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Destroy Erase ImproveDestroy Erase Improve


This song is a copyright of Meshuggah & I don't own it in any way, shape, or form. That was the challenge.”Another important factor in the realisation of the album was the choice of producer Danne Bergstrand. 10 tracks (46:33). We’d had producers on earlier albums and there always came a point where they wanted a say in something that had to do with the structure of the music, and we were like, ‘No, it’s going to be this way’.“We just had two really big scares there,” explains Mårten. We just thought, ‘Shit happens, let’s go!’”It was this can-do (or perhaps ‘can-do- anything’) attitude that characterised Destroy…, an album which pushed metal into unexplored places with little regard for the consequences. Propelled by twisty dynamics, aggressive energy and a keen sense of groove and melody, Destroy Erase Improve swiftly detonates stuttering blow after blow like a … We just thought, ‘Shit happens, let’s go!’”It was this can-do (or perhaps ‘can-do- anything’) attitude that characterised Destroy…, an album which pushed metal into unexplored places with little regard for the consequences. Despite the inevitable stress that such constraints necessitated, the experience proved to be surprisingly positive.It was this progressive streak that would soon come to the fore, the group evolving into a full on, polyrhythm-packing, technical and experimental metal outfit. Less of a masterplan on any individual member’s part, the move appears to have happened largely by chance while the bandmembers were writing.“So working with Danne was really liberating because he was just tech-nerding with Fredrik about whether to use this or that on this channel, and how to cut this piece to that piece, and a lot of technical stuff. Thomas was dealing in the lyrics with human shortcomings, so the album’s title alluded both to the lyrical content and the fact that we’d destroyed the old way of working and started on a clean slate. Destroy Erase Improve (published in the same year as Demanufacture), is a son of Voivod clanging experiments, and it’s characterized by a schizoid tangle of riffs, a waterfall of dissonant solos close to Robert Fripp and Allan Holdsworth jazz delirium, with Cynic spirituality and … Das Album war der Nachfolger zu ihrem Debüt Contradictions Collapse aus dem Jahr 1991. Please refresh the page and try again.“Why it turned into that technical thing I don’t really know,” Mårten admits. We wanted to roughen it up a lot, we knew we needed to make the sound more raw than before but still keep that power and precise feeling to it. Entstehung.

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