BEAST MODULUS (EN)
1- Hello, thanks for answering to our questions. What are you guys currently up to?
After releasing our first record in 2015, we decided to record with Raymond Marte & Anthony Lopardo out at Westfall Studios in Long Island for what will be our second record “Being”. We played a few shows with Ray’s band, Moon Tooth, and I was a fan of a couple of the records that Ray had worked on. So, we decided to do all of the tracking and mixing with them. Honestly, we couldn’t be happier with the end-result. Now it’s time for PR, our Record Release Show, more gigs, merchandise, pictures, beers, boobs and promotion!!!! -JS
2- First off, could you make some history of the band?
Beast Modulus was a project that started around 13 years ago when I still lived in New Orleans. I wanted to experiment with an alternative writing process by separately writing parts to pre-arranged material. In this case, it started with the drums and some defined beats arranged as a “song”. This went through a few incarnations and, after Hurricane Katrina, I ended up moving to New York and staying there. After years of working in television, trying to navigate this crazy city and gigging with random bands, I answered a Craigslist ad for a Brooklyn band called Family. I tried out and, much to my surprise, actually got the gig. The reason that I say I was surprised, is because the band was more “metal” than anything I’d played in before. But I was willing to embrace the learning curve. Family guitarist Owen Burley, and vocalist/bassist Kurt Applegate would eventually be two-quarters of what would become Beast Modulus along with bass player/vocalist Jesse Adelson from NY metal band “Prostitution”. When we solidified this current lineup, Beast Modulus ultimately seized its full potential. It’s one that operates as a legitimate “group” where we can bounce ideas off each other. Our close musical and personal relationships allow us to work in an environment akin to what MMA fighters refer to as “Iron-Sharpening-Iron”. -JS
3- How could you describe your sound?
I’d like to think that we straddle some of the noise rock, southern metal, punk rock and post hardcore influences that we all share. As far as our particular sound is concerned, I’d say it primarily consists of some broken 16th note patterns, distorted guitars, fuzzed-out bass and screaming vocals with occasional bursts of melody. I also incorporate electronic samples, loops and noises throughout the songs and in between them on the record. Lyrically, Kurt has said that some of the topics revolve around positive and negative relationships, Biblical plagues, addiction, conception, fornication, primitive medical techniques and the fact that time is precious. He’s got a lot of dark stuff going on in that noggin of his. But, hey, this is heavy metal. It’s an outlet for all of us. –JS/KA
4- What are the band’s main musical influences?
We all have our own varying influences. Mine are all over the map. I love the dirty street funk of the Meters, the angular punk of NOMEANSNO, the progressive/jazzy/mechanized jams of early Voivod and the noise rock of Unsane. I know Owen and I share a lot of the same early influences in “Blind” & “Deliverance” –era Corrosion of Conformity. A lot of our groove heaviness comes from Pantera who were, definitely, “Southern Metal” pioneers. Every Time I Die and Norma Jean are heirs to that genre, but they also combine post-hardcore influences which is a lot like what we do. It’s probably no big surprise that Dillinger Escape Plan and Converge have sculpted a lot of our sound. Kurt always brings in heavy influences such as early Lamb of God, Gojira, Neurosis and Remission-era Mastodon. Jesse loves dance(y)-angular post-pop like the Faint. And bizarre duos like Die Antwoord and Genghis Tron. -JS
5- How has the feedback for your new album been?
It has not been officially released yet. But everyone that’s heard it has really been digging it. We sent the record to a few, close, friends of ours to get feedback on mixing, mastering, etc. We made a point to tell them to get really high before listening. Some of the feedback has been “it’s Southern”. Some of them said that we “really stepped up the arrangements and dynamics from the previous record”. I’m just excited for people to get a glimpse into the sonic backdrop that represents the last year and a half of our lives. -JS
6- And are you personally satisfied with the final outcome?
I think it’s a sonic departure from our previous offering. We spent more time rehearsing the material and ironing out the parts, collectively. The final result is something that’s much more cohesive. I’ve also spent a lot more time working on electronic music and trying to use more midi/electronic sequences to interject before, during and after the songs. Pulling this off, in a live context, has been a challenge in and of itself. –JS
Sonically, I think that we’re really happy with the outcome. And the guys over at Westfall were a joy to work with. And Carl Saff did another excellent job at Mastering. It took us a couple passes to nail down the final product so, kudos to Carl for being so patient with us while we honed in the right sound. Prior to recording the record, most of these songs evolved and shaped themselves into what you hear. However, after we laid all of the tracks down and put the lid on them, we continued to develop parts that are a little different than what’s on the album. Most of these new additions are much heavier, in my opinion. You’ll just have to come see us live to experience them. -KA
7- How could you describe this opus in just 3 words?
Scrotal Puckering Testosteroni. -JS
8- How was the production process for your new release?
We went a less traditional route for this release. We automated four sex ‘bots that could transcribe the music in real-time and execute the parts on our instruments while having sex with each other. We then recorded that audio sex bot orgy, which is what you hear on ‘Being”. It’s also why it tickles you deep in your ear holes a little more than the average heavy listening experience. -JS
9- And how does the songwriting process work?
Instrumentally, either Owen or myself will bring in an arranged series of riffs or beats. Owen has a very off-the-cuff writing style that I often need to play along with a click track to orient us with what the tempo actually is. From there, we figure out what is dragging, speeding up or what is just completely a different feel and/or tempo. It also helps us figure out what transitions work the best. If I bring in something, it’s all to the same tempo. That’s my personal challenge; to create some sort of a dynamic and evolving arrangement that has perpetual energy and is somehow solid. From there we get the bass and vocals involved. Jesse will figure out a bass line that can complement Owen’s style. Kurt tends to improvise at first. We usually end up doing multiple takes and tweaks over the course of a few months. I record these in the practice space then e-mail them to the other guys. We bring in notes, Kurt writes some weird, perverted lyrics. And, at some point, we get so sick and tired of the whole process that we book a studio date and let the chips fall as they may. –JS
10 – Finally, what are you near-future plans?
Our main goal is to get people to hear this record. I hope that it excites people and that they feel its kinetic energy. Most importantly, we hope that it sounds like something other than what’s being offered in the present world of heavy music. -JS
10- That’s all from our side, thanks again for taking your time to answer our questions. If you now want to add some final words; feel free to do it.
Thanks for inquiring about Beast Modulus and our new record “Being”. We’re very happy to be in a band that continues to push each other musically and is in the company of some very talented musicians in the NY Heavy Metal Scene. We’re already writing songs for the follow up to “Being” and are very excited to be playing music that we’re passionate about, with and for people that we love. Now, let’s pound some beers! -KA
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