“Ad Mortem”, the new video from the North Texas death metal outfit THE FAMINE, can be viewed below (courtesy of AOL‘s Noisecreep). The track comes off the band’s new album, “The Architects Of Guilt”, which is scheduled for release on February 15 via Solid State Records. The follow-up to 2008’s “The Raven And The Reaping” was produced by D. Braxton Henry (ex-DEVOURMENT) and was mixed by Jason Suecof (THE BLACK DAHLIA MURDER, TRIVIUM, DEVILDRIVER).
The “Ad Mortem” video was shot in December at a steel fabrication shop in Dallas with Michael Dalton in an attempt to capture the frustration of ferocity that permeates through the 11 tracks on “The Architects Of Guilt”.
“As I talked to Nick [Nowell, vocals] about this video, he let me know he wanted to not just set the feel for the track, but for the whole album,” said Dalton. “From shooting to editing, chaos was the ultimate goal.”
To achieve the desired feeling of chaos, the video combines quick edits of performance footage, filmed in the dark, cold Dallas warehouse, with images and video from traumatic events throughout history.
“[Nick] wanted it to be dark, chaotic and to feel oppressive, which is where all of the close-ups and stock footage came in,” Dalton continnued. “As I’m sure my editor will tell you, watching hours of stock footage helps you to realize that mankind has accomplished both incredible and terrible things, and we’ve been to some really dark places. I think the goal of this video was to allow the viewer to catch even the slightest glimpse of that. And to maybe get stoked on some metal.”
“The Architects Of Guilt” track listing:
01. The New Hell
02. Ad Mortem
03. We Are The Wolves
04. Turner Classic Diaries
05. Bigger Cages, Longer Chains!
06. The Crown And The Holy See
07. VII The Fraudulent
08. A Pavement Of Good Intentions
09. A Fragile Peace
10. Pyrithion House
11. To The Teeth
According to a press release, “The Architects Of Guilt” “is not a sing-along or a feel-good record; it’s the death rattle and dying breath. THE FAMINE is not here to win popularity contests, simply create metal, red in tooth and claw. The music has become faster, more technical, even abrasive and discomforting, trading shear aggression and energy for the lifeless sweeps and mechanized beats that have come to dominate and dilute the genre. The lyrics forego empty threats and skip the subtleties, calling out the deceit and duplicity of our leaders, and the decay next door masked by a flaking white picket fence and a familiar chemical scent. The band traces the fractures in stone pillars and cracks along the marble walls, sets their tools down after 11 tracks and walks away as if saying, ‘Don’t come to us when the temple falls.'”
