Blood Steel And Fire

This album was recorded in Vancouver Canada. We spent 6 hours dialing up the guitar tone for the leads alone. After trying many different combinations of amps decided on a 1982 JCM 800 with a Zakk Wylde overdrive pedal through a Diezel Cab. It was sonically insane. Some lead tracks are doubled like Randy Rhoads and Dimebag used to do. My favourite solo is the one after the 64 bar harmony section in Metal Revolution which is a good example of this doubling. There is some super heavy dropped D and dropped A stuff but everything else is in standard tuning. The drums and bass sound crushing and huge, performance was tight. I screamed my guts out in the studio for sometimes 10 hours a day because our tight budget couldn't afford breaks. First I layed down the clean melodic and power vocals, then moved on to hardcore and death to finish. I thrashed the hell out of my voice but got her done. Vocal sessions were intense and Producer/Engineer Chicken McChickenson was there every step of the way. The album has some great art by Whistlers Pete Malaschitz. Sweet photography done out behind the Omega Crom stronghold where we lit the whole field on fire, by Kelly Schovanek. An impressive graphic layout designed by Celine Derval of Nibiru Drums. Kick Ass. I got goosebumps the first time I beheld the bloody warrior on decimated battlefield with carrion birds flying in the background and perching atop the staked heads of fallen enemies. I worked so hard on this for so many years. There were a lot of cool people involved with this project that made it come to fruition. It's a great package of hard work and years of vision forged into one primary directive. The releasing of adrenalized battle rush. Thanks. - Johnny Ketlo.