Exclusive Interview: Dominicide talk writing and recording “The Architecture Of Oppression”!

Where does the time go? It’s been a week since the first of our creature double feature interviews with the beast that shoots lasers from his eyes that is Craig Law from Dominicide so it must be time for part #2. If you’ve not had the pleasure as yet, we can’t recommend highly enough that you get tuned into the Glaswegian Death infused Thrash Metallers new EP “The Architecture Of Oppression” because it’s a mighty fine slab of high octane adrenaline pumping Metal.

What did you learn from your studio time for the 2017 self-titled EP that you took into “The Architecture Of Oppression“? Apart from the rudimentary tips and tricks we mainly learned that you can save money recording on your own! The majority of the EP was recorded on our own devices at home and we then had the extra cash to load into the mix/master which paid massive dividends for the EP!

How does the writing process of a new Dominicide track start? Melody, riff or rhythm first? Riffs are definitely the foundation. Louis and I write on guitar pro over the internet either in full songs or co-write if we get stuck or just want to collaborate! Then Oskar adds his own drums and Liam crafts his bass parts. We then do pre-production to optimise the tracks full potential and then lastly – lyrics!

We love the acoustic intro of “Theocracy” and the way it comes to an almost downtempo skull crushing finale. As a Death infused Speed Thrash act, how do you go about getting the balance right for the flow of the record without bludgeoning the listener to death? Thank you for your kind words! We just feel it out! Theocracy was a challenging song to write and structure as me and Louis were writing back and forth with so many riffs, but in the end we produced an eclectic, action-packed song which is one of our favourites for sure. The skull-crushing breakdown was brought about quite late in the writing process by Louis who was inspired by the ending of Cattle Decapitation’s, “Vulturous” from ‘Death Atlas.’ It really suited the lyrics, ‘imploding in our savagery’ for the song itself to musically implode and break right down

How did you find working with Meyrick De La Fuente (Death Remains, Monasteries, Exist Immortal) of Floodgate Audio on the mixing and mastering of the release? How did you go about choosing him for the purpose?Meyrick is a pro! It’s as simple as that. The big sign of his quality is that he made me smile ear-to-ear from our first mix. He engages well with the song’s feel and special moments, and really enhances your sound. He’s not just there to provide a service and move on to the next one. We did a bit of shopping around but he was the best for price/quality and came with a glowing recommendation from Jahan Tabrizi of Tiberius

For us gear nerds out there, can you tell us what you’re using gear wise (pedals, strings, drums etc) to get your sound? For guitar, Louis uses an Ibanez RGDIX6MPB with Ernie ball 10-46’s or 11’s, I (Craig) use an ESP MH401FR with 10-52 D’addario strings. We ran the guitar tracks through a Line 6 Helix for the guitar tone. On bass guitar, Liam uses a Ibanez SR600e with Ernie ball power slinkys and uses Neural DSP’s Parallax plug-in for his bass tone. On drums, Oskar uses Tama Superstar Hyperdrive Birch shells, Tama Starphonic Steel 14×6 snare, Tama Dyna Sync Double Pedal, Evans Drumheads, Zildjian K Custom Hybrid cymbals, London Drumstick Company sticks, Cympad Cymbal Felts

What difference would it make to you as a band if you could land an endorsement from a gear manufacturer? It would certainly make life easier! In order to have a professional sound you need professional equipment which does mean you have to shell out money rather often to make your set-up as best it can be and maintain it as well. That money saved with an endorsement would go a long way in other departments

The Architecture Of Oppression” by Dominicide is out now and available over at bandcamp

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