Ripping apart folk metal with a merciless assault, finally a band is delivering an extreme take on melodies that fans of pagan and melodeath alike have been raging for.

Perth’s Claim The Throne deliver their epic fourth full-length album ‘On Desolate Plains‘ with passion and ferocity – An epic slab of heavy folk-influenced melodic death metal that sees the band at the peak of their 10 year raid.

It is set for release on Friday October 13th. They take it on tour in November along the East Coast supporting Wintersun. Tickets are on sale now. Scroll below the interview for dates and venues.

Claim The Throne have ruthlessly torn up stages around the world leaving their mark as a top quality band who refuse to sacrifice their ability to drink your booze and have a kick ass time in the process.

The band’s 2013 album ‘Forged In Flame‘ received massive rave reviews and built a loyal global following. Now they return to build on that.

You can pre-order ‘On Desolate Plains‘ digitally [Here] or physically [Here].

To find out more about the album, the band took the time this week to answer our On The Record questions. Take a read below.

ON THE RECORD INTERVIEW
Tell us about the release title.
This album is broadly based on the ruthlessness of the vast Australian Desert. On Desolate Plains was one of the earlier song titles we had, and it’s really the only title we could all agree on. Others that missed out included, Depths Of Unreality, Storms Unborn and Winds To Devour.

Tell us about the artwork.
The artist is Michael Salas, and his artwork depicts a scene described in the album; a delusional traveller, led into the desert by a songbird, wakes to the horror that he is being eaten alive and the melodies that tempted him are the sound of his own screams. Something like that anyway. We left the art pretty late into the recording this time, and as a result were looking for something a little bit more simple in scope and bleak compared to our last couple of highly colourful, full fold-out album covers. One of us stumbled upon, Suzerain by Melbourne band, Merchant. We loved the style and tracked down Michael from there.

What format/s will it be released on and how will it be packaged?
The initial release will be CD (digipak) and digitally through Bandcamp where we have uploaded 24bit/48kHz WAVs. We also have a hand numbered 7” single of Spirit Of Fire/On Desolate Plains that includes a digital download code for Bandcamp. Pretty stoked about that.

Who will it be released through, and when?
The album is available for pre-order right now and will be officially released on 13/10/2017. At this point we are releasing independently. Anyone who listens to our podcast, the Claim The Throne Blodgecast, will hear us endlessly crap on about being a DIY band. I guess this is consistent with that ethos.

Tell us about the studio and why you chose to record there?
The recording of this album was broken up into a few sections. Drums were recorded at Studio Underground in Perth with Al ‘Dr Alien’ Smith from Bergerk! Studios behind the glass. We were looking for a big, natural drum sound this time around and decided that Underground fit the brief. The rest of the tracking was done at home in various bedrooms, kitchens and bathrooms. We have a bunch of recording gear from our last self-recorded effort, and felt that recording at home would allow us to live our normal lives and still achieve our vision.

Tell us about the producer / engineer and why you chose to record with them?
We chose Al Smith for drums because he’s an awesome engineer with great sense of what we are about. Al has been apart of our last 3 releases, and the drum tracking on our 2010 album was the most comfortable and productive session I’ve been apart of. As for the stuff at home, I convinced the band that I could pull it together and I was lucky enough for them to trust me.

Did you go into the writing process with a clear direction in mind?
With this album there was a broad concept (the ruthless Australian desert, death, spirits, birds, orbs – typical stuff) from which we all drew ideas. The album came out quite varied though because everyone interprets the theme a little differently, and everyone has their own writing style.

Were you listening to anything in particular during the writing / recording process that influenced the songs at all?
Nothing particularly, but if we had BBQ during recording I can guarantee we would have played Moonsorrow Kivenkantaja, Manegarm Havets Vager, Marduk World Funeral, At The Gates Slaughter Of The Soul and In Flames Whoracle.

Were there any albums you were referencing in the studio to aim for a certain type of sound production wise?
I did for sure. I was referencing elements of Ahab The Giant, Red Hot Chili Peppers Blood Sugar Sex Magic, Metallica Black and Moonsorrow Kivenkantaja. Kind of a crazy bunch of references, but the main idea was to capture all of the sounds as organically as we possibly could and have them all work together to sound like folk melodic death metal.

How long did you spend in the studio recording?
We spent 3 days doing drums. Essentially 1 day for setup and 2 for tracking. The rest was spaced out over about 5 months, all on weekends and after work where schedules allowed. Plenty of breaks in there and not too many headaches. It was really cool. Mixing was done over about a week or 2 and mastering was very quick.

WATCH

Tell us a little about the recording process the band used?
For drums I played each song through until I had a take that felt good, then I’d listen back, make notes, and do punch ins where I had lost it or missed stuff out. Guitars were DI’d then reamped just before mixing. We ended up using tube amps through a load box for the front end and cabinet impulse responses in the box. Pianos and keyboards were recorded via Jesse’s digital piano using the internal sounds for monitoring, but reamped after using the recorded MIDI to trigger virtual instruments. Bass was DI’d also and reamped through a Sansamp VT Bass pedal. Heavy vocals were through an SM7b and cleans were through a Rode NT1. Acoustic guitars were recorded mostly in mono using the NT1.

Was this any different to previous processes you have used?
The approach was a very similar but more refined version of the process we used on Forged In Flame. I had bought and sold some more appropriate gear this time based on the shortcomings of our last home recording rig. It went really well this time, but there are a few things to tighten up for next time.

Any guests involved? if so, who.. and what did they do?
Dean Arnold from Primalfrost and Vital Remains did a guest guitar solo on Where Night Passed And Sunlight Shone. We toured with Primal Frost in the US and Canada in 2015 and became good mates with Dean. Jesse had him in mind for a solo for that track and he did a killer job! John Ryan from Bunbury band Suffer In Rot did guest vocals on a slower, more brooding track called Harbinger, Scavenger. John has a ludicrously guttural voice and it was awesome to hear him on a really different track than what we’re used to.

When it comes do naming the tracks, is there any particular approach or process to it all?
Song titles are usually found somewhere in the lyrics, which are in some way derived from the album theme or concept. Part of the reason we work on a theme before writing even happens is to set the tone for everything that happens after.

Any particular equipment outside your usual live gear used in the process?
The core of the album is recorded with our live gear, but there are a few things we have that are too precious or impractical for the stage that have made it to the album. The obvious things are the acoustics that haven’t seen a proper live set for a few years and some of the synth sounds. While most of the guitars were tracked with Dysie’s ESP Hex, we used a few others on different spots. A Hawkins Custom 7 string was used for rhythms on Windfall and was used for all the rhythm and lead tracks on My Dying Throes. Hawkins Guitars are handmade here in Perth by Marc Hawkins from the Tech Death Band Grotesque. A vintage Fernandes strat-copy opens the album, and there is some classical guitar in spots too.

Any memorable studio moments? (good, bad, funny etc)
The most memorable for me was Jim’s first vocal take on the album. He cultivates a new type of scream for every album and this one is his most obnoxious yet. We all knew it was coming, but having him belt it out right next to us in the room had us all cracking up.

Any additional tracks recorded that didn’t make the cut but may see the light of day sometime?
We had one more called Sandstorm. It was one of the earlier songs written for the album, but we ran out of time to track it during the drum session. We may still record it, but I think we’re happy to move on to newer material at this point.

What track/s are you most looking forward to playing live?
Harbinger, Scavenger if we can ever get it together. It’s a lot slower than most songs in our set, but it would be pretty cool if we can get John Ryan involved on stage with us.

How would you compare the final product to previous releases?
As a band I think we’re happier than we’ve ever been with a release. Everything just worked for us this time and there’s no part that disappoints me, even after sitting with it for a while. It’s a cool feeling.

Anything else you want to say or about the release?
We hope everyone enjoys listening to it as much as we enjoyed making it!

COVER ART
Claim The Throne
TRACK LISTING

1. Fury Entwined
2. On Desolate Plains
3. Spirit Of Fire
4. Mantra
5. Where Night Passed & Sunlight Shone
6. Silence Beckoning
7. Windfall
8. This Agony Endured
9. My Dying Throes
10. Everblade
11. Harbinger, Scavenger
12. Of Creation

TOUR DATES

WINTERSUN
With guests ORPHEUS OMEGA and CLAIM THE THRONE
NOVEMBER
2nd – Max Watt’s, Melbourne [18+]
3rd – Max Watt’s, Sydney [18+]
4th – Max Watt’s, Brisbane [18+]
—> Tickets available Tuesday 12th September.
—> For more information, visit [Here].

TOUR POSTER
Wintersun
LISTEN TO PREVIOUS RELEASE

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