The drum playthrough video for “Nostrum”, a brand new song from Swedish extreme tech-metal pioneers MESHUGGAH, can be seen below. The track is taken from the band’s upcoming album, “The Violent Sleep Of Reason”, which will be released on October 7 via Nuclear Blast. The CD was inspired by a Goya painting called “The Sleep Of Reason Produces Monsters”.
MEHUGGAH drummer Tomas Haake told Rolling Stone about the song: “It ties in with the Biblical Apocalypse, the idea of a deity coming back to undo it all and taking to heaven the ones who are righteous. It’s about a monster that’s coming for us, or maybe an asteroid hurtling towards the earth. It’s always been a weird conundrum for me how some people, even devout people, fear the Apocalypse whilst others welcome it. I’ve never understood that.”
“The Violent Sleep Of Reason” was produced by the band and was engineered by Tue Madsen of Puk Studios in Kaerby, Denmark.
For “The Violent Sleep Of Reason” cover, MESHUGGAH once again enlisted Keerych Luminokaya who created the artwork for “Koloss” and “The Ophidian Trek” as well as the new images for each of the seven albums and three EPs featured in the “25 Years Of Musical Deviance” box set.
“Basically, the whole idea of why we chose the title is it kinda connects with the lyrical content of the album,” Haake said. “Which is, to a fair degree, about current events and what you see is going on as far as terrorism today, extremist views on ideals, and religious dogma and the violent implications that you get from being asleep, so to speak, and not acting/reacting to what is going on in the proper way.”
“The Violent Sleep Of Reason” track listing:
02. Born In Dissonance
04. By The Ton
05. Violent Sleep Of Reason
06. Ivory Tower
09. Our Rage Won’t Die
10. Into Decay
Haake told Metal Hammer that MESHUGGAH recorded “The Violent Sleep Of Reason” live in the studio — marking the first time they have done that “in 20-25 years.” He said: “It was time limitations that stopped us doing it before. And it’s been interesting.
“If you put it all together using computers, then you often have to fix problems after the fact. I’ve gone back to records where I’ve not known every drum part. And once you do that, you can start with drums and then just add layers of guitars and then bass and it all sounds perfect.
“‘Obzen’ and ‘Koloss’ are great albums, but, to me, they are a little too perfect. It didn’t really capture what we sounded like honestly. But where we recorded live, you get to hear the push and pull, one person might be a little ahead and the other might be a little behind. If you kill that, you can kill the energy.”
He added: “So for us it was just about going back to those albums that inspired us when we were growing up, that were important to us in our formative years, and all of those bands had that energy. The albums in the ’80s and early ’90s had the rawness that I’m talking about — that’s what we wanted to recapture.”