced by the band in various locations throughout Sweden during late 2015 and early 2016, mixed at Spacelab Studio in Germany by Christian “Moschus” Moos (Everon, Haken, Delain, Cloverseeds), and mastered by Grammy Award winning audio engineer Bob Katz.

The follow-up to 2011's "Communication Lost" features such track as the epic 14 minute "The Bedlam Overture" and dark electronic landscapes on "Machina." To help you get the full "Machina Viva" experience, we had the band give us a complete track-by-track break down of the entire release.

Read the full break down below, followed by the album stream, and if you like what you hear pre-orders are online at this location.

"The Bedlam Overture"

Marcus: The origins of this song can be found way back in 2006. I was in a quite chaotic state of mind and the Rhodes intro-riff is what came out of that, although on an acoustic guitar originally. It has taken many shapes during the years as it was instrumental at ?rst but evolved to a longer and longer song. The thing that has always stuck with it is the somewhat chaotic nature of it.

Stefan: Like Marcus says, a song that has been around in various forms for quite some time now. I remember I really loved the intro-riff that Marcus came up with back in 2006. We intended to do something with it for Communication Lost but ended up not using it, probably because we didn't have a clear idea of where the song needed to go.

Thomas: I think this epic piece is one of the best songs we ever recorded. Sure, all songs have their own strengths and weaknesses, and there are other songs that are more beautiful and touching. With "The Bedlam Overture" however, you feel sort of run over having played through 14+ minutes. It is sort of a musical journey to me, and it has such a massive impact. I especially enjoy playing the verses due to the meditative nature of the bass lines. Speaking of the bass: The fretless bass solo is something that really bothered me since I had a hard time coming up with anything worthy in such a forceful song. Actually it wasn't until Marcus and I was in the studio to record the bass tracks for the entire album that I managed to come up with what you hear on the album – the solo was invented in its entirety under these somewhat stressful circumstances, and I am quite satis?ed what came out of it.

Per: This was the song that we played over and over again at rehearsals. Everything with this song felt very much complete besides the middle section which went through some changes during the writing sessions. From one session to the next we tried different ideas and approaches.


Marcus: A "Sleepy Town 2.0" in some respects. I had some chords that I ?ddled with and built the whole song on that basically, the vocal melody and lyrical theme sort of wrote itself on that foundation. Due to the mechanical nature I got good use of my passion for vintage computers and gear, so I incorporated a real Commodore 64 routed through MIDI as an instrument in the song as well.

Thomas: Marcus was kind enough to invite me to work on the lyrics he originally wrote for this peculiar song. I suppose my contribution lies mainly in wording and minor details. In any case, the theme of the lyrics is something that I think about a lot, and therefore I see an importance in the meaning it carries. I believe modern life in the western world and elsewhere has a negative impact on us in many ways, and the pursuit of what we believe is a successful and good life render individuals blind to what we really need in order to become "harmoniously composed" creatures. How machine-like are we, really, when we think about it? In which ways do the bad sides of human nature escalate when we are deceived into chasing a life based on shallow values? I do believe we are asleep to a lesser or greater extent, and there is no way out of the Matrix.

Per: An almost complete song by Marcus. During the recordings I remember that I came up with some strings and lead sound melodies on the last chorus before the end.

"Pile of Ash"

Marcus: Per had an almost complete song structure based on a piano and some synthpads, and Stefan did some vocals on that. Since we all felt that another slow piano song didn't feel quite right I suggested that we should rearrange it for electric guitar and vocals only. I also rearranged it for cello and vocals only to have two versions of it; two different feels, both very naked.

Stefan: I wrote the lyrics to the song while it was still a "piano-ballad" but I really like it a lot more in the two new shapes it has today. As with all my lyrics I like to write about "real" stuff. Situations and/or feelings I've lived through myself. For better or worse, I feel I don't need to worry about not having stuff to write lyrics about.

Per: This song was written one afternoon a few years ago when I was sitting by the piano – everything just wrote itself in just a few minutes. At ?rst I didn’t have any plans of presenting this song to the band since I believed it was a little bit too cheesy.

"Our Last Goodbye"

Marcus: The core ideas for this song came about through a jamming session in Stockholm with Per, Thomas and myself. At the end of that day we knew we had something but we were not exactly sure what we had. I took it home and put up a draft in Logic to build on, put some guitars on it and sent it to Per to continue working on it. Like other songs on this album it has been a collaborating operation between me and Per sending stuff to each other back and forth between Stockholm and Söderhamn through a collaborating service called Splice, which allows you to sync each others projects in Logic and other DAWs.

Stefan: One of my favorite Wolverine songs to date. I just loved the music the guys came up with. When it was time for me to write the lyrics I was in the middle of divorcing the mother of my children, whom I had lived together with for almost 13 years. It was quite natural that this song dealt with all of that stuff. I'm not emotionally in the same place today as I was back when the lyrics were written (during the ?rst half of 2014), that's for sure, but it's nice to have this song to look back upon and remember the emotions I was going through then.

Thomas: Like Marcus states, this song was born basically through jamming – it sort of wrote itself in terms of its basic structure. As the song was developed I sort of ended up in a t where I actually didn' t like it very much, mainly due to some particular parts of it. In the end however, I think it came out really well, and the french horn that you hear in different parts of the song adds such a grey, gloomy and powerful character. I just love the melancholy it brings to the song.

Per: I had this verse that I started to play and one chord just led to the other in a very smooth way. I remember that I had this idea for the chorus to pop out from the verse/pre chorus in a kind of different way, as the feeling of a key change with a dramatic touch. Almost in the same way as the chorus on "Pulse" from "Communication Lost" was written. Back in my studio I then wrote the Rhodes and the choir melodies on top on the guitar idea that Marcus came up with.


Marcus: It started with a guitar riff that I had and we built everything from there. The main drum groove is heavily in?uenced by "One More Red Nightmare" by King Crimson.

Stefan: I had a hard time getting into this song and at ?rst we were gonna have Thomas write lyrics for it. He wrote quite an impressive piece of lyric to it but it was written in a way that didn't really ?t me as a singer. I decided to have a try and I am really pleased with the way the vocal melodies turned out. It went from a song I didn't like that much to being one of my favorites.

Per: I remember Marcus had this demo of the song and he felt that there was something missing in the middle section so I asked him if I could work on that part. I added some chords and wrote some melodies over the aggressive guitar with almost a Terminator 2: Judgment Day theme vibe, and then some smooth chords and melodies that ended up working as a contrast to the whole aggressive feel of the song.

"When the Night Comes"

Marcus: I'm heavily into "road-songs" like "Looking For The Summer" and "Road To Hell" by Chris Rea, "Radar Love" by Golden Earring, "I'm on Fire" by Springsteen and stuff like that. I had this basic groove in 4/4 and an acoustic guitar thing with a 4 against 3 feel to it and put those together. The choruses came much later when collaborating with the others, sort of as a contrast to the softness of the verses. This is also a song that has went through many changes. One version had a string arrangement all over it, we kept that for the ending of the ?nal version.

Stefan: This song almost didn't make the album since we struggled a lot trying to ?nd the right feel for it. I'd say that a few months before we started recording the actual album we ?nally found the right form and feel and I think it turned out really well. It's a song about leaving your comfort zone and venturing out into the unknown on your own.

Thomas: Yes, this song was a true pain before it sort of came through and blossomed. The ?nal thing that made things fall into place was when we tried to play the chorus in sort of a half-time feel with heavy distroted guitar and bass. This brought such power to the song and, like Marcus says, contrasted heavily with the softer nature of the other parts. I was ready to throw this piece in the bin, but I am very happy we found a way to salvage and improve it.

Per: This song was a big struggle for me but the breakthrough was when we tried a heavier approach on the chorus. During a rehearsal I remember I started to play the string melody over the second chorus before the string quartet break, which later on became the melody played simultaneously on both guitar and keyboard.


Marcus: Also a song that almost wrote itself. The verse and chorus came from just playing around with the piano. The lyrics deals with accepting the reality of living with a chronic disease. Since 2009 I've been diagnosed with Psoriatic Arthrisis, a condition not very optimal for a drummer but something I'm forced to live with. Thomas: An interesting composition in many ways. Being the bassplayer, I also love the bass sound in some parts of the song – the old Wal Pro bass has this nice "clonky" character.

Per: This was also an almost complete song by Marcus, besides additional melodies on the chorus and outro, plus the middle section that we worked on during rehearsals. I remember bringing this idea of the chords and melodies during the solo sections.


Marcus: Per had these chords that I really liked and I just felt that it had some sort of hymn or church quality to it. A soft organ with some electronic elements put in there. Once again with the mighty Commodore 64, this time playing the role of a bass. It's a song written a bit like a church hymn but with lyrics dealing with prejudice, social rejection and sexual identity.

Thomas: When I ?rst heard the scetch Marcus put together of this song I was totally blown away by the emotional impact it had on me. To me, this song is very sad, hopeless and sort of desolete in itself, and the lyrics, melodies and harmonies blend together in a way that is very touching.

Per: I came up with the idea for the chords during a spontaneous jam session with Marcus. I took the idea back home to my studio and started to add the piano and the choir melody on the chorus, plus wrote the middle section with the atmospheric melodies. As with “Pile of Ash,” the song just wrote itself. It was like laying a puzzle.

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2 Comments on "Wolverine Premieres Full New Album"

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Anonymous Reader
1. metasoother writes:

God bless these swedish storytellers

# Jul 1, 2016 @ 12:34 PM ET | IP Logged Reveal posts originating from the same IP address
Anonymous Reader
2. iko oz writes:

wolverine is the most refrashing band of this zanra.
every disk has its own personality.
stephan zell is so unick & highly underated.
he is an awesome singer with so much diversity & emotional voice.none sings like this.
i had the big honnor to see them live & i litterly cried all through the show !
thanks for being out there & sharing your wonderfull art.

iko oz.

# Jul 1, 2016 @ 3:52 PM ET | IP Logged Reveal posts originating from the same IP address

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