For guitarist Kyle Shutt of The Sword musical evolution is a very necessary thing.
The Austin, Tex.-based outfit has moved a certain distance on from the almost traditional metal crunch of their 2006 debut, Age of Winter, adding new elements, dabbling in different textures, restlessly rethinking their sound over their six-album career. Now, with their latest effort, Used Future, they’ve upped the quotient of sonic elements like synthesizers to their usual gnarly, guitar-pummeling, riff-rocking intensity, even touching on classic rock. Tell Shutt that it’s an interesting leap away from the classic Sword sound and he’ll need to think about it for a moment, however.
“Well, I guess it doesn’t feel like a change to me because I’ve been in it for the entire time,” he finally says after a moment’s consideration. “We’ve grown so much; we’re not the same kids that made our first record in our bass player’s house for free. But I guess that if you put an old track up against something from Used Future or (2015’s) High Country then yeah, we’ve definitely moved on. That’s kind of necessary, though, right?”
Absolutely. Not all listeners might agree, but keeping a band at a certain musical point in their creative lives causes stagnation, and we don’t want that, do we?
“No, we don’t,” says Shutt. “Look at a band like Rush. What if they had made the same album 10 times over? We’d never have Moving Pictures!”
Used Future might not yet be The Sword’s Moving Pictures, but there’s little doubt they’re getting there. I spoke with Shutt about staying true to artistic impulses, what it’s like to listen to the The Sword in the van, and the recent, unexpected death of a band friend.
Q: It’s a little strange to talk to you right now, because we’re both still reeling a little …read more
Source:: Edmonton Journal