{"title":"Sharptone","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eSharptone is an American rock label that was launched in June 2016 by Nuclear Blast CEO Markus Staiger and Shawn Keith. With headquarters based in Los Angeles, CA, Sharptone also has satellite offices located in the UK, Germany, and Australia.\u003c\/p\u003e\n\n\u003cp\u003eThe label has quickly made a name for itself within the music industry, showcasing a diverse roster of talented *artists* who are making waves in the rock genre. Known for their innovative sound and captivating performances, these *performers* have gained a loyal following of fans worldwide.\u003c\/p\u003e\n\n\u003cp\u003eSharptone's commitment to providing high-quality music extends beyond just signing talented artists. The label takes pride in offering exceptional customer service through their e-commerce website. Music enthusiasts can easily browse and purchase albums from their favorite *artists*, ensuring they never miss out on the latest releases.\u003c\/p\u003e","products":[{"product_id":"the-death-we-seek","title":"The Death We Seek","description":"\u003cp\u003eHeady and ferocious, \u003ci\u003eThe Death We Seek\u003c\/i\u003e is Currents at both their most powerful and most vulnerable. Songs like “Unfamiliar,” “Vengeance,” “Remember Me,” and “So Alone” are unflinching explorations of rugged emotional terrain. Currents are uncompromisingly heavy and as raw as a nerve exposed.\u003c\/p\u003e","brand":"Sharptone","offers":[{"title":"Red LP","offer_id":50384042066251,"sku":"2009602","price":27.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50384041673035,"sku":"2009601","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/The_Death_We_Seek_2ef9424f_thumbnail_4096.jpg?v=1726284273"},{"product_id":"fatalism-2","title":"Fatalism","description":"\u003cp\u003eWhen it came time to make their second album, \u003ci\u003eThe Death Of Me (2020)\u003c\/i\u003e, Sydney metalcore outfit Polaris knew they had a tall order on their hands. Its predecessor, 2017 debut \u003ci\u003eThe Mortal Coil\u003c\/i\u003e, was an ARIA-nominated, Top 10 hit in Australia, introducing the group to legions of fans around the country and, thanks to an extensive international touring schedule, the world. \u003c\/p\u003e\u003cp\u003e“We wanted to walk a line between maintaining what’s defined our band and brought people to our music in the first place, while trying to write for ourselves and keep ourselves interested,” begins drummer Daniel Furnari, one of the main songwriters in the unit. “Being our second full-length, we knew it was important for us to surprise the listener as well - nobody wants to hear the same record twice. We wanted to give them things they wouldn’t expect, take them to new places, but also for it to be definitively a Polaris record, building on what we’ve been working towards.”\u003c\/p\u003e\u003cp\u003eWhile writing \u003ci\u003eThe Death Of Me\u003c\/i\u003e each member was coming to terms with their world being turned upside down by the success of their debut. After all, when Furnari co-founded Polaris in Southern Sydney in 2012 with vocalist Jamie Hails, guitarist Rick Schneider and bassist\/vocalist Jake Steinhauser – lead guitarist Ryan Siew joined in 2013 – they spent the next five years as a strictly local, underground concern. Now they’d been thrust into a life of international touring, complete with the euphoric highs of sold out shows and the crushing lows that happen in the silence that follows. \u003c\/p\u003e\u003cp\u003eIndeed in the five years since \u003ci\u003eThe Mortal Coil\u003c\/i\u003e, Polaris have embarked on three sold-out headlining tours of Australia, as well as supporting Architects and Parkway Drive around the country; five runs throughout Europe (including a series of arena shows supporting Architects and a slew of high-profile summer festival spots); three separate US tours; not to mention performing at the Download Festival (they return to Donington this year) and Unify Gathering in Australia. 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For Caskets, it could have been easy to plough forwards regardless, riding the wave of success from their breakthrough debut ‘Lost Souls’ that opened tours up across the United States and mainland Europe, and secured appearances at landmark festivals Download and Slam Dunk. But having swapped the bedrooms that fostered album number one for countless hours on the road, reflecting on that journey and the decisions that led them down certain paths quickly became unavoidable. Now tackling the realities of a busy band schedule, spending the best part of two years in shared tour buses and hotel rooms, those reflections have become collective.\u003c\/p\u003e\u003cp\u003eIf \u003ci\u003eLost Souls\u003c\/i\u003e was primarily driven by vocalist Matt Flood’s personal experiences, sophomore album \u003ci\u003eReflections\u003c\/i\u003e delivers a wider picture of Caskets as a whole, borne out of the usual interpersonal differences that all bands face at least once in their career. For some it marks the end, but for others it fosters a collaborative environment that pushes the music well beyond what has come before. “Difficult stuff happening made our relationship stronger because we’re now not afraid to voice our opinion and we know it will be respected,” Matt notes, fittingly looking back on the moments that began to shape Casket’s hugely dynamic second record. \u003c\/p\u003e\u003cp\u003eThe result reflects each individual member of Caskets, with Matt joined by guitarists Benji Wilson and Craig Robinson, bassist Chris Mcintosh, and drummer James Lazenby. “When your drummer is bringing you full demos with lyrics, that’s a strong foundation for me to work off” Matt smiles, recalling the moment James – alongside the others - arrived with a near-complete demo track for the record. “We all know each other a lot better than we did before; we know each other’s likes, dislikes, how to wind each other up and chill each other out. That ease we all have with each other is and was a massive help when it comes to the song writing process.”\u003c\/p\u003e\u003cp\u003eThat process has seen the tracks expanded, rehashed, and finely tuned, often beginning life in a very experimental format before being effortlessly moulded into Caskets’ distinctive yet expansive sound. The record’s more upbeat moments carry impactful melodies, upping the ante from ‘Lost Souls’ with considered force, while the powerful ambient moments play out with real finesse. “We built a platform to rip it apart and put it back together so it’s the same but better,” Matt enthuses. “We never have a full idea of what’s going to happen, but I like the spontaneity of writing music. It’s what keeps me wanting to do it.”\u003c\/p\u003e\u003cp\u003eA series of individual lessons, each track on the Dan Weller (Holding Absence, Bury Tomorrow) produced ‘Reflections’ looks back at a specific moment in one of the band member’s lives; a thought, feeling or events, and how that moment shaped the present. It’s a step away from the singular retellings of ‘Lost Soul’, and a concept that emerged as Matt reassessed his position in and commitment to the band. “I could never sit down with a counsellor,” he admits, “it’s a lot easier for me to write it all down on paper. So, I pushed that to the boys and it kind of went from there.” \u003c\/p\u003e\u003cp\u003eThe subsequent reflections take very different shapes. The thunderous ‘Guiding Light’ tells of the struggle in finding personal strength in the face of a broken relationship; the haunting ‘Silhouettes’ lands on the immeasurable power of self-worth and how we should never change ourselves for others, while album closer ‘Better Way Out’ spawns from the process of saving a loved one from suicide. “You can be who you want to be,” the song rings out with a soaring orchestral catharsis that surpasses all of Casket’s contemporaries. The breadth and density of the subject matter is pulled together by the record’s concept, ultimately forming the beating heart of the record.\u003c\/p\u003e\u003cp\u003e“’Reflections’ shows how much more we can get out of the band musically if we all put our heads together a bit more,” Matt beams, positive about a record that not only showcases Caskets as a full entity but represents the impressive range of influences that have soundtracked the five piece’s times on the road and in the studio, helping to rapidly expand their sound. “It’s always about the music, that’s the whole point of being in a band,” he concludes. “If we can fit as much into our sound but it still sounds like us, that’s my lifelong goal with Caskets.”\u003c\/p\u003e","brand":"Sharptone","offers":[{"title":"Orange LP","offer_id":50393445957963,"sku":"2048341","price":32.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50393445433675,"sku":"2048338","price":5.99,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":50393445695819,"sku":"2048340","price":34.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Reflections_e0ff5c61_thumbnail_4096.jpg?v=1726417409"},{"product_id":"symptoms-of-survival","title":"Symptoms Of Survival","description":"\u003cp\u003eDying Wish is the unrelenting and unforgiving sound of struggle, an extreme metallic hardcore band infused with a punk spirit. With little more than a demo and a split 7” to their name, the Portland, Oregon outfit earned a Best International Band nomination at the UK’s Heavy Music Awards. \u003ci\u003eFragments of a Bitter Memory\u003c\/i\u003e, their full-length debut on SharpTone, lived up to the hype. The blistering hardcore band’s passionate music fuses the New Wave of American Heavy Metal with chaotic punk dissonance. The diverse group forged a musical and activist identity in the DIY scene. Even as they’ve graduated to bigger tours with more prominent metalcore bands, they continue to uphold those ethics, espousing the values of equality, justice, and self-determination. The musical weapon brandished by guitarists Pedro Carrillo and Sam Reynolds, bassist and powerhouse drummer Jeff Yambra laid beneath Emma Boster’s distinctive and diverse vocals. On the strength of that furious demo’s maelstrom of Hatebreed, Bleeding Through, and early Converge-inspired riffage, coupled with a split EP with Canada’s Serration, Dying Wish secured a coveted spot in Brooklyn Vegan’s Metal Albums We’re Anticipating.\u003c\/p\u003e\u003cp\u003eProduced, mixed, and mastered by Randy LeBoeuf (The Acacia Strain, Kublai Khan, Sentinels), \u003ci\u003eSymptoms of Survival \u003c\/i\u003e is 11 songs of savage, pummeling assault against personal trauma and society at large. The album is focused, explosive, and powerful.\u003c\/p\u003e\u003cp\u003eDying Wish aligns with the continuing battle for liberation, encompassing the issues affecting BIPOC, the environment, and more intersectional causes while dealing in personal struggle and trauma in equal measure. 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Frontman Aaron Pauley engineered (with the rest of the band), produced, mixed, and mastered \u003ci\u003eTether,\u003c\/i\u003e the quartet’s astonishing eighth album. Drummer Valentino Arteaga handled the artwork. As a legion of devoted listeners worldwide has come to expect, guitarists Phil Manansala and Alan Ashby, Aaron, and Tino poured their hearts and souls into every note, creating another sonic document of their lives. \u003c\/p\u003e\u003cp\u003e Of Mice and Men take sobering looks at depression, anxiety, loneliness, and existential dread, powering through the darkness, and emphasizing the importance of creativity as a balm for mental health. \u003c\/p\u003e\u003cp\u003eA commanding tempest of sounds coalesces within Of Mice and Men, blending the uplifting eloquence of modern active rock with the atmospheric dissonance of experimental post-rock. The band first emerged as part of a vanguard of future aggressive rock hitmakers. Over the years, they’ve distinguished themselves with musicality, creative ambition, and resilient determination. \u003c\/p\u003e\u003cp\u003eSongs like the Gold-certified “Second and Sebering,” “Would You Still Be There,” and “Obsolete,” from 2021’s \u003ci\u003eEcho\u003c\/i\u003e, cemented  Of Mice and Men at the forefront of hard rock and post-hardcore music. (WWE superstar Rhea Ripley counts “Second and Sebering,” among the ten songs that changed her life, alongside classics from Queen, Taylor Swift, Falling In Reverse, and Motionless In White.)\u003c\/p\u003e\u003cp\u003eThe rumble of their 2010 self-titled debut; the following year’s follow-up, \u003ci\u003eThe Flood\u003c\/i\u003e; and 2014’s No. 1 Billboard Independent album, \u003ci\u003eRestoring Force\u003c\/i\u003e, catapulted them onto a massive tour with Linkin Park. \u003ci\u003eCold World\u003c\/i\u003e (2016) saw them on the road with Slipknot and Five Finger Death Punch. \u003c\/p\u003e\u003cp\u003eThe California band took home the Best International Newcomer prize at the 2013 Kerrang! Awards and were twice nominated as Artist Of The Year at the APMAs, where Manansala took home Best Guitarist. \u003c\/p\u003e\u003cp\u003e2018’s \u003ci\u003eDefy \u003c\/i\u003eput longtime bassist Aaron’s voice front and center. “Of Mice and Men don’t miss a beat with Pauley as the frontman,” wrote\u003ci\u003e Loudwire\u003c\/i\u003e. “\u003ci\u003eDefy\u003c\/i\u003e delivers the sound fans have come to expect (big hooks, monster grooves, and singalong melodies) while still breaking some new ground.” The band supported \u003ci\u003eDefy\u003c\/i\u003e on the road, including tours with Bullet For My Valentine and Nothing More. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eKerrang!\u003c\/i\u003e heralded the incredibly heavy \u003ci\u003eEarthandsky\u003c\/i\u003e (2019) as “confident, cohesive,” and “angry.” Australia’s \u003ci\u003eWall Of Sound\u003c\/i\u003e called it “the perfect balance in melodic metalcore” and “a great addition to their legendary catalog and contribution they’ve brought during their entire career as a band.” \u003c\/p\u003e\u003cp\u003e\u003ci\u003eEarthandsky\u003c\/i\u003e cleared a path for the diverse trio of EPs that followed, collected as \u003ci\u003eEcho \u003c\/i\u003ein 2021. As Of Mice and Men wrote in a shared statement, \u003ci\u003eEcho\u003c\/i\u003e “covers life and impermanence, love and the infinite - how the most wonderful and most tragic parts of the human experience deeply intertwine.” \u003c\/p\u003e\u003cp\u003eAlbum eight is no less ambitious. \u003ci\u003eTether \u003c\/i\u003eis anchored by a reflective meditation on what it means to draw together as friends, family men, artists, and bandmates. What does it mean to be there for the people who depend on us, knowing we can’t fully protect them from the hardships of life? \u003c\/p\u003e\u003cp\u003e“We’ve worked with so many talented producers and artists throughout our career, and we’ve been able to learn something from each of them,” Pauley explains. “We really left ourselves open as we wrote. Anytime a spark of imagination made anybody’s ears perk up, we pursued it.”\u003c\/p\u003e\u003cp\u003e\u003ci\u003eTether\u003c\/i\u003e is the next step in Of Mice and Men’s evolution, combining their core sound with experimental and ethereal sound designs. The creative process focused on the excitement of discovery rather than preconceived “goals.” Pursuing the moments when the elusive “x factor” reveals itself in the songs. Those moments are \u003ci\u003epalpable \u003c\/i\u003ein songs like “Integration,” “War Paint,” “Enraptured,” and “Indigo.” \u003c\/p\u003e\u003cp\u003eThe Of Mice and Men core since 2016 – Aaron, Alan, Tino, and Phil – maintain a powerful bond with their audience and each other, no matter the obstacles. Whether a powerful anthem or atmospheric confession, their songs translate in intimate clubs and massive festivals.  “It’s about creating moments for people,” Pauley says. “Music is the soundtrack to people's lives.” \u003c\/p\u003e","brand":"Sharptone","offers":[{"title":"CD","offer_id":50393598460235,"sku":"2049164","price":7.99,"currency_code":"GBP","in_stock":true},{"title":"LP","offer_id":50393598886219,"sku":"2049165","price":44.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Tether_910cc4bc_thumbnail_4096.jpg?v=1726421969"},{"product_id":"the-noble-art-of-self-destruction","title":"The Noble Art Of Self Destruction","description":"\u003cp\u003eFrom the moment of our first breath to the very last gasp we take before we die, we never stop growing as people. Every trial and tribulation, every heartbreak, success and failure, every scar, blemish and wrinkle is another brushstroke illuminating our life’s unique canvas. As Holding Absence frontman Lucas Woodland sings on “The Angel in the Marble,” the closing track on his band’s outstanding third album \u003ci\u003eThe Noble Art of Self-Destruction\u003c\/i\u003e, we are, each and every one of us, “a puzzle, a painting, a work of art in the making.”\u003c\/p\u003e\u003cp\u003eHolding Absence’s new album is a testament to how our life’s story is never fully told, with opportunities for change and growth found in every moment, from the depths of despair to the euphoria of our greatest loves. Whether adding flourishes of colour to an already picturesque painting, or chiselling away at the marble to reveal the beauty within, \u003ci\u003eThe Noble Art of Self-Destruction \u003c\/i\u003e– the final act in a trilogy of records encompassing the first chapter of Holding Absence’s career – speaks to how we are each an unfinished work of art with new meanings and qualities waiting to be discovered.\u003c\/p\u003e\u003cp\u003eA record Lucas describes as a form of self-therapy that sees him more candid and comfortable with his emotions than ever before, \u003ci\u003eThe Noble Art of Self-Destruction\u003c\/i\u003e brims with a level of energy, excitement and sheer weight of feeling that is unparalleled in contemporary alternative music. Whether Lucas and his bandmates – guitarist Scott Carey, bassist Ben Elliot and drummer Ash Green – are performing relatable anthems about imposter syndrome and self-loathing like massive singles “Crooked Melody” and “False Dawn,” gushing love ballads (“Honey Moon”) or existential reflections on suicide (“Death Nonetheless”), the four-piece’s approach on their new album is packed with the kind of vigour that saw \u003ci\u003eKerrang!\u003c\/i\u003e label them as British rock’s “new leading light” and \u003ci\u003eLoudwire\u003c\/i\u003e proclaim the Cardiff natives to be “the UK’s most exciting new rock band.”\u003c\/p\u003e\u003cp\u003eRecorded at Canada’s Jukasa Studios with producer Dan Weller (Enter Shikari, Bury Tomorrow), \u003ci\u003eThe Noble Art of Self-Destruction\u003c\/i\u003e builds further into the lore of Holding Absence that sets them apart from many of their contemporaries. Taking influence from a varied array of sources including Renaissance sculptor Michelangelo, sci-fi blockbuster \u003ci\u003eStar Wars\u003c\/i\u003e and the Japanese pottery art of Kintsugi, Holding Absence’s new LP speaks to the desire of Lucas and his bandmates to create a project that exists as so much more than just a band.\u003c\/p\u003e\u003cp\u003e“It’s really important to state that this record is the third part of a trilogy,” Lucas says. “\u003ci\u003eThe Noble Art of Self-Destruction\u003c\/i\u003e is the final piece of a wider art project, with this record serving as a bit of a love letter to Holding Absence before we take the next step. In that regard, I really took inspiration from the \u003ci\u003eStar Wars\u003c\/i\u003e trilogies and how people over the years have completed these epic projects that really fill in the blanks and allow the art to evolve into something bigger and different.”\u003c\/p\u003e\u003cp\u003eHaving broken one million monthly listeners on \u003ci\u003eSpotify\u003c\/i\u003e and with top song “Afterlife” racking up in excess of 30,000,000 streams, \u003ci\u003eThe Noble Art of Self-Destruction\u003c\/i\u003e looks a sure bet to bring even more success the way of Holding Absence, who’ve toured with the likes of Funeral For a Friend, Electric Callboy and You Me At Six. Previous LP \u003ci\u003eThe Greatest Mistake of My Life\u003c\/i\u003e saw the band grace the covers of \u003ci\u003eKerrang!\u003c\/i\u003e and \u003ci\u003eRock Sound\u003c\/i\u003e, with glowing coverage from outlets including \u003ci\u003eLoudwire\u003c\/i\u003e, \u003ci\u003eAlternative Press\u003c\/i\u003e and \u003ci\u003eUpset\u003c\/i\u003e. \u003ci\u003eThe Guardian\u003c\/i\u003e, meanwhile, praised Holding Absence as a band “making pop-rock anthems with rib-rattling drumming and mainstream appeal.”\u003c\/p\u003e\u003cp\u003eWith that love only set to grow once \u003ci\u003eThe Noble Art of Self-Destruction\u003c\/i\u003e is released, it’s important for Lucas to emphasise how this album represents that what’s come so far is just the beginning of Holding Absence’s journey.\u003c\/p\u003e\u003cp\u003e“Our first album (2019’s \u003ci\u003eHolding Absence\u003c\/i\u003e) was about love, \u003ci\u003eThe Greatest Mistake of My Life\u003c\/i\u003e was about loss, and this album is about the person that’s left at the end of that, and the lessons they’ve learned from their trauma. It’s the end of a trilogy – the album art literally says this is part three of three – but it’s not the end of Holding Absence. \u003ci\u003eThe Noble Art of Self-Destruction\u003c\/i\u003e ends on a note of hope, of looking forward free of fear and of embracing yourself, cracks and all. 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It was that which drew me in, it’s what got me into music.”\u003c\/p\u003e\u003cp\u003eThe parallels are clear. Caskets’ sound builds around Matt’s dynamic vocals, honed through a range of previous musical endeavours, and perfectly complimenting the band’s mastery of heavy and soft. But it’s their forward-thinking attitude that better aligns both bands, Matt’s vocal hero paving a new path for melody and metal, and Caskets now set to further reinvent expectations of metalcore and post-hardcore. \u003c\/p\u003e\u003cp\u003eTeaming up with producer Dan Weller, the man behind works by Holding Absence, Dream State, Enter Shikari and Bury Tomorrow among others, Caskets harness this environment to capture a mix of crisp atmospherics and raw emotion; perfectly mirroring its unusual creation. The album retains the immediacy of their acclaimed ‘Ghost Like You’ EP, but sees the band secure its impact in places other than heavy riffs and crushing guitars. The mellower moments, underpinned by strings and pianos, allow space for emotion. “There’s stuff you don’t expect to happen,” Matt adds. “I’m really excited for people to hear it and be like, I didn’t see that coming. That’s what I want.”\u003c\/p\u003e\u003cp\u003eIn stepping forward from ‘Ghost Like You’, Caskets have allowed themselves even more room for their atmospheric sound. “The music was written in mind for screaming,” Matt reveals, “but we decided we didn’t want to go down that avenue. There’s more soaring energy rises and heavy, chunky low-tuned guitars. There are a lot of nice silky verses and atmospheric choruses.”\u003c\/p\u003e\u003cp\u003eExplorations of loss, fear, volatility and abuse unfold through far reaching melodies set against often thunderous drums and gritty riffs. “We pulled it back a lot on the first EP,” Matt says of the album’s more emotive moments, “but the music has so many different elements to it now, it’s easier to write those sorts of emotions. 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The band's core members—Janine Shilstone, with her hauntingly fierce vocals, and Hamish Reilly, the guitar wizard who weaves sonic spells-are figures of intrigue. They first crossed paths in a North Ayrshire rehearsal room, though some say their meeting was less by chance and more by design, orchestrated by forces unseen.  Vukovi unleash their latest creation, \u003ci\u003eMy God Has A Gun\u003c\/i\u003e, a provocative title that hints at the explosive content within. The album, produced by the legendary Machine at the fabled 'The Machine Shop' Recording Studio in Austin, is the result of several intense weeks spent in the heart of Texas, where the band channelled the heat, the dust, and the raw, untamed energy of the landscape into their music. The album's artwork, a haunting and vivid creation, was painted by Janine herself.  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Singer David Stephens, guitarist Joshua Moore, bassist Andy Glass, guitarist Lou Cotton, and drummer David Puckett usher in an ambitious, courageous new era, while honoring the legacy and memory of their fallen bandmate, co-vocalist and keyboardist Kyle Pavone. \u003c\/p\u003e\u003cp\u003eWe Came As Romans’ initial ascent was quick and assured, catapulting the band (who met as teens) into the hearts of diehard fans immersed in the metalcore, post-hardcore, and Warped Tour subculture. Their hook-filled heavy music carried an uplifting message and connects with even greater urgency live. The increasingly diverse catalog of metallic might, melodic strength, and electronic atmosphere soars in clubs, theaters, and fests. They’ve supported tastemaker acts like Bring Me The Horizon, I Prevail, A Day To Remember, Falling In Reverse, Bullet For My Valentine, and The Used. \u003c\/p\u003e\u003cp\u003eMoore and Stephens are a formidable writing team. 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Continuing to breathe new life into older staples from their catalog, the quartet reworked their infamous “Oxymøron” breakdown from \u003ci\u003eFear Me\u003c\/i\u003e into an impactful moment in \u003ci\u003eTrinity\u003c\/i\u003e’s “Nor Hell A Fury” and sprinkled audio easter eggs of this sort all throughout their new music for fans to discover.\u003c\/p\u003e\u003cp\u003eListeners are also brought further into the world of the GCU with the help of what The Gloom In The Corner call their “casting process.” Like picking actors for a musical, the band meticulously selected eleven different vocal features and several additional voice actors to bring the album and characters to life. 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