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Interview: gloryBots

It’s been three years since you dropped Invisible. What have you guys been up to?

After the release of our album ‘Invisible’ three years ago, we’ve been keeping ourselves busy. We took some time to work on our live performances, fine-tune our setlist, and deliver memorable shows for our fans. We’ve also been in the process of searching for inspiration and exploring new musical ideas to incorporate into our music. Writing new songs has been a priority for us during this time, as we wanted to create something unique and meaningful for our audience. It’s been a fulfilling journey, and we’re looking forward to sharing our latest creations with our fans.

Does Radiation Skies mark a departure for you as a band?

Radiation Skies represents a notable departure for us as a band. We noticed a change in the way our music ideas developed and evolved, as each member of the band brought their own unique perspective and influences to the table. This resulted in a different approach compared to prior albums, considering the addition of two new band members. However, despite the changes, the distinctive songwriting style of Jalal Andre still shines through, and fans may notice similarities to previous albums. We’re constantly evolving as musicians and artists, and Radiation Skies reflects our growth and musical exploration.

What sets it apart from your previous releases?

Radiation Skies sets itself apart from our previous releases in a few ways. Firstly, there’s a noticeable evolution in our sound, as we’ve experimented with different musical elements and pushed ourselves creatively. We’ve taken risks and explored new sonic territories, resulting in a fresh and unique sound that distinguishes this album from our previous work. Additionally, as a band, we’ve grown both individually and collectively, and this growth is reflected in the maturity and depth of the lyrics and themes explored in Radiation Skies. Overall, while still retaining our signature style, Radiation Skies represents a new chapter in our musical journey, showcasing our growth and evolution as a band.

How did you hook up with Don Gunn?

Don Gunn was initially brought on board to mix the record, based on a suggestion from the previous drummer, who dropped out of the band after tracking the first four songs for Radiation Skies.

Was he brought on as a drummer and then ended up mixing? Or was it always the plan to have him wear two hats?

When the prior drummer dropped out, Jalal asked Don if he would fill in on drums, in addition to continuing in his role as mixing engineer. Don agreed to play drums on the remaining songs and replay the first four songs to maintain rhythmic continuity throughout the record. Don hadn’t planned on joining a band (but we’re thrilled he did!)!

This will be your first album mixed in Dolby Atmos. How did that come about and what does Dolby Atmos entail?

Taken verbatim from Wikipedia: “Dolby Atmos is a surround sound technology developed by Dolby Laboratories. It expands on existing surround sound systems by adding height channels, allowing sounds to be interpreted as three-dimensional objects with neither horizontal nor vertical limitation.[1][2] Following the release of Atmos for the cinema market, a variety of consumer technologies have been released under the Atmos brand, using in-ceiling and up-firing speakers. “ – https://en.wikipedia.org/wiki/Dolby_Atmos

The idea to mix in Atmos was initially proposed by Don when he was mixing the album in stereo.  Don heard sweeping soundscapes in the music that he thought would be benefitted by the immersive sound afforded by Atmos. In Don’s words, his approach was this:

“My approach to the Atmos mixes followed my intention with the stereo ones; take a whole lot of sonic information and make it sound as expansive as possible. The beauty of Atmos/spatial audio mixing is that rather than being limited to two channels (as in stereo mixing), now I have eleven channels as well as a separate LFE/subwoofer channel to let particular parts inhabit.

I’ve found that the trick is not to ignore what I call “the front wall” – the left/right channels in front of the listener and where they may expect the ‘focus’ of the song to be coming from. I still mix with that as my foundation, but then use the sides, rear, and height channels to help add to the drama of the mix. It’s like telling a story, and you want the reader to be surprised and be moved by the decisions, but never pulled entirely out of the story.

Atmos mixing is a new approach but one I embraced in the 5.1 surround day and now have a new canvas on which to play!”

We’re excited to share the Atmos mixes, which is still relatively rare among independent artists.

What’s next for gloryBots? Going on the road this summer, perhaps?

While hitting the road would be an exciting adventure for us, currently we’re focused on exploring the vibrant music scene in the Seattle area. There are a lot of exciting places to play and connect with local audiences. In addition, we’ll be working on a music video for one of our songs in the near future. As for touring, it’s something we’re considering in the long term, depending on how our album is received and the opportunities that arise. Our main focus right now is to continue creating and sharing our music with our fans, and we’ll be keeping our options open for future touring possibilities.

About Michael Stover

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