Between The Buried and Me

Interview: Between The Buried And Me – Blake Richardson

I always thought a lot of their bands did pretty well over here as a lot of them do tour here.

Maybe within the last couple of years they have but they were the reason that we never made it over here until 2006 because to them it just wasn’t a good investment or something like that. They didn’t think it wasn’t a smart move and Metal Blade has a much bigger presence over here so that’s why we signed to them. That wasn’t the only reason of course but the fact they have a much larger presence really made it work for us.

Did they have the same direction for the band which you had?

Oh yeah. Brian Slagel, the main guy behind Metal Blade, has been a fan of the band for years. Even when we were on Victory Records he was a fan so that was really cool because he would come to our shows and stuff and talk to us and we could tell he didn’t have a hidden agenda, he was there because he liked our music. That right off the bat was a very big plus. The people at the label are really great and they all share the same ideals and mind-set as to where we see the band going.

I suppose it is a benefit having a fan of the band in control of your label because you know they will work their hardest for you.

Yeah or we can just try and sweet talk him [laughs].

I asked Tosin this question earlier as they are on Prosthetic Records and it relates to you also because Metal Blade followed the same path with Century Media and a few other labels and that was based on them pulling out of Spotify.

I don’t think I’ve heard about this, what happened?

Well some labels including Prosthetic, Metal Blade, Century Media and I think Napalm also pulled their back catalogues from Spotify because the profit to be made from the service is pennies and you need to stream tracks a considerable amount of times before you ever make a real return on it. But people are making the argument whether the possible exposure via the service outweighs the profits to be made when you consider the service right now has over two million premium subscribers and then god knows how many free ones and now it has recently opened in the US.

Oh yeah this. It’s a tough call for me as I can see both of their views. I was surprised that Metal Blade pulled out because I did hear something about Prosthetic and Century Media pulling out but I didn’t look too much into it. I am surprised Metal Blade did it but I suppose in their defence, if money wise it wasn’t a good deal for them, if as you say you need to stream a song quite a few times before you ever start to see any sort of return on it, then maybe it isn’t wise offering that kind of access to the music.

I don’t think you’re even making a penny per stream, $0.004 or something per song stream sort of thing but I can’t remember the exact figure.

Is that all it is?

Something like that but now everyone is in the middle of a heated debate over what the service can offer outside of the financial side of things.

Yeah I can understand that. I feel that they might be kicking themselves as I think Spotify, somewhere down the road, is going to blow up because it has just made its presence over in the US. It has been over here for a while now hasn’t it?

Yeah it started in 2008 I think and they have over two millions paying subscribers and over ten million more free subscribers throughout the UK and Europe. Even though I knew it was a European service I had just always thought it was available in the US until it launched two months ago then I found out what was going on.

Yeah I had heard about it over here for a while because everyone had it on their phone and were just sitting listening to whatever they wanted. I thought it was amazing just with this app they were able to listen to every song that they could possibly want in the world. I guess we’ll see what happens when the US figures start to talk and whether it may become a profitable source for them eventually or if they look at it in a different way like other people do regarding exposure.

Between The Buried And Me The Parallax Hypersleep Dialogues Artwork

Your EP ‘The Parallax: Hypersleep Dialogues’ has been out for a while now so where you happy with how the finished recordings came out to the reaction it received as you were using it as a sort of “remember we’re here” type release to people?

Yeah it was just one of those things that when we came off Victory and signed to Metal Blade, we really just wanted to try get something out there which made people aware that even through the label stuff we were still working and there was still a lot more to come from us. We didn’t want to make it feel rushed or anything but we just wanted to do something quick that wouldn’t involve us taking on a two year cycle like all of our other records. It was a good move for us and the reception has been great, people dig it so we definitely made the right decision.

I noticed around the time of the EP release when the band were doing interviews to promote it that you spoke, well more so Tommy mentioned it, that you were looking to experiment a little with song writing techniques so what did you eventually end up doing different?

I think while we sort of looked at doing things a little differently, we more or less ended up sticking to the same formula.

Just stick to the tried and trusted methods.

Yeah and it has never let us down before so why stop really. It’s all just a big puzzle because anyone of us will just walk in with a piece and we’ll just sit and mix and match them, see what flows into what and then lay the piece down. I think we’ve got into a grove now so even if we do look at something new or try something new, we’ll just slide back into the process that we know. It is good to try new things as they can end up taking a song somewhere or giving you inspiration but we’re just working in a certain way now that it seems crazy to start fresh.

This is part one of the concept you’re working on and I was speaking to Jake Bowen of Periphery at Sonisphere and when I asked him why they decided to go the concept route and he simply replied that it was the progressive thing to do so was that the same sort of feeling for you that as a progressive band, at some point you had to do it?

Its cool man. To be honest with you I’ve always been a huge fan of good concepts like ‘Scenes From A Memory’ by Dream Theater, that is one of my favourite concepts of all time (the concept deals with the story of a man named Nicholas and the discovery of his past life, which involves love, murder, and infidelity as Victoria Page). Pain Of Salvation have ‘Road Salt One’ and I love that whole concept too (frontman Daniel Gildenlöw has described the concept of ‘Road Salt One’ as being many parallel stories that are neither fictional nor autobiographical, centring on a theme of making choices, and focusing on the choices that are left to make by each character. He has also compared the album’s plot to the film Magnolia in interviews). When we did ‘Colors’ we touched on it but that was more musically conceptual than lyrics and touching on a story but I’m a sucker for all that kind of stuff. What are Periphery doing, do you know the story to that?

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Michael is the owner and creator of EspyRock. He is your general all round geek; sports fan; TV show fanatic. You can find him sharing his thoughts on his personal Twitter account. Contact Michael on Twitter or via Email.

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