It's kind of weird to call someone manipulative as a compliment rather than an insult, but that's actually how Jon works. Which is a really terrific ability or characteristic to a producer. Jon openly has regarded himself as manipulative he's good at being able to arrange situations where you agree with him and you come to terms with doing things his way. So I think most of that was handled between them, and I don't think there's any friction. MIKE HRANICA I don't think so, I mean really the people who made those calls were just Jon and Kyle, who really are the creators of what this record is instrumentally. DOES STUFF LIKE THAT CREATE TENSION IN THE BAND? HOW DO YOU NEGOTIATE THE PROCESS CREATIVELY? I READ THERE WERE 57 PROPOSED SONGS THAT GOT REJECTED FOR THE NEW ALBUM. We spoke to Hranica about the writing of the album, his personal vision of hell, how dark singer-songwriter Chelsea Wolfe influenced The Act and more. The record is easily the most complex thing the band has done, and illustrates the rich creative possibilities that metalcore (and heavy music in general) can offer beyond ultra-heavy breakdown bashers. Vocalist Mike Hranica also pushes his vocals on the record in a far different way than other metalcore bands, finding gray area in his screams to express a wide range of emotions on confessional tracks like "Diamond Lost." Tracks like "Wave of Youth" have him go from shakily reflective to finding an inner strength as the song progresses. But instead of leaning on predictable good cop/bad cop vocal tropes, his voice becomes as malleable as any other instrument. More than ever, singer Jeremy DePoyster is the center of many of these songs.
But beyond that, the group deconstructed the elements that make up a -core song and found ways to subvert them. Those early strands of metalcore DNA remain as there's plenty of heaviness and singing to be found on the record. That experimentation hits new highs on their new and seventh studio album, The Act. And gradually over the years The Devil Wears Prada began incorporating influences from other genres - 2016's Transit Blues presented the band merging post-rock and sludge along with their metalcore roots. Each successive album meant continuous growth for the band. Since the Ohio Christian metalcore crew's start in 2005, and 2006 debut Dear Love: A Beautiful Discord, the band has been leading the genre's evolution. TDWP's early music would inadvertently set the tone for a generation of bands: their formula of clean singing, screaming and lacing breakdowns with synths and keyboards would become the go-to for many years.
The Devil Wears Prada have always been the exception.
Few acts struck around to advance the genre out of that Warped Tour world or iterate it in any interesting new ways. Many bands in that scene either broke up or chased the hope of getting on the radio by going full-on buttrock, and leaving their previous genre entirely. In the deluge of swooshy-hair scene-kids and synchronized headbangs during the mid-2000s, it was hard to imagine how metalcore as a genre would grow up.
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