MM: Hey Mike, how’s it going?

Mike Martin: Good, we’re just watching the Sox game.

MM: I’m a Yankees fan, myself.

Mike: Then you must hate us.

MM: Nah, I’ve had 4 years to get over it. (Referring to the last time the 2004 play-offs where the Yankees were up 3 games and then lost the next 4.) Good thing I didn’t put money on that series.

I was scheduled to talk to Phil and all these questions were geared toward him so maybe you can answer them and maybe not…

Oli: We’ll try to answer them like Phil.

MM: On the new album. With all the layered clean vocals, a lot of people were not necessarily saying that their bad, but weird. Was there any reason why they layered them so much?

Oli: You’re talking about all the vocal tracks?

MM: Yeah.

Oli: Just to give it a bigger sound.

MM: To make it sound bigger? Something different than before?

Oli: Just to give a thicker sound.

Mike: It wasn’t to specifically to piss people off. They’re going to freaked out when they hear more singing regardless, they’re going to hear more singing and say (In a kind of deeper condescending voice) “Oh, That’s not metal”.

MM: Was that something that Jason Seucoff suggested doing?

Oli: Absolutely.

MM: You guys covered Nevermore’s Believe In Nothing. I thought it was a good cover. Some people said it was good but it made you want to hear the original. Right after it was released it was announced that Firewind did a cover of the same song. Are you guys familiar with Firewind?

Mike: Yeah, we got a kick out of that. We shared a bus with them in England.

MM: I saw them live back in May, they were great, I expected Firewind’s cover to be a lot better because Apollo has a different range than Phil does because he’s got that big power metal sound but I actually liked your version better. (Shameless ass kissing)

Mike: Anytime you read anything on the internet, most people get on there just to smash the band, especially Blabbermouth. They’re going to comment (again with the voice)”Uh, that’s the worst just cause I feel like saying it.

Oli: You’re never going to top the original, but you try to keep it as close as possible. We changed it a bit with the chorus and a little guitar and added some more layers.

(Mike Martin claps at the TV because the Red Sox just scored. He comments that everything started going well in the game ever since I got there. I guess I was like a good luck charm or some shit. Too bad the Sox lost the next day)

MM: IN the new Revolver and how You (Oli) and Jason would get in there and you (Mike) and Phil would get in there and would ask them to “Dumb it down” a bit.

Mike: Yeah, definitely as far as Oli goes, Jason being a drummer…I think every drummer we’ve ever worked with has gotten mad at us because at some point we might say “Hey, can you just do a really dumb Metallica beat there or something.” and they would say (Once more with the voice) “That just sounds stupid” It’s always like that with a drummer go, you’re gonna deal with that all the time. Sometimes a really heavy riff just sounds so much better with like the dumbest possible drumming that there is. A lot of drummers don’t want people to think that they’re crappy drummers and want to put something complicated over it, but we want to do whatever fits the song best. Oli writes some very aggressive stuff sometimes too, sometimes he comes with a whole song on the computer and if we did it exactly how it sounds, the computer would not sound like the band at all. We have to strip it down here and there.

MM: When you (Oli) write the main riffs and leads and rhythms and it comes down to what Mike will be playing, so you suggest to him how he should be playing it?

Oli: I usually have both the parts written.

Mike: Everybody kind of picks everyone’s parts apart and sometimes say, “Hey you should try this” and sometimes it sounds a lot better. Everybody pretty much knows how to push each others buttons the right way and it works out for the better.

Oli: I write the guitar and bass parts…

Mike: He’s a writing machine…

Oli: I take each guitar part and work on the sound and try to make it sound as big as possible.

MM:Phil keeps it lyrically simple without over-thinking the lyrics by throwing big words in there. You don’t have to sit there and wonder what that means.

Mike: Some people might say it’s stupid but by keeping it simple the kids really relate to it. There are so many people on the internet with tattoos of the lyrics all over them.

Oli:It’s not as dumbed down as like, let’s say Hatebreed, it’s just obvious, especially in metal, you have to have a straight forward message.

MM: You guys sold like 28,000 in your first week and that’s twice as much as the last record. Some people say “I don’t give a shit about record sales because I don’t make my money off of cd sales” but every cares how many people are buying the cd. You guys care, right?

Mike: Numbers to an extent don’t lie. There are some bands that don;t sell a lot of records but they draw a ton of people, but for the most part numbers are numbers and it gauges how you do to an extent.

Oli: It looks good on paper too

Mike: Yeah, it always looks good on paper, even if you;re not drawing a lot of people, the venue might see the numbers and say, “Oh, you’re selling this much, we’ll give you this much money.

Oli: We don’t see money from cd sales for a long time, but it’s always better to sell a lot of albums. We don’t write the records with the though in mind that we’re going to sell a million records, we just right the songs the way we think they should be.

Mike: It’s all like a resume thing.

MM: What about label support? Do cd sales key in to a lot of label support meaning, like the bus is a big expense. Does the label help out fund that kind of stuff.

Oli: The label does but you have to pay it back. They might say, we’re going to give you $40,000 to pay for your bus, but that money will come out of your record sales. You’re way better off being able to just pay for it yourself as a band and not take money from labels because they’ll just take it back. It’s an advance and you always have to pay it back.

MM: I just wanted to better understand that. Do cd sales directly effect label support going in to the future?

Mike: Sometimes with festivals you have to take some money for tour support because you get so little money from festivals.

Oli: You take as little as you possibly need because…

Mike: You don’t want to dig yourself a hole.

MM: How many bottles of Jim Beam do you guys usually go through on a tour

Mike: Jim beam…hmm.. that’s been really slacking off on this tour a lot. Jeanne and Phil  are the main ones and they have barely drank at all on this tour. Phil quit smoking this tour so his Red Bull and whiskey intake has really slacked off cause the two kind of go hand in hand. For a little while there it was getting pretty impressive.

MM: You gu8ys still big in to Guitar Hero on the bus?

Oli: We haven’t had it this time around. We’ve been rockin’ the Whitesnake live Still Of the Night DVD. We have NHL Hockey and he (Mike) kicks my ass every time. Sometimes I feel like cross-checking him on stage sometimes.

Mike: He hit me in the face with his guitar yesterday…

Oli: Yeah, that was for the game.

MM: First thought. First thing that comes to mind…

Oli: We both get to do it?

MM: Yeah why not? ok…Sarah Palin?

Mike: Stupid…

Oli: Hot

Mike: I don’t know why everybody says that.

MM: She’s got a cuteness too her but she’s ridiculously stupid

Mike: I saw her on that Katie Couric interview and I was like ‘Oh my god’, I could have answered that question and I’m a moron.

MM: Favorite city to tour?

Mike: New Haven Connecticut. Last night was so out of control you would not believe it.

Oli: Want to know the worst city to tour in? Sioux Falls South Dakota.

MM: Why’s that?

Mike: It just sucked. The turn out sucked and the kids just stood there with their fingers in their asses the whole time.

MM: What’s the worse job you’ve ever had before playing in ATR?

Mike: I’ve only had one other job, it was a family business awesome, so I’ve never really had a shitty job.

Oli: Dishwashing at Dennys. That’s a bad fucking job. I got fired and I was happy.

MM: What kind of music do you generally listen to, Oli?

Oli: I like a lot of progressive power metal. I also like a lot of traditional music like classical and jazz.

MM: It’s seems like a lot of your guitar playing is classically influenced.

Oli: Oh yeah.

MM: How about you mike?

Mike: I like a lot of 80’s hair metal, it’s like my favorite thing ever as a kid. I also listen to an insane amount of bubblegum pop because I really like bad music. I can’t help it, I just like it.

MM: Favorite porn star?

Mike: I’d say right now….I love Gina Lynn.

MM: I have no clue who that is…

Mike: I know them all…I’ve done a severe amount of masturbating…

Oli: I would say Belladonna because she’ll do anything dirty

MM: Well that’s all the questions I have. Thanks for your time and I’ll see you out there.

There may have been some other stuff said but you could hear 36 Crazyfists playing in the background and something were inaudible. I wanted to talk to Oli in my first interview back in March but only had a chance to talk to Phil and Mike Martin for a short time, so this was cool for me and Oli seemed like a really cool buy. They ended that tour last Sunday and will be heading out with In Flames, Gojira and 35 Crazyfists starting on November 6th in Montreal Canada.

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When I finally got to interview Corey he was watching a college football game in one of the lounges of the venue. If you have never had a chance to see Corey or Matt from Trivium in person then you probably have no idea how tall these guys are and Corey is a big dude. He was really nice and offered quite a bit of insight into the band. Now keep in mind, when transcribing the recording to words, I make myself sound as if I’m a lot better at interviewing a band than I really am. In fact I kind of suck at asking the questions unless I write them down perfectly and read them off…perfectly. Oh well, I’ll learn as I go along. Here we go…

MM: How’s the tour been going so far? Any bumps in the road, besides Melissa’s (tour manager)obvious mishap?

Corey: Awesome, nothing really. It’s been a really smooth tour and the shows have been fuckin’ awesome. Great start off and we’re almost done, go home in 2 days so, for a short, brief time and back out again.

MM: Who are you going back out with this time?

Corey: Next Friday we’re going back out to tour with Slayer…

MM: That’s right, on the Unholy Alliance tour. That’s awesome. One of the big bands you’ve been wanting to get on tour with?

Corey: Yeah, it’s always awesome going out on tour with a band that you grew up listening to and stuff like that so it’s always fun. So we’re looking forward to that and there’s a lot of cool bands on the tour so it’s going to be fun.

MM: Shogun just came out a couple of weeks ago and sales have been pretty good so far, I’ve been looking at that. I don’t know how much you guys really care about that, but every cares about CD sales though right?

Corey: Eh, I don’t really pay much attention. It just came out so we’re just trying to get it out to as many people as possible. It’s a long tour cycle so I’ll start paying attention probably near the end and see where we got it to. Right now it’s a record that just really word of mouth and people hearing it and just talking about it and stuff like that because we’re really not a…especially in the states because we’re not a big mainstream media, like band so it’s just all about going out and playing show, letting people hear it and see us.

MM: Shogun. There is not a whole lot of simplicity in that album at all, or is that simplistic to you as far as guitar work goes.

Corey: Well it’s really not that difficult for us because we write it so it’s just what naturally comes out so everything we do is just pretty basic for us. Other people might think it;s really pretty whacked out but we get it.

MM: It’s not something that you can really just listen and learn to play. For most people it’s probably just reading tablature and hope you;re good enough to keep up.

So with the Crusade, you guys changed things up a little bit. You guys said that you were going to do what you wanted and didn’t care. I read an interview where Matt said something to the effect of “This time around we just said ‘fuck it’, we’re going to do it how we want an if people don’t like it too bad.” And it came over like that because a lot of people started saying a lot of that “Metallica Clone” B.S. after it was released. People love to hate Trivium, but for every hater there are like 5 others that love you guys.  But you know, I didn’t hear that until about 6 months after it came out, but I was thinking, you know, maybe the first or second song on the record might have a little Metallica feel to it, but as far as that I really didn’t see it. With that said and a lot of people saying that stuff, when you go to write a new album do you guys take in to consideration what people were saying about the last album or do you just get out there and start writing a new album?

Corey: ah, we just start writing and whatever comes out, comes out. When The Crusade came out, that album had to be made at that time to keep things interesting. If we wrote another album like Ascendancy we probably wouldn’t still be playing anymore because it’s not..with The Crusade we kept things interesting and try something new and make it exiting and fun by experimenting and showing people different sides of what we can do and not be pigeonholed to the same thing all the time. That record was a big stepping stone to being able to do what we did on this record. If we didn’t do the Crusade, this record probably wouldn’t sound the way it does. We just did it and we knew we had some changes in the dynamics of that record and people might wonder what the fuck happened because of the drastic difference from the previous record. The point was to make a record different than the one before, so we try not to repeat ourselves so we try to introduce something new to our next album. Some new shit so…

MM: I listened to Shogun a handful of times and I really like it and it;s a lot different from let’ say The Crusade because it kind of sounds like a mix of a lot of stuff from Ascendancy and The Crusade coming together because of all the fast breakdowns and slowdowns, clean vocals again mixed with screaming again and I like it a lot. Anyway, a lot of bands say that they write their songs for themselves and not necessarily for their fans. Is that like a half-truth or how much truth is there to that? Do you write your songs with the thought in mind “Is this catchy? Are the fans going to like it? Does it have good hooks?”

Corey: Ever since we started, before we even had fans we write songs and if it sound cool, if it something you dig then that’s what you go with. And then eventually the stuff that you like that you write and fans like you just got to…If you enjoy what you write, you hope the fans feels the same way because that’s what you start off doing in the first place. You don;t have fans when you first start jamming with a few people in your garage, writing songs so. If the four of us back it and we dig what we wrote then we feel it’s strong enough to put it out. Before a record comes out, no one hears it but us, so we have to feel good about it and if you feel good about it you put it out, and hopefully the fans do too. Every record we’ve done we’ve just written songs that we enjoyed playing and we’d listen to it because we’re fans ourselves.

MM: How many songs did you originally write for Shogun? Did you have like 15 or 20 songs and then have to cut it down too…?

Corey: The original guitar demos was just like song ideas of 20 some songs and whittle it down to the strongest ones and focus on those we got it down to like 14 songs or some shit like that for the album.

MM: Now is it different going in to record…like back when you did your first album and you had the demos and then you get in and record in the studio. Is it a bit different now where you might go in to the studio with a bunch of bits and pieces and get in to the studio and put it all together?

Corey: Well wee all wrote some riffs and “Click-tracks” and kind of pass them along to each other and jam them. By the time we go in to the studio, the songs are already put together but we might change some riffs around here and there, but with how expensive studio time is, we make sure everything is set and ready to go when we get there.

MM: So you guys to a lot of pre-production?

Corey: Yeah, we do a lot in our rehearsal space and our producer will come down and kind of iron out stuff in songs and change up drum parts. Maybe experiment a little in different directions, a change of the drum pattern here or there might change up the dynamics and make it sound cool and more interesting. We do all that stuff in the rehearsal space and fuck around with the songs till we feel it’s the best it’s going to be and then we go in to the studio bust out all the songs.

MM: Now 4 records and 4 different producers? (Obviously I’m clueless about their producers at this point)

Corey: Um actually all of our first 3 records were done with the same guy and with new record we worked with this new guy….

MM: Have you guys thought about keeping him for the next record or look in to someone new?

Corey: Um, same guy we did this record with, we definitely really want to work with on the next  record. He brought something new to the table. We really only recorded one way with the last records and he brought a lot of experience and different way to capture what we were looking for and his personality fit really well and had a great time in the studio and had a really good working vibe and stuff. So, definitely the next record. We learned a lot about recording now and it was a learning experience, so definitely the next one.

MM: So you’re heading out on the Unholy Alliance tour with Slayer and you opened for Iron Maiden earlier this year, right?

Corey: That was like 2006.

MM: Really? I thought you guys opened for them recently?

Corey: Well we opened for one show.

MM: Looking back there was something on the Internet where Avenged Sevenfold opened for them and they were not received all that well.The people there absolutely hated them. How were you guys received by the fans?

Corey:  We toured with them over in Europe and it was awesome. We had great crowd responses. We just went out there and fuckin rocked everybody and they fuckin’…we enjoyed it. There were a lot of shows where it was pretty amazing how the Iron Maiden crowd got really in to it. You just got to…Hopefully with those kind of bands you just go to go out there and fuckin’ hammer them. You can’t go out  and sit there and expect them to respond to you immediately, you got to go out there and fuckin be aggressive and berate them. Yell at them and be aggressive.

MM: Well Avenged Sevenfold is a totally different band so I can understand why they didn’t take to them kindly.

What are some of the tour essentials, besides the obvious macbook. (everyone seemed to have a macbook on that tour. I don’t know if Mac was a sponsor or what) What are some “Must haves”?

Corey: Laptop, iPod, phone, a big bag of bathroom stuff and DVD, video games, but no video games on this tour. Whatever things you can bring from home to make it comfortable. Make it livable on tour and being away.

MM: How about drama? Is there any head butting? Any Arguments?

Corey: Not really, we all get along pretty well.

MM: Ok, cool. Last questions and these are just kind of fun type questions. First one…Who would win a fist fight, Rob Halford or Bruce Dickinson?

Corey: Dickinson.

MM: Guitar duel, Dave Mustain or Kirk Hammet?

Corey: Mustaine.

MM: Death Metal Karaoke, Chris Barnes or Glen Benton?

Corey: (Pause) Glen Benton.

MM: More evil, Glenn Danzig or Kerry King?

Corey: Um, I don;t think either are evil at all…I’d have to go with Kerry King though because he’s got “God Hates Us All” Tattooed on his arm.

MM: And last one…who can drink more Matt Heafy or Corey?

Corey: ME!

MM: How do you pronounce your last name?

Corey:  Beaulieu (Bowl-yur)

MM: that’s not how it looks, but shit, I might have spelled it wrong anyway. Can you spell it for me?

Corey: B-e-a-u-l-i-e-u

MM: I’m just curious, man cause every time I… (Laughing)..ok. I really appreciate your time and we’ll see you out there.

Corey: Thanks.

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Post from: Metal Martyr

All That Remains played a lot of the classic/typical songs from This Darkened Heart and The Fall Of Ideals as well as about 4 or 5 from Overcome. Any doubts about how the new songs will sound live can be put to rest. They all sounded great, even though I kind of think that they used a chorus type effect or someone doing backing vocals on the clean parts, but I could be wrong. I had a copy of Overcome that I was hoping to get signed by Phil, but that fell through when the interview fell through and I didn’t think to get it signed by Oli and Mike. I’ll still be giving that away though. Until then, enjoy the pictures.

I wish I got more good shots of Jeanne Sagan.

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ALL THAT REMAINS is again up for the Boston Phoenix’s “Best Metal/Hardcore Band” in the Boston area! They need your help voting, so head on over here and vote for your favorite.

And stay tuned for lots of exciting news about the upcoming, brand-new ALL THAT REMAINS record, too!

Post from: Metal Martyr

So how do you win? It’s easy but I’m going to make you work for it. All you have to do is show me that you want it badly by commenting as much as possible. Search through my archives, leave comments good or bad, whatever. Just make sure it’s a legit comment and not just some BS. One Last thing…so I know that you want it you have to type ATR at the end of your comment. Don’t forget that!

Open to U.S. and Canadian Residents only…sorry.

Post from: Metal Martyr

A line up change went into effect with the exit of Chris Bartlett (Guitars) and Dan Egan (Bass), and Producer Adam Dutkiewecz (Killswitch Engage) coming into the picture. Matt Deis came onto Bass and paino and this would be his only studio recording with the band. Unfortunately this would be the last record for Matt Bartlett on drums. As we all know in good bands, line-up changes either bring out the best of a band or contribute to the demise of it. This line-up change if anything made a more dynamic All That Remains.

The guitar duo of Oli Herbert and Mike Martin make for a great sound and these two work well together. The acoustic arrangements on the beginning of And Death In My Arms and Regret Not are amazing. The solos are great and the leads and rhythms on the entire cd can’t be touched.

Phil Labonte brought a more diverse vocal range to This Darkened Heart as opposed to the consistent low growling type vocals from Behind Silence And Solitude and I think that is what really makes this record the beginning of a great future for the band. (I hate to do the comparison but Brian Fair has nothing on Phil Labonte).

The 2006 follow up to This Darkened Heart, The Fall Of Ideals shows that All That Remains is here to stay. They will be getting back in the studio sometime in the near future and A new record will be expected in 2009.

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