Freedom And The Future – Chris Broderick and Shawn Drover of Act of Defiance


AOD 6 by Stephanie Cabral

Act of Defiance 2015. Photo credit Stephanie Cabral

Late last year, both guitarist Chris Broderick and drummer Shawn Drover announced they were parting ways with thrash legends Megadeth. A few months later, the pair announced they had formed a new band, Act of Defiance. This new supergroup, also featuring former Scar the Martyr vocalist Henry Derek and Shadows Fall guitarist Matt Bachland released their debut album Birth and the Burial (Metal Blade) in August of this year. A surprising change of direction, the album is far heavier than many would have expected, especially after the main songwriters’ last record was Megadeth’s AOR-friendly Super Collider (Tradecraft/Universal).

Despite having played in one of the biggest metal bands in the world and probably in the position where they could attract as big a name as they wanted, the former Megadeth men went for a relative unknown with Scar the Martyr’s Henry Derek. “We put together a list of 30 singers we thought would work well for Act of Defiance and Henry came back as one of 5 we sent out an initial demo to record on”, begins Broderick. “Henry’s demo fit the music so well, so we knew we wanted him as our singer. Talking with him and working on demo material was really easy, and we have a great working relationship.” The addition of Matt Bachland on bass didn’t involve such a wide search, however, as Shawn Drover confirms: “I have known Matt for over 15 years now, and after seeing he was looking for a new gig since the Shads aren’t touring anymore, I hit him up.

Despite the legacy of their previous bands, the duo felt no pressure over fan expectations, Drover calmly explains. “You can’t worry about what people’s perception of a new band will be before they have even heard one note. We just wrote and recorded the exact record we wanted to make, at the end of the day what else can you do?” Broderick is on the same page, equally fearless about people’s reactions.“While we knew we would be compared to our former bands it didn’t concern us, we just wanted to get our own music out there for people to experience, so that attitude allowed us to write freely without chasing any preconceived idea of what people would expect from us.

One of the most surprising things about Birth and the Burial is how heavy is; it’s a record far closer to the likes of Arch Enemy than the melody of Megadeth’s Super Collider. Broderick’s confidence shows: “Both Shawn and I knew we wanted to come out with something heavier not only for ourselves but also for the fans.” Despite what some might see as a new direction, Drover felt there was no compromise: Certain tunes are a bit more progressive and dynamic, but in the end it’s all Heavy Metal. We just created what we truly wanted to write with no regards to chasing trends or wanting to be soft just to try to sell more records. We have no interest in that.

On top of that, Broderick respects the impact of the unknown that Henry brought to the table. “I think the thing that caught people most off guard was Henry’s vocals being so heavy but I think once they hear how melodic he can be at the same time and realize how appropriate and emotionally accurate each style he sings is for the music he is singing over it becomes clear how cool it is.”

While there were a few ideas and riffs that existed previous to the band forming, the majority of material on Birth and the Burial was written specially for the record. Drover: “I have never had much of an issue being inspired to write new music, so there was certainly no shortage of inspiration going into the writing process for this new record. Chris and I were very focused on what we wanted to do on this record, which was to make a Metal record without compromise.

AOD 3 by Stephanie Cabral

Act of Defiance 2015. Photo credit Stephanie Cabral

Obviously AOD’s previous bands were known for their strong leaders; Megadeth’s Dave Mustaine is known for his authoritative streak, while Scar the Martyr’s Joey Jordison was a key member in the nine-man chaos of Slipknot. Who’s the leader now? Broderick: “Right now, Shawn and I are the ones who created Act of Defiance and are taking the initial reigns on its direction, however as Henry and Matt come into the fold and get more involved in the band it will become more equal between all four of us.” There are no dictators though. Drover: “This is a band. We all have a say. When you have people who all have the same goal, which with us is to make the best Heavy Metal we can, it’s not too difficult to agree on matters.”

Was it these strong leaders that led to everyone leaving and eventually forming Act of Defiance? Broderick: “I can only speak to my experiences and it was just a measurement of the positives against the negatives. Performing for such ravenous die-hard fans was awesome, but there came a time where I felt stifled artistically and musically. I liken it to a lawyer leaving a firm to start their own or a chef starting their own restaurant. While neither are giving specifics, it’s clear that a change of direction and freedom is the theme. Drover: “It was simply time for me to move on and make the kind of music I wanted to make. My focus is about music and the new record, period. Anything negative about the past becomes the headline and is a distraction to what I’m here to ultimately promote.

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As well as a new sense of musical freedom, there’s a strong focus on the future, the band say they have no intention of playing old material from their previous bands and this is their sole focus. Broderick: “It started with Shawn and I wanting to get out some of our own music, unaltered or controlled in any form. Act of Defiance is a band with no intention of it just being a project. A lot of people are just doing project after project and giving the fans nothing of substance to connect with.” From the sounds of it, we should be looking forward to plenty more from the supergroup. Drover: “I have never been a huge fan of being in 9 different bands, because most people tend to view those things as just a “project” as opposed to a real band, which is exactly what AOD is.

This is our future, and we are prepared to take Act of Defiance as far as we can for the long haul.”

Birth and the Burial is out now via Metal Blade

WORDS BY DAN SWINHOE


Act of Defiance – Birth and the Burial


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Supergroup – so often a term used to describe lame side projects by members of well-known bands; so often a tired marketing ploy to generate hype for someone’s new band when they’ve left their old band after one too many “creative differences”. Fortunately, metal produces some excellent supergroups, a by-product of being a genre where – even now – actual musical talent is required of performers.

With Chris Broderick and Shawn Drover (of Megadeth fame) on guitar and drums, Matt Bach (founding and current rhythm guitarist) of Shadows Fall on bass and with throat martyring carried out by Henry Derek, erstwile vocalist of another supergroup Scar the Martyr, Birth and the Burial (Metal Blade) by Act of Defiance is an intriguing prospect; low-key enough to not be an ego or alimony-inspired project, with big enough chops to promise a serious bangover.

The first song, ‘Throwback’, is noodletastic – the intro is like a bowl of ramen. Then we’re into an Overkill-esque riff that sets to tone for the rest of the track, which whilst being hugely derivative and keeps reminding me of several bands, gets the head nodding and yields the beginnings of a metal pout. Not bad. ‘Legion of Lies’ has big, rich, soupy riff goodness straight out the the Arch Enemy playbook that sets the left foot a-tapping and gets the head nodding from the get go and only lets up for the choral breakdowns that serve as choruses. Nice.

Elsewhere, ‘Thy Lord Belial’ sounds like the unholy love child of Slayer and Trivium which will have both camps wanting to hate it and love it at the same time; ‘Refrain and Re-Fracture’ opens in classic Megadeth style – it’s almost weird not hearing Dave’s vocals on this – and develops into a NWOAHM riff-fest; ‘Dead Stare’ gives us riffs from Testament, vocal breaks from Rise to Addiction, and the understandable play-every-note-you-can-find guitar breaks of Megadeth.

And that’s pretty much the story for the rest of the album. You have the wonderful symphonic sensibilities (and scales-as-solos) of Megadeth married to the modern frenetic circle-pit baiting bombast of the American New Wave. It’s great to see the old and new schools coming together in what is a very entertaining and promising first album, where the only criticism is that at times things sound bitty. While they haven’t quite managed to alloy the two sounds together just yet, I’m very much hoping to see what happens when they do.

 

7.0/10

PHILIP PAGE