Three albums into their career, Texas rock band Adakain have made great independent strides. Their new EP, Silhouette of Lies, marks a change in sound for the group, which consists of vocalist Travis Buck, guitarist Derrick Carter, drummer Ryan Carroll and bassist Jason Schauer. They recorded in Tennessee with producer Travis Wyrick, streamlining their songwriting to move away from the metal-influenced heaviness of their debut EP, Tears of Dysphoria, and full-length album, Together In The Heart (both produced by Eric Delegard).
Adakain began as a two-guitar band with a different frontman. They met Buck while he fronted System Overload. The two bands played several shows together, and when Adakain found themselves in need of a new vocalist, Buck stepped in, helping to build the foundation for a more mainstream rock sound. Since the beginning, Adakain’s members have shared a strong work ethic that has paid off in tours with Pop Evil, Taproom and Crossfade, with whom they recently resumed an itinerary.
Shortly before leaving for tour, Derrick Carter talked about the making of Silhouette of Lies and how Adakain has progressed.
The band’s sound is completely different on this EP.
We changed quite a bit. On the first two albums we were a two-guitar band, and the writing process was different this time. We wrote maybe 20 songs, sent them to our [then] manager, got his input on the best songs and got input from our producer as well. We wrote heavy stuff, but a lot of it didn’t get picked for the EP.
What made you choose Travis Wyrick to produce?
Our manager knew him. He’d done a lot of work we liked with 10 Years and P.O.D. It was quite a bit different from our previous recordings. Travis is very intense, especially with recording vocals. He’s a bit more laid back with guitars, so I didn’t have it quite as difficult. He’s a very animated, high-energy person and it was great working with him. He suggested guitar riffs and vocal melodies and got actively involved with the songs. We had everything written when we got there, but he changed some things, cut riffs that didn’t need to be there and he had some ideas for some of the parts.
All of the tracks are around three minutes. Was that deliberate?
Yes. Everything is around three minutes for radio play and audience attention spans. When we write, we shoot for that mark because it seems to work best.
What is Adakain’s history? How did you get involved?
I’ve known Jason for a long time, well over ten years. He came over to my house; he was dating some girl and they came over. He was a drummer at the time and I went to his house to jam. There was a knock at the door and it was the police. He looked out the window and said, “It’s the cops! What should I do?” I said, “We’re probably just making too much noise. Go ahead and answer it.” They handcuffed him and took him to jail on traffic warrants and I was stuck at his house. He was like, “Here’s my grandmother’s number; call her!” I had to call her to pick me up and give me a ride home. That’s how I met our bass player. It was interesting. We kept jamming and we eventually got in a thrash metal band. He played drums and I played guitar. The singer of that band is now the lighting guy for Sevendust.
In late 2006, Jason asked if I was interested in playing again. [Note: Carter stopped playing for two years; see link below for more of his interview.] I came down, watched the show and I liked what they were doing. They had one guitar player and a different drummer and I liked it, so I started practicing with them. I played my first show with Adakain in early 2007 and that’s the only show that drummer played. He quit right after that, and we got Ryan.
Was the transition to only guitarist difficult?
The guitar player left the band — our drummer was in a band with the guitar player, and he joined that band as well — so we had a new guitar player right before we recorded our first EP. It was fun. We did a lot of harmonies and dual leads, but he left and at first it took a lot of getting used to, because when you have two guitars, you always have that fallback. It took a little time. The second time I ever played as a one-guitar band we had a fill-in guitarist because it was all set for two, and he wasn’t able to make the show. It was us opening for Korn at the Verizon Wireless Theater in Houston, so that was pretty stressful, but we pulled it off.
When did you begin learning to write as a band?
When I first came in, several songs were already written and I had songs as well. We took all of those, put them together and made the first EP. The other guitar player recorded some tracks on the first album. He joined right before we went in the studio and we worked really well together as far as taking riffs and turning them into songs. The new EP was just Ryan and me submitting songs. Also, you can write a really technical riff, but if the singer can’t put anything over it because you’ve got too much going on, it’s useless. So when you’re writing, you have to do it with the singer in mind. You might want to keep a technical song going, but you have to let the singer shine. It can’t be about your guitar riffs all the time.
This EP is so diverse — there’s rock, a bit of jazz, some 1960-style sounds.
“Dreaming,” the jazz song, is Ryan’s. He had the complete idea for it. My tracks are “Sky Is Falling,” “Good Time Girl” and “Distant Eyes.” Ryan wrote “Change, “Dreaming” and “In The Shadows.” He is really into Led Zeppelin and a lot of jazz. He’s a technical, over-the-top drummer with different influences, but we work well together. You always have to challenge yourself, and it helps when you have someone who can come up with those ideas. He’s also into heavy music; “In The Shadows” is the heaviest song on the CD.
What do you listen to for inspiration and technique?
One of the new bands I listen to is Avenged Sevenfold. I’m a huge fan of theirs. We have two main rock stations in Dallas and I’m open-minded when it comes to music; I like a lot of things and I’m always looking for new things and inspiration. The Beatles had such great songs, so catchy and to the point, with great guitar parts. They made amazing music that keeps going forever.
Adakain has come a long way as an independent band. What enabled you to get to this level?
Never quitting. There are so many points where you get so down and out. To survive the test of time you can never give up, and that’s what we’ve done as a band. You just push through the bad times until the good times come. We all love touring and playing music, and despite how the music industry can be, you have to keep going, stay positive and stay at it. Don’t get too discouraged, keep your chin up and keep going. It’s easier said than done, of course. A lot can happen that can get you down, but it’s all worth it when you have those great shows where the crowd loves you and they’re going crazy and having a great time. That’s what makes it all worth it.
Read more of Derrick Carter's interview
Derrick Carter Gear Rundown
Guitars: Yamaha nylon string, 83 Alvarez Yairi, Gibson Les Paul Studio, Gibson Les Paul Gothic, Gibson SG (backup)
Amps and Cabs: Diezel Herbert with Diezel Vintage 30s rearloaded
Pedals and Effects: Rackmounted Decimator noise suppressor, Ernie Ball Volume Junior, Boss Chorus Ensemble and Tremolo, Digitech Digital Delay
Strings: GHS Zakk Wylde Boomers .011 - .070.
Picks: Jagermeister standard
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