- Since the band released their debut album 10 years ago, Suicide Silence has gone on to sell nearly half a million records in North America. The band’s last release, 2014’s “You Can’t Stop Me”, has sold over 60,000 copies in North America alone
- Suicide Silence will embark on an album release tour around the street date of their new record that will take them to markets such as Dallas, Phoenix, Los Angeles, San Francisco, Las Vegas and more
- Prior to the release of their new record Suicide Silence will release a music video for the first single “Doris” in January. There will be subsequent in-studio videos released in addition to several 360° video that features an interview with the entire band recorded in producer Ross Robinson’s studio and home
- Advertising in Revolver, Decibel, New Noise, Outburn and other hard music and lifestyle publications
- Banner ads on sites such as Blabbermouth, Metal Sucks and more hard music and lifestyle sites
Imagine a high-speed bullet train in the throes of a 275 mph run as it suddenly makes a sharp turn without a single second to slow down. That’s the sound of SUICIDE SILENCE.
It’s not so much the noise from Japan’s famous Shinkansen trains that’s analogous with the Southern California heavy metal institution, a band that has both defined and defied subgenre classifications over the course of five incredible albums and countless international tours. No, what Suicide Silence has in common with the bullet train is the breakneck intensity, the fearless acceleration, and the no-nonsense efficiency.
Suicide Silence is an aggressive mainstay and fierce attraction at Vans Warped Tour, extreme metal festivals like Ozzfest Meets Knotfest and Rockstar Mayhem, and hard rock radio gatherings like Rock On The Range and Aftershock, bridging the gap between the subcultural adherents of the band’s bludgeoning ferocity and the generation of youth desperate for a supportive community to help them overcome life’s struggles.
Like monumental self-titled sets from trailblazers like Metallica, Fleetwood Mac, Blur, and the Beatles, the latest album from Suicide Silence is a bold mission statement awaiting true definition by the fans. They didn’t set out to sell a billion albums or change the musical culture of the world, but their fifth record is no less ambitious and transformative for them in unbridled creativity, dense atmosphere, and groove.
Suicide Silence redefines, refines and brilliantly sharpens the purpose of the band, a group whose music has been integral to the personal daily empowerment of many of its diehard fans and absolutely of vital consequence to the survival of the guys in the band.
On their fifth and arguably most important album, Chris Garza (guitar), Mark Heylmun (guitar), Dan Kenny (bass), Alex Lopez (drums) and Eddie Hermida (vocals) unapologetically attack the next chapter of their creative expression together with vigorous purpose, complacency-smashing courage, and fearless decisiveness.
In this effort, Suicide Silence enlisted producer Ross Robinson, who similarly helped summon career-defining albums by Slipknot, Korn, At The Drive-In, Sepultura, Glassjaw, and From First To Last. Joe Barresi, best known for his work with Tool, Queens Of The Stone Age, Slipknot, Fu Manchu, Kyuss, and Bad Religion, expertly mixed Suicide Silence.
The result is a record that’s simultaneously raw and intimate, brutal and powerful, from the ripper attack of album opener “Doris,” with a jarring sound that puts the listener right inside the room with Robinson and the band, to the haunting melancholy of “Conformity” and the soul searching, epic adventure of “Silence” and “The Zero.”
The band’s continued legacy cemented and secure with their previous four records, Suicide Silence have endeavored to leave their mark on heavy metal with a diverse catalog demonstrative of the totality of who they are as people. Album five is their most victorious triumph by far, but it’s by no means their only jaw-dropping accomplishment.
Like the historical creative and commercial reemergence of AC/DC or Alice In Chains, Suicide Silence once came roaring back from the kind of tragedy that often ends careers.
2014’s You Can’t Stop Me served as a simultaneous introduction to Hermida, as well as a celebration of the brotherhood the band shared with his late predecessor, Mitch Lucker. Suicide Silence fans demonstrated their fierce loyalty and unwavering support when album number four emerged, putting it in the Billboard 200’s Top 20. The industry followed suit; Sirius XM’s Liquid Metal played it more than any other album in 2014.
The tight-knit band’s mash-up of death metal, grind and time-signature bending dissonance with structured, focused and undeniable grooves unquestionably shaped and led the emerging “deathcore” subgenre from the arrival of their 2007 debut, The Cleansing. Suicide Silence was named “Best New Talent” at the Revolver Golden Gods Awards and had already dominated the Rockstar Mayhem touring festival by the time 2009’s No Time To Bleed broke into the Billboard Top 40. “Wake Up” and “Lifted” became underground classics, as Suicide Silence transcended the subgenre they helped define and became peers with bands they’d grown up listening to as kids in California.
Produced by Steve Evetts (The Dillinger Escape Plan, Every Time I Die, Sepultura) and mixed by Zeuss (Rob Zombie, Queensrÿche, Hatebreed), 2011’s The Black Crown was the full realization of everything Suicide Silence stood for and vehemently stood against.
Suddenly, the man who popularized the “You Only Live Once” phrase in the heavy music community left the world behind unexpectedly and much too soon to fathom. Lucker was killed in a motorcycle accident on Halloween Night, 2012. Two months later, Suicide Silence took the stage without Mitch for the first time, playing an emotional and career spanning set in memorial to their late singer, with Hermida and frontmen from bands like Mudvayne, Lamb Of God, and Machine Head. An understanding and supportive audience responded enthusiastically to the October 2013 announcement that Suicide Silence would officially continue with Hermida, the only man considered for the job.
The new Suicide Silence made their live debut at Australia’s Soundwave in 2014. The year included a return to Rockstar Mayhem, a co-headlining tour with Black Dahlia Murder, a sold out run across Europe and a performance at Slipknot’s Knotfest. As Suicide Silence found new life and empowerment in the compositions boiling within You Can’t Stop Me, so did their enduringly strong army of supporters, both old and new, who shared in that empowerment. If a rising heavy metal band can overcome a tragedy this triumphantly, this definitively, this absolutely, then surely, there’s hope for anyone.
Suicide Silence welcomed the opportunity to share their music on the road with Korn, whose own Jonathan Davis guested on The Black Crown and who famously made their first two albums (and later, a third) with Robinson at the helm. Fresh from the studio, they embarked on the “Straight Outta Hell” tour, together with fellow deathcore standard-bearers Whitechapel, Despised Icon, Carnifex and Oceano, even as the group broadened its horizons with the slow unveiling of new songs from album number five. The American trek was followed by a return to Europe, co-headlining with Caliban.
As evidenced most defiantly and definitively with the self-titled fifth album by Suicide Silence, the best in music, literature, and all creative arts is born from pain, birthed in truth, drawn from harrowing life experience. It mines the inner depths of the soul to snatch authentic beauty from the jaws of an otherwise certain death. Plenty of heavy bands pay lip service to the idea of overcoming the odds, persevering through adversity, and finding strength from within, but few live it as triumphantly as Suicide Silence.
04. Dying In A Red Room
05. Hold Me Up, Hold Me Down
07. The Zero
09. Don’t Be Careful You Might Hurt Yourself
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