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This demo is a farce and a pipe dream created by a band that just didn't know any better. They went into a studio, coughed up $1000 (what a rip-off), and spent a week there recording these three average, glaringly contrived, and plainly derivitive death metal songs. This was their first experience in a "real" studio, and they ignorantly placed the fate of the outcome into the hands of a "producer."
You see, I am the founder of this band, and I am now the FORMER drummer, due largely in part to this half-baked piece of shit. I went in and laid down my tracks, tried my best, and sweated my balls off, for nothing. When it was all said and done, and I put the CD into my player at home, I felt like a bleeding victim of anal rape. The drums had been gridded, of course, aligned mechanically, soullessly and perfectly to the goddamn metronome. Every kick and snare hit had been replaced with samples. This is a process called drum replacement and it happens every time pro-tools casts its Satanic shadow over unsuspecting drummers. It's because of this wretched, damnable experience that I now refuse to listen to any music that has been pro-tooled.
The endeavor I named Hessian Crucible came from a sincere and modest beginning. We started in my bedroom where my drums were set up, three dudes just trying to write some heavy shit in the vein of their death metal heroes. A year later we were gigging regularly around town and things were going alright. Of the three dudes, two are brothers, and we comprised the rhythm section.
That brings us to the other guy. A guitar player. What the fuck is wrong with you ego-maniacal six-string shit heads? Why can't you hear any instrument other than your own? The incessant wanking, the endless waste of time spent tweaking knobs and fucking about with pedal boards and processors and noise suppressors and on and on and on; I will simply never understand it.
So we recorded three of our songs and if you listen to them, you will no doubt notice the utter sterility of the production. The second song is an even nine minutes because the "producer" thought it would be cool to let the guitar ring out for an added fifteen seconds after the song was over, just so we could say we have a "nine minute" song. What a fucking poseur that guy was. Another part of the problem here is that when we wrote these songs back in '08 we had been listening to a lot of Blowpeth, and we intentionally contrived long songs with faggoty clean guitar breaks. Yeah, I used to like those guys, and I commend them for their analog recording of their album Heritage, but I'll take Never Say Die over Deliverance any fucking day.
Nothing else to say here, really. You live and you learn. Pro-tools is the single greatest evil to ever happen to music, period. In the words of Yes and King Crimson drummer Bill Bruford, "I like to hear mistakes in my music." And there is so much real music out there, or, I should say, back there. So I board my time machine daily and travel back to a better, vanished time.