Description:

After the release of Kuarahy concurred with the blast of the worldwide pandemic and all the consequences it has generated, WHITE STONES – Martn Mendezs project (OPETHs bass player) – are ready to launch their second record. When WHITE STONES released Kuarahy they became the first Spanish band signed to Nuclear Blast Records, cementing their first album as an unprecedented milestone. Now, with Dancing Into Oblivion, the band returns with a more compact sound, having been hard at work ensuring the utmost attention to every detail for a result that is even better than the first record. The topics covered on this second album draw on the feelings that Martn himself affirms he has lived through during the lockdown imposed by the covid-19 pandemic. I started it very calmed in March when Kuarahy was released and the lockdown started. I wrote the new record and it just flowed so well. Its my point of view, of the feelings I had during the lockdown period, in this weird year. I took advantage of the moment and I feel excited about it, reveals the musician. The most outstanding musical elements on this new record are the disparate genres that manage to co-exist. There is an element of aggression, that can be seen rearing its head in an instrumental frenzy, as well as soft and delicate intricacies that develop an atmosphere which surrounds the listener. There are distinct dynamics among the songs, with interludes allowing the listening to take a breath and appreciate what theyre hearing. The writing process of Dancing Into Oblivion has been pretty similar to the previous Kuarahy but with some clear changes. Martn composed all of the instrumentals for the album but, as he says, Ive left sections open to the interpretation of each of the other musicians, both in the drums and in the vocals. Eloi wrote the lyrics this time and we then workshopped them together whilst working out the vocal parts to get the final result in the studio. WHITE STONES once again recorded at Farm Of Sounds Studios (Barcelona), owned by their singer Eloi. They were satisfied with the sound of Kuarahy and the experience of the recording of that album and the comfort of making everything with their own tools made it all easier. Everything has been homemade because its a way of working and a philosophy I like. You have more control and you can better enforce your ideas, Mndez explains -who also created the cover for Dancing Into Oblivion together with Sandra, his partner for many years. The final mix and mastering of this second album was done by Jaime Gmez Arellano at Orgone Studios (UK) because the band were more than satisfied with the work he did on Kuarahy and they wanted to repeat that great experience. Eloi, as the singer and also the guy who recorded the music sent to Orgone Studios, acknowledges the recording had more experience and a better sound quality because we made better decisions during the pre-production thanks to a higher level of self-awareness of ourselves as a band. Jaime knew us better too, so that simplified the process and in turn helped to make Dancing Into Oblivion as good as it can be. The line-up has been enhanced with the participation of the multifaceted Joan Carles Mar Tur on drums (who also plays in other bands like FACE THE MAYBE). The guitar solos were the job of Joao Sassetti (who was already a member of the touring line-up of WHITE STONES). Sassetti lives in Portugal and he couldnt be in the studio in Barcelona, so he recorded his solos and digitally sent them over for integration into the final songs. The recording of the instruments has been more organic and as Boucherie says. The original sound has been retained as much as posible in each and every element and it has brought a natural/raw touch for Dancing Into Oblivion just as the band had hoped and expected.