link) at a show where we were both playing. And we were talking about music, we talked about life and everything in general; about the state of metal music and how what we feel, and what his career held and what my career is yet to hold, and it was a really interesting chat. And then obviously we spoke about trolls and haters and people like that, that wouldn’t expect let’s say someone like Jamey to listen to our band and like us. So he was super cool about our band and I always wanted to write this song '301' anyway, I had that in my mind even before the music was done and I had a lot to do with that track and I thought he was the best person to stick on the track that is about people prejudging bands whether that’ll be they want the lighter side of things or they want it heavier, especially for the Nuclear Blast bands. There are a vast majority of them that don’t like us because we sing, so that’s kind of a bit of a ‘Fuck you’ to them and about prejudging a band just for the way they look or anything like that. But putting on probably one of the heaviest vocalists on Nuclear Blast and one of the biggest hardcore bands of all time was a definite answer. So we wrote that song and we had that very heavy bit at the end which is where he joins in and it definitely turned out exactly how I wanted it. Where do you get inspired for the lyrics? How is the process of songwriting in general – do you first have the melody or the lyrics? In regards to the vocals it’s usually alright like all the themes, the songs come out with an idea in my head or even like a catchline that I want to say or repeat or even just a word sometimes. I mean, inspiration is from everything. It’s very hard not to be inspired by the world and events and state of things. And that’s why this album is quite bleak and a bit of a negative feel, if you will, towards the world because it’s hard not to have that kind of inspiration when you turn on the TV every day and then you see these things or as you grow older I think you can drew more influences from past experiences. So yeah, that’s easy and it usually starts with when we have like a demo received from Dawson, Jacko and all of us are kind of making demos and Jase usually gets an idea of melody and then I’ll go to him with a theme for the song, what I want it to go like. Because we work together for so long now, it’s kind of easy because he knows the bits that he wants me on and I know the bits that I want him on and it’s kind of we work really well together and it’s almost like a one vocalist now kind of thing. That’s how it works. I just give him my lyrics of how I’m going and he writes around that and I freak out really. Is it difficult for you to write the lyrics that Jase is going to sing, because it’s more melodic? Jase does write the lyrics for his stuff. It used to be that I would help out but, now since "The Union Of Crowns" really, he gets away and writes his own lyrics around what I’ve written. Where was "Earthbound" recorded, who produced and mastered it? It was recorded the same place "Runes" was, in Mike Curtis’ studios. He engineered the whole album and then Caleb Shomo from Beartooth produced and mastered it. He was really much involved. How did you get in contact with Caleb? Did this collab influence the sound? I’ve known Caleb for years. We toured with Attack Attack! in 2010 and he became a really really good friend to me almost like a brother and we’ve been speaking for a long time about recording before and it all went tits up with our old management and stuff. He was supposed to be recording the album that now is "The Union Of Crowns", he was supposed to be recording back a different one to that, what sounded completely different, but obviously everything went wrong and we couldn’t record with him. So since that day, we kind of been speaking about we want Caleb involved and it just landed perfectly with where the ‘Kerrang! Tour’ was so he could see the songs. And yeah, he had influence, he is an absolutely genius when it comes to song-writing anyway. We didn’t overly want anyone song-writing with us, just yet, but it was good to have someone that could influence decisions when making the parts and stuff. And Caleb understands our sound, he understands that we wanted to be very still raw to ourselves and he produced it in that way and I think it sounds great. How was the process in general: how long did it take, did everything went well or have there been any issues? No, we went really quickly. It was actually really good this time and it was very fast. And what we’ve been doing, it was: we were doing the intimate shows of the ‘Stage Invasion Tour’ so that was pretty crazy having to go Sunday, Monday, Tuesday and Wednesday in the studio and then Thursday, Friday, Saturday out on the road. So we did that for about six weeks and then I did my vocals in two days which was pretty good for me, which was pretty fast. I did ten tracks in 14 hours or something that was pretty quick. And then Jase did his afterwards. All in all it was about a total time of probably about six weeks and then it went off to Caleb to produce and we had it back since ‘Slam Dunk’. So it’s pretty got a long time, and it’s been quite a long time that we’ve had it on our iPods and waiting for it to be released. So it’s nice it’s all come together. Why did you name the album the same as the first song, since you‘ve never done this before? It’s kind of not a dumb thing for bands to release a title track straight away, but it worked perfectly with the song title itself and looking at the artwork we were like that: “It just looks like ‘Earthbound’. It just looks that is the perfect title for it.” and it fitted; we had the artwork before that and it all worked around it really. So it was just one of those things we came up with and then decided that 'Earthbound' was the best song to release first. As I said before, we’re kind of over having to do things for other people. The industry says you shouldn’t usually release your title track, so we decided “yeah, let’s release our title track of the album”. Regarding the artwork, what is it about and who had the idea? Who did the final design? Paul Jackson did the design. He’s an old friend of us; he’s been in a band called Jonny Truant and he’s a good friend of us for a long time and he has done a couple of t-shirt designs for us. We originally had an idea of artwork and it just wasn’t looking how we wanted it, plus Bring Me The Horizon released their album and it was pretty much identical to that, so we couldn’t go on with that but we just put it in the idea. We told him what "Earthbound" is about and he had this idea of these three animals eating each other and it kind of worked with the negative kind of dark feel behind the album. So yeah as soon as we’ve seen the artwork, he sent us a little sketch, and he just did amazing so we told him just to go crazy and go on with it. Nowadays, streaming services are common and with them comes the discussion about their advantages and disadvantages. Your first album "Portraits" is no longer available on such services – has is something to do with it? What are your thoughts on this ongoing discussion? I think the thing with streaming is, we have to get used to it. It’s the world we live in and it’s becoming more and more rights for streaming, in regards the artists are getting paid for that as well. Everything is monetized now. I think it’s a thousand streams is worth one purchase, I think it is. Which is fairly good. It’s pretty crazy you have to do a thousand but in the end of the day, if you think if you got an album on repeat all the time, you are gonna rack up some sales in that way and hopefully we can see a half and tenth again, so it’s like a hundred plays is one purchase that would be sweet, but it is what it is. You got to get used to it, that it’s something we have. I don’t see it as a negative thing, I’d rather want people to listen to our music. We’ve always been like that and it sucks that the money has to come into it and you have to run a business some of the time. So this streaming is one of those things. You kind of have to try and pursue people to buy records and buy the album on iTunes. But I wouldn’t blame anyone for telling me they love our album if they’ve got it streaming, it’s fine. It’s always supporting us playing bigger and better live shows the more people listen to it. I don’t really have a problem with that. "Portraits" it wasn’t even just a contrast decision. It’s just the label that we were on for "Portraits", Basick Records, they’ve run out of rights for the album. So now we’re on that album again, so it’s kind of literally just a logistical process for us getting that back on and sort it. You recently joined the UPRAWR publishing family – what is it about? The problem is, kind of similar to the streaming question. The thing with bands is, you get so much revenue from things like PRS (link) and PPM (link) and the german company GEMA. You get quite a few and quite a lot of money through that but it is a very hard industry to crack and it’s a very hard industry to get money out of. So we basically decided that publishing was something that we wanted to go down. And UPRAWR being good friends of us, one of them – Jack, I think it’s his Dad who owns a publishing company and wanted him to be involved with it. So UPRAWR decided they wanted to branch out and make the publishing. So basically, what that means is that they will handle all of that for us, but pay us. So we don’t have to worry about running and trying to find all this money from live shows and TV shows and radio play and all that kind of stuff. They handle all of that. So it’s kind of like a second label but more so on the managing side of things. Do you want to do more promotion for "Earthbound" than you did for the other releases? "Runes" I don’t think had a lot of press. It did amazing for us, it’s the best album we’ve ever had response wise and touring and everything but we did a lot of that ourselves. And I think already "Earthbound" had more coverage, had more press. It’s more people talking about it and that’s pretty cool. We’ve already released the first song and the first video, so we’re getting ready really for it to explode.Vor der Veröffentlichung des vierten Albums von BURY TOMORROW am 29.01.2016 hatten wir die Gelegenheit, dem Frontman Dani Winter-Bates einige Fragen über "Earthbound" zu stellen. Hey Dani, tell us about your upcoming record "Earthbound": What is different compared to the last ones? I think it’s a little bit more mature. For us, it’s kind of no gimmicks, no bullshit really, it’s just a record for people to listen to and get into the tracks without things like acoustic tracks or interludes or anything like that. So it’s a pretty aggressive and to the point kind of record, for sure. How would you describe BURY TOMORROW’s development: what improved, what got lost on the way – maybe good and also bad things. Maybe some things that changed since Mehdi left? Yeah I think, you know generally when you’re losing a member or when a member leaves or anything like that you do change, you have to change. Especially someone that was as integrated as Mehdi was into song-writing. I don’t think there’s anything I could say that has negatively changed about our band. I think, the only thing is, is that what I said about the way that this record’s gone. We’re tired of looking at bands and gimmicks and have to rely on so many other things to make up their songs. We’re at a point now in our career, where we want to be straight up with our fans, straight up with the industry and generally just make songs for people. So I think what changed is that we are actually towards writing and that we’re actually towards trying to please everybody, and the realization that you can’t please everyone you should just be trying to please the people that matter the most. And for us, that is what we’ve gone for on this record. It sounds a lot more like bands that we used to listen to, you know the bands like Killswitch Engage and As I Lay Dying, and it does sound a lot more like these bands than the new school style of metalcore. We think it’s been oversaturated with too many bands. So for us, we’ve decided to push this button of metalcore to the UK, for sure. The first song 'Earthbound' is kind of socio-critical. Is it the common theme or what are the other songs about? I mean, this album is the first one that we’ve ever not had a full running theme throughout it. 'Earthbound' is obviously about the world being a pretty messed up place. There are also some other songs on the album that have the same theme running through them. But they’re all different. One of the songs is about death and dealing with it but also being in a quite accepting of death, being almost like happy not that someone died but in the knowledge that you’re ready in yourself to accept death and accept that it’s one of those inevitable things. They’re all quite different, '301' is about trolls and about people that feel the need to go and look at a video or look at something online, whether that be text or music and what they say about it even though they know that they’re not going to like it. So they went and researched a band or an article or a piece of art or anything like that, that they don’t like. This just makes no sense to me so that’s what that track’s about. We’ve got different things. And it was quite a challenging one this time ‘cause I’ve always had a theme to go on, on the other records. This one kind of is a lots of different stories. You did a featured track on the album for the first time. Why did you choose Jamey Jasta (Hatebreed) for it? Jamey interviewed me for his podcast (
What do you want to achieve with "Earthbound"? What are your hopes for the future? I think the sky is the limit, I think we could look to be headlining bigger shows and festivals and tour the world again. Do you have plans on playing cities you never did? Any plans regarding the USA? Yeah, of course, we are always trying to play to anyone that knows us, the US is hard to get to but we are always planning stuff. You toured a lot with "Runes" and already announced shows in 2016 after the release of "Earthbound". What do you like the most and least about playing shows and being on tour? I think, generally, the worst is just being away from family and friends but, honestly, it's what we are made to do; we love being on the road! Do you want to play bigger venues or do you prefer the familiar feeling in smaller ones? Of course, I think our band is always trying to be bigger and bigger, don't get me wrong - I love smaller shows, but I really want to play stadiums one day. On tour, there are rarely days off – how do you relax and where do you get the power/motivation to go on stage almost every night and give your best? Generally, being on tour creates a content feeling, the crowd and seeing people getting pumped gives me the energy to get on stage. I love playing live. Why should someone go to a BURY TOMORROW show and listen to your music? What makes BURY TOMORROW outstanding? I think we have a connection with fans like no other, both live and on record; it's all for them.