East Of The Wall and Diamond Plate:
Get down at the Bluebird on Sunday, March 30th at 8pm. Ages 16 and up are welcomed, tickets purchased in advance are $12, and day of the show will be $15.
Here is a brief introduction to East Of The Wall and Diamond Plate.
For a band that titled its first LP Farmer’s Almanac, East Of The Wall offers little to fans of predictability. The group’s catalog is a slap in the face to any would-be prognosticator. Each album has varied wildly in identity and scope. The debut was a purely instrumental sojourn that ranged from majestic to frantic. Sophomore release Ressentiment added vocals and an increased focus on aggression and dissonance. Tertiary album The Apologist split the difference and garnered widespread acclaim in doing so.
Now East Of The Wall have released Redaction Artifacts, perhaps the most dense record the band has yet created. Although the band has upped the intensity in scope and musicianship, Redaction Artifacts may be most immediately rewarding to the casual listener. In part this accessibility is due to the confidence of band’s new melodic vocalist/guitarist Greg Kuter, as well as the growth of screamed vocalist/bassist Chis Alfano (formerly screams and guitar on previous releases). Particularly impactful is the melodic interplay of Kuter with guitarist/vocalist Matt Lupo, who has taken a more active role as a singer after having performed only a few parts on The Apologist. With each album East Of The Wall has upped its vocal game, but never before has the group succeeded so thoroughly.
What’s most impressive is that East Of The Wall has increased its immediacy without dumbing the music down. Redaction Artifacts sees the members pushing their playing and composition beyond past boundaries. New lead guitarist Ray Suhy is a brilliant addition, and drummer Seth Rheam turns in his most inspired performance to date. East Of The Wall’s guitar acrobatics remain as creative as ever, and the signature bass growl thunders and weaves through the mix. Redaction Artifacts retains the band’s usual powerful yet natural recording fidelity, devoid of drum samples, auto-tune, and brick wall compression.
Redaction Artifacts was tracked by Eric Rachel (Municipal Waste, God Forbid, Burnt By The Sun, Skid Row) at Trax East and Todd Hutchinsen (Zud, The Baltic Sea) at Acadia Recording, and was mixed by Eric Rachel at Trax East. It will be released October 29th via Translation Loss. Vinyl licensed in the US by Science Of Silence.
Diamond Plate, a young metal band from Chicago formed in 2004 while all three members were still in high school, hit the ground running from the beginning as they displayed musicianship and a passion for heavy music that went beyond their years. Declining record label offers in favor of working on their sound and letting their songwriting evolve, drummer James Nicademus, (former) vocalist/bassist Jon Macak and guitarist Konrad Kupiec, began making serious waves in the underground scene via word-of-mouth, self-released EPs and local slots supporting metal giants Behemoth, Gojira, and Exodus. Two months after graduating high school, the legendary Earache Records signed the band.
In 2010, Diamond Plate went into the studio with producer Neil Kernon (Judas Priest, Cannibal Corpse, Nevermore) to record their debut album “Generation Why?” The album’s extreme vocals, groove-based riffs, and machine-tight production allowed the band to distance themselves from their “thrash revival” peers, while earning them rave reviews and high profile tours. Appearing in America and the UK with Anthrax, Overkill, and D.R.I. among others, as well as festival slots on the 70,000 Tons of Metal and Hammerfest, Diamond Plate’s reputation as a high-energy live act began to grow.
After the touring cycle, guitarist Konrad Kupiec and drummer James Nicademus were joined by new vocalist/bassist and Miami native Matt Ares. The band took off touring for the rest of 2012 and focused on writing a new album it was during this time that Diamond Plate’s sound underwent a transmutation. With an emphasis on creating songs from jamming, a ‘play what thou wilt’ attitude, and 19 year old Matt Ares’ charismatic voice, the band matured drastically while blending together a much wider range of influences.
Neil Kernon was again asked to lead the production originally scheduled for two weeks in January 2013 even though the making of the record extended into months, characterized by the underlying tension of outside pressure, deadlines, and personal struggles. Despite all of this, Diamond Plate emerged with “Pulse,” an album brimming with live energy and the vibe of a young band playing heavy music straight from the heart.