Exclusive Interview with John Snell and Erik Lissabet of LIVEKILL: Unveiling 'Evil Ecstasy' and Shaping the Future of Metal

LIVEKILL, a tour de force in the metal scene, is gearing up to dominate 2024 with the release of their highly anticipated LP, “Evil Ecstasy.” Comprising eight distinct tracks, each meticulously crafted to electrify and captivate audiences, this album marks a significant milestone for the band. Hailing from the vibrant and competitive metal hub of South Florida, LIVEKILL comprises James Rodin Hawkins on vocals, Napalm shredding the lead guitar, John Snell on rhythm guitar, Kevin Gallagher behind the drums, and Erik Lissabet handling the bass. Together, they have sculpted an album that not only elevates their status within the Florida metal scene but also showcases a revolutionary approach to music production and arrangement.

For “Evil Ecstasy,” LIVEKILL enlisted the exceptional talents of Kevin Talley, a seasoned drummer known for his work with acclaimed bands like Daath, Chimaira, and Suffocation, to lay down the drum tracks. The album’s sonic landscape was then meticulously shaped by Alastair Sims at Villa Studios in Canada, a seasoned mixer and master who has lent his expertise to projects by iconic bands such as Rush and Three Days Grace. To visually complement the high-octane energy of their music, LIVEKILL collaborated with Thomas Crane of Kill Devil Films, producing a trilogy of music videos that encapsulate the band’s dynamic presence and the thematic depth of their songs. As “Evil Ecstasy” prepares to make its mark, LIVEKILL stands ready to deliver an LP that is not just a collection of songs, but a seismic shift in the metal genre.

Join us in this exclusive interview as we delve into the making of “Evil Ecstasy,” exploring the creative journey behind the album and what fans can expect from LIVEKILL‘s groundbreaking new release.

INFRARED MAG: First off, thank you for taking the time to speak with us today. With the release of “Scum Of My Life,” it seems like LIVEKILL is poised to shake up the metal scene once again. Can you start by telling us about the inspiration behind this powerful new single?

JOHN SNELL: When I sit down and begin writing songs for an album, I work toward something I haven’t done yet with each song. “Scum Of My Life” was always meant to be a punk rock song with a metal feel to it.

INFRARED MAG: You had mentioned that “Scum Of My Life” began with a guitar riff that was clear in your mind even before playing it. Can you elaborate on the creative process that went into transforming that initial riff into the full song?

JOHN SNELL: I wanted to create something new. Something with a punk rock theme. It had to be quick to lay down and build from there. During the writing process, I got stuck about halfway through the song. After several attempts and weeks of working on ideas, I picked up the bass and started on it. Finally, I heard the whole middle section open up and the sound was huge.

INFRARED MAG: The decision to slow the song down halfway through is quite unconventional in metal. What led to this choice, and how do you feel it enhances the emotion and impact of the track?

JOHN SNELL: At one point I had considered leaving the song short around 1 min 45 seconds, but as mentioned above the guitar riffs weren’t getting what I wanted out of the song, so I switched it up and approached the song from a different perspective. As the song matured, I was extremely happy with the music quality and maturity of the final product.

INFRARED MAG: The videography for “Scum Of My Life” concludes a three-part series. Could you dive deeper into the narrative arc of this trilogy and how each video contributes to the overall story?

JOHN SNELL: “Scum Of My Life” is the conclusion of our protagonist’s journey. “Where The Crown” is about losing your hero or loved one and the despair that it brings. “New Plague” starts her journey to overcoming her despair and “Scum Of My Life” reclaims her power and overcomes her struggle.

INFRARED MAG: With themes of overcoming darkness and reclaiming freedom, how do these concepts resonate with the band, and why are they important messages to convey through your music?

ERIK LISSABET: Everyone has a form of darkness that they have to overcome or are currently trying to. Darkness has many examples in the form of Fear, Abuse, Addiction, Poor Self Image, Death, Financial Loss, and even Indecisiveness can cripple an individual into a state of depression that is difficult to escape. Regardless of what you believe in; there is an unmatched spiritual freedom that is indescribable when you jump the hurdles in life and complete the journey, even if you fall along the way. Our message is: “You are not alone. Get back up and keep going.”

INFRARED MAG: Looking forward to your highly anticipated album, “Evil Ecstasy,” can you give us a sneak peek into what fans can expect from the other tracks and the overall vibe of the LP?

JOHN SNELL: When we wrote this music, we didn’t want to overdo it. We wanted high energy with dynamics that people can groove to. Each song stands on its own. The album doesn’t sound like 30 minutes of one long song. When we reached out to family and friends and asked which song they liked the best, everyone had a different song as their favorite. To us that was a solid indication that we had completed a strong album.

INFRARED MAG: LIVEKILL is known for its high-energy performances. How do you ensure that the energy of your live shows translates into your studio recordings?

JOHN SNELL: We keep things simple and record with real amps. Writing the right parts so the audience can hear the intent.

INFRARED MAG: Enlisting Kevin Talley for the drum tracks adds a notable dimension to your sound. How did his involvement come about, and what has it brought to the table for “Evil Ecstasy”?

JOHN SNELL: We met through a mutual friend who introduced us. He liked what we were doing and was happy to contribute to the project. Having Kevin continue to be our studio drummer has kept the LiveKill intensity up and consistent sound. When I send guitar tracks to Kevin, it’s always one of the most exciting times in the process waiting on those real drums to come back.

INFRARED MAG: Alastair Simms played a crucial role in mixing and mastering the LP. How did his expertise influence the final sound, and were there any specific challenges he helped you overcome in the studio?

JOHN SNELL: Having a producer that is a great producer who is not specific to one genre was crucial to our process for the final sound. I make things super easy for Al. We track all our guitars, bass, and vocals in our studio and send the files for him to mix and master. Al is great at making sure the vocals sit in the mix correctly and each instrument is heard properly. We didn’t have any real challenges on this album, we all work on a pro level, and we are all committed to finishing.

INFRARED MAG: With a blend of 90s grunge and contemporary metal, LIVEKILL has carved out a unique niche in the metal scene. How do you balance these influences while creating a sound that’s distinctly your own?

JOHN SNELL: We are doing our thing. It has an old-school feel with a new vibe that’s straightforward. I never really learned to cover songs or play covers. This has allowed me to have my sound that’s my own. So when people say, hey you sound like Slipknot or Chimaira it makes me feel like I’m on the right track.

INFRARED MAG: The Florida metal scene has a rich history. How does LIVEKILL fit into this landscape, and in what ways are you looking to push its evolution?

JOHN SNELL: When we first started we wanted to play shows. There almost seemed to be an expectation that if you’re a Florida metal band then you’re a death metal band. We wanted to branch out and move towards music we can play everywhere. Moving away from blast beats and the Florida death metal scene. Now you see a lot of bands moving away from death metal. The “Metal” genre is always evolving and growing.

INFRARED MAG: Looking back on your journey so far, what has been the most significant evolution in LIVEKILL‘s sound or approach to music?

JOHN SNELL: The bigger shows we play, the better music we write. Interacting with the crowd at live shows helps the evolution.

INFRARED MAG: LIVEKILL has a reputation for engaging and moving the crowd at live events. How do you approach the setlist and performance to maximize this impact?

JOHN SNELL: Our live show is designed just for that, A Live Show. We interpret the song so that it drives harder live. Breakdowns are extended or we leave an intentional pause, so the next riff hits harder.

INFRARED MAG: With “Evil Ecstasy” set to be one of the standout metal releases of 2024, what goals or benchmarks are you aiming to achieve with this album?

JOHN SNELL: We aim to improve in every way possible. Goals… We want to play to massive audiences and engage life-long listeners.

INFRARED MAG: In the age of digital music consumption, what strategies are you employing to ensure that “Evil Ecstasy” reaches the widest possible audience?

JOHN SNELL: Our goal is to crush people live. The more we dominate live, the more serious people will take us.

INFRARED MAG: Thomas Crane‘s work on your music videos adds a cinematic quality to your releases. How important is visual art to LIVEKILL‘s identity, and can fans expect more collaborative projects with Crane in the future?

JOHN SNELL: Visuals are everything, we are not a one-sided band. Working with Thomas, he had a lot of great ideas we were able to work into the videos. We are not so stubborn that we don’t take input from the team around us. Making these videos was super fun.

INFRARED MAG: With the inclusion of heavy metal drumming, more intense distortion, and a fuller bass sound, how has the band’s approach to pre-production and arrangement evolved?

JOHN SNELL: We have had the same process from the beginning, but as our music matures and evolves that process moves forward as well. From beginning to end each stage has gotten faster and more streamlined.

INFRARED MAG: Given the diverse musical backgrounds of each band member, how do these varied influences converge in the writing and recording process?

JOHN SNELL: We all decided from the beginning that this band would write in this style of Sepultura, Chimaira, Crowbar, and Pro-Pain and we stick to it.

INFRARED MAG: Live shows are a crucial aspect of LIVEKILL‘s identity. How are you preparing for the live performances of “Evil Ecstasy,” and what can fans expect from these shows?

JOHN SNELL: Bigger, better, faster louder…. We are constantly getting better at giving this music its fair chance to succeed. The more shows the better, bring it on!

INFRARED MAG: Looking beyond “Evil Ecstasy,” what future projects or directions is LIVEKILL considering? Are there any new sounds or concepts you’re eager to explore?

JOHN SNELL: We shall see, we are a new band, but we did find our sound quicker than most. The door is always open, but we are going to keep on the path of development and bring the professional sound our listeners deserve.

In wrapping up our insightful conversation with LIVEKILL, it’s clear that “Evil Ecstasy” is more than just an album; it’s a declaration of the band’s evolving identity and a testament to their commitment to pushing the boundaries of metal music. With their innovative approach to songwriting, production, and performance, LIVEKILL not only challenges the conventions of the genre but also sets a new standard for what modern metal can achieve. As they prepare to take the stage and share their latest work with the world, LIVEKILL is poised to leave an indelible mark on the metal scene, propelling themselves and their fans into an exhilarating new era of music.