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1. The Chair of 1000 Volts (original version)
This is the original full version of the song.
We changed it to the album to give the song more creepy feeling.
2. The Antidote (thrash vocal version)
Houre Noir wanted to have this version for himself. There is no audible death metal vocals in the chorus. Pure thrash vocals from start to finish!
3. - 7. Production Demos
The first songs after the The Liberator's demo. This was meant to be
the song order for the album. You can clearly hear the natural evolution from Black to Thrash Metal. Fortunately some of the songs were "little bit" faster after we re-recorded them for the debut album.
Aura of the first
The Liberator’s demo was done and with that I took
the first steps in the fascinating world of music.
It was an thrilling experience and I was hooked right away.
I never would have thought, that one day I listen to music in
which I play the drums.
In retrospect, for me those first steps were very fast.
After the Hail of Napalm was recorded
I had played drums ten times in my whole life
and after this album I had played about twenty times.
Houre and I are pretty improvising musicians.
I don´t like to use very technical terms,
but we "just fucking play".
After the demo was in the can we had already made five songs
for the debut album.
Those songs were pure thrash compared to the demo.
Taking into account how naturally that transition happened,
it was not even a difficult choice to decide
which way to continue.
At that moment when we abandoned the old ways,
creativity broke loose.
Our new style fit perfectly into our way of thinking.
No tight boundaries, that limit creativity.
Not too serious attitude to root out most of the stuff.
From the lyricist point of view
it also gave a lot more options for writing.
Now that I´ve already played the drums for a while
and most importantly played with much more
experienced musicians right from the start,
I know one thing.
It´s not my ambition to be the fastest YouTube drummer,
but instead I´m trying to do my best to support the riffs
and bring out the best from a song as a whole.
Groove before all.
I think the biggest reason why I have learned this so quickly is,
that I started playing drums at later age.
It is so much more easier to cut the bullshit
and just focus on the things what matter when there is
no young stubborn ego on the way.
When Houre has a riff and knows exactly what kind of
a beat he wants with it, instead of watching him slapping
the bejesus out of his thighs,
I hand him my drumsticks and ask him to teach me.
I close my eyes - he plays - I listen.
After couple of minutes I have learned a new beat
which I did not even know existed.
I hope in the future it will also work the other way around.
Screaming "I don´t know what a fuck that is, but press it anyway",
does not always produce mutual understanding.
Nevertheless, I have a great time playing
and I hope that it can also be heard.
We leave playing mistakes on the album purposely
to have the human factor in our music,
for it is us who are playing not the program.
This also allows everyone to hear
how I have evolved from album to album.
Hopefully after ten years I can look back and laugh.
The future will bring more thrash and surprises,
this I can promise.
Aura Of The Liberator: Enter The Thrash Metal
So, The Liberator’s first Black Metal demo was recorded,
more or less mixed and namely mastered.
It was time to start to write some new ass kicking material
for our first full length album.
As usual, I started to throw around some violent guitar riffs
and Surmalisti responded to those ideas
with his visions of skull smashing rhythmic patterns.
First couple of songs came out just like you would expect.
We wrote material that was "only" better and evolved
version from our previous work (read: Black Metal).
My Smoky Winchester was the turning point,
but first a little bit of background.
When we wrote Maximal Death Rate in fall of 2012,
I was really into the 90’s Death Metal & the 80’s Thrash Metal.
At the same time Surmalisti discovered
the wonderful world of classic Thrash Metal albums.
This all had a great impact to our new material.
After My Smoky Winchester (main riff could be on
Kill´em All, don’t you think!) was written, we had a serious
conversation about band’s name and musical style.
We wanted to abandon the tight borders of Black Metal
and head towards to more rocking and grooving side of Metal.
We decided to change the band’s name to
Aura Of Pestilence and continue the story of
two headbanging maniacs as Thrash Heavy Metal band!
We still decided to keep all of those Black Metal songs
we had composed earlier. That is the main reason why
Maximal Death Rate is such a versatile album.
It contains 4 Thrash Metal songs, 3 Black Metal songs
and 1 Death Metal song,
yet everything happens in a little bit over 30 minutes!
You can imagine what a pain in the ass it was to decide
the right approach to the song order.
First version started out with Black Metal, but we changed it,
because we wanted to introduce the band’s new musical style
as soon as possible (read: put the best songs first).
Anyways, since the recorded material was reaching out to all of these different directions, I had to create new singing styles
to match the vocals for the rest of the material.
Thrash Metal vocals on Rapid Harmagedon seems to be
everyone’s favorite! It’s like straight from the 80´s,
tough & rough, but in a naive, almost funny way.
If you don’t at least smile while listening it, you don’t truly
understand the legacy of the 80’s Thrash Metal!
Opposite to that, there’s pretty deep Death Metal growling
on Henchman Of Death. It’s second verse is one of my
favorite part on whole album. It’s combining Gorefest type of vocals
with something that Allen West could have wrote for
Obituary or Six Feet Under.
Metal to the bone and heavy as fuck!
Album contains also traditional Black Metal screams
and some other types of voices as well.
After all, it was pretty natural process to create and sing
all of those vocals. I just read “the script”
(excellent lyrics by Surmalisti) and told the stories
with the voices they required.
Luckily we were able to kept most of the magical first takes.
The Man Behind The Microphone,