{"id":44423,"date":"2016-05-13T00:00:08","date_gmt":"2016-05-13T00:00:08","guid":{"rendered":"http:\/\/www.metalforcesmagazine.com\/site\/?p=44423"},"modified":"2016-10-21T21:08:44","modified_gmt":"2016-10-21T21:08:44","slug":"feature-destruction-05-16","status":"publish","type":"post","link":"https:\/\/www.metalforcesmagazine.com\/site\/feature-destruction-05-16\/","title":{"rendered":"DESTRUCTION – Second To None (May 2016) | Features \/ Interviews @ Metal Forces Magazine"},"content":{"rendered":"

DESTRUCTION – Second To None<\/strong><\/span>
\nAnthony Morgan<\/span>
\nMay 2016<\/span><\/p>\n

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Destruction (l-r): Wawrzyniec \u2018Vaaver\u2019 Dramowicz, Marcel \u2018Schmier\u2019 Schirmer and Mike Sifringer<\/b><\/em><\/span><\/div>\n<\/td>\n
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\nIn crafting May 2016 effort Under Attack<\/em><\/a>, German thrash metal outfit Destruction changed their general approach. The trio authored compositions in-between tours and concerts, which wasn\u2019t the case with previous studio affairs. Almost four years had elapsed since the release of 13th full-length studio album Spiritual Genocide<\/em><\/a> \u2013 issued in November 2012.<\/p>\n

\u201cIt\u2019s the biggest time off that we had between albums, was four years, so we had enough time to write, which I think was much better than finally starting to write again after a few years,\u201d reckons Marcel \u2018Schmier\u2019 Schirmer, vocalist and bassist for Destruction. \u201cI think this was a good step that we took. We also chose a procedure of how to record. We left a bigger gap between this album and the last album, because before that, for 17 years now we\u2019ve been writing an album every two years or so. We\u2019ve been very productive, but this time it was just important to do a good album, and so we took some more time.\u201d<\/p>\n

Changing the overall approach towards writing and recording was a conscious decision. \u201cWhen we saw that the touring would go on, we said to each other \u2018How are we gonna do a new album when we tour so much?,\u2019\u201d the frontman remembers. \u201cWe had never written on the road \u2013 we always sat down at home. Then we had this idea that we could record in-between the tours right away; record the songs as demos, and then later on work from those demos for the album. Therefore, we needed a studio that was close by. <\/p>\n

\u201cThere was a studio in Switzerland that we had worked at many times before. We recorded all of the basic stuff there, and they were shaping up. After a while, we saw that this new procedure would work really well. We changed one thing in the end. We went to a bigger studio for drum recordings; we recorded the drums in a big room with almost 30 microphones, because we didn\u2019t want to use any samples this time.\u201d<\/p>\n

As referenced, Destruction had not demoed material in-between tours in the past. \u201cIn the past, we did a tour,\u201d Schmier tells. \u201cThen we sat down to write the songs, and that was a procedure that takes time. If you wanted to write and then go into the studio, you needed at least two months totally free of concerts. Basically, how we did it in the past was we\u2019d take two months off of touring schedules, and in those two months we\u2019d write a part of the album. Then we recorded demos, and then the album. <\/p>\n

\u201cOf course, the songwriting usually takes more than two months, so you start on the bits and pieces. In the past though, we\u2019ve always focused on only the recording, which actually isn\u2019t the best thing to do for us. I saw this time that it was much better if you had live shows in-between; if you have a lot of positive vibes from the shows, then you bring the live kind of atmosphere into the studio.\u201d<\/p>\n

The change of overall approach towards writing and recording might perhaps be the given approach for Destruction in making future full-lengths. \u201cIt definitely worked for us,\u201d the rhythmist feels. \u201cI don\u2019t know what we\u2019re gonna do for the next album, but at the moment, I could totally do this again. We need to see how it\u2019s gonna be in 2017, 2018 though. Whenever we\u2019re gonna start writing another one, we will see how it is then. It\u2019s too far into the future to decide right now.\u201d<\/p>\n

No leftover tracks exist from writing sessions for Under Attack<\/em>. \u201cWhen we start writing, we write new stuff,\u201d Schmier explains. \u201cYou don\u2019t wanna carry old shit around \u2013 I\u2019m not a big fan of that. When the writing is done, it\u2019s over, and then when you start a new writing process, you start from scratch \u2013 you start to have new ideas. When I write, I always wanna have new ideas in the songs. I don\u2019t wanna use old shit for new songs.\u201d<\/p>\n

Sometimes ensembles cut more tracks than what eventually surface on the final track listing of a given album. \u201cNo, we never do that,\u201d the singer clarifies. \u201cWe write the amount we like, the amount that is needed, and stuff that we don\u2019t like \u2013 like there\u2019s always ideas or parts that we record but then see that we don\u2019t like \u2013 we just put them into a trash can and start again. So, we never work on a song that we don\u2019t like. I don\u2019t wanna waste my effort on a song that starts to be mediocre, so we always put those songs into the trash can. Once we see that demos aren\u2019t working good, we write something new.\u201d<\/p>\n

In most instances, a reason exists as to why leftover tracks weren\u2019t originally used. \u201cYeah, exactly,\u201d Schmier agrees. \u201cA lot of bands are writing ten songs extra for each album, but I think it\u2019s a waste of time. It\u2019s a waste of effort, because you will never, ever hear those songs. It\u2019s kind of stupid.\u201d<\/p>\n

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Ten original compositions are what Under Attack<\/em> boasts, all of which possess a production the four-stringer has warm feelings about. \u201cI think what stands out this time is that the production is more pure, and more dynamic,\u201d he describes. \u201cAs I said before, we used a real drum sound. There\u2019s no samples this time \u2013 we didn\u2019t have too many layers. We didn\u2019t overproduce the album; we wanted the album to be more raw and more brutal, and more Destruction sounding. In the past, we worked with a lot of great producers. Every producer also puts his own sound into the band though, so the band never sounds like the band. Those same guys know how to do it, but they also have their own style of producing something. This time, we did it with a friend of ours that has worked with us for many years. <\/p>\n

\u201cWe mixed everything together, and I think it turned out great. It\u2019s a big difference compared to the last couple of albums. The album has more time to breathe and is more dynamic, and it just sounds more like real Destruction. I think that\u2019s the biggest thing you first notice when you hear the album. I think also the songs turned out really good, because this time there are more instrumental parts, and there\u2019s more catchiness. It\u2019s a little more heavy metal also, with the chords and the harmonics. <\/p>\n

\u201cThe final resolution is that the album is a little more classic Destruction; more like the 80s, less diminished, and more rock \u2019n\u2019 roll I would say. Some are more catchy. The approach was a little bit different this time; we wrote the first songs and liked the way those first songs turned out, so we kept on doing them. I think they are more catchy that way.\u201d<\/p>\n

Certain tracks on Under Attack<\/em> are reminiscent of a heavier Mot\u00f6rhead. \u201cThere\u2019s definitely more rock \u2019n\u2019 roll there,\u201d Schmier submits. \u201cWe are all big Mot\u00f6rhead fans, lifetime Mot\u00f6rhead fans. If you can hear Mot\u00f6rhead, then that\u2019s always good (laughs).\u201d<\/p>\n

The rock \u2019n\u2019 roll temperament on Under Attack<\/em> translates to a more live atmosphere. \u201cWe tried to make it feel more live,\u201d the mainman shares. \u201cWe\u2019re just a three-piece band, and we\u2019re a live band. I see us as a live band; I think when you see Destruction live, you definitely catch the spirit of the band much better than just hearing our records, and we of course try to put this live energy into the band.<\/p>\n

\u201cVaaver (Wawrzyniec \u2018Vaaver\u2019 Dramowicz) is a very good drummer; on this album, he\u2019s featured stronger than on the latest releases because he\u2019s the backbone of the band. We tried to use a live sound on the record, as well. We also put the bass on a certain level that you can hear on the record. On a lot of heavy metal albums, you cannot hear the bass. On this album, you can hear the bass \u2013 we tried to put this on the record. There is of course a difference between live and in the studio, but I think this is the most live sounding album we have ever done at least since the reunion.\u201d<\/p>\n

The production values prevalent on certain past records have positive and negative traits. \u201cI think afterwards, you\u2019re always smarter,\u201d Schmier muses. \u201cYou learn from those little things you do and don\u2019t like. I would say there\u2019s no album I totally disagree with, but of course some stuff was maybe a little bit overproduced \u2013 like too blown up and too compressed. We\u2019re in this digital world where everything has to be loud. If I could change some stuff, I would definitely not over-compress the records like we did on some of the older ones, but for the time that they came out, it was totally okay. Looking back now though, it looks a little bit different. Luckily mind, there\u2019s also a scene of people who understand that heavy metal doesn\u2019t just have to be loud but that it has to sound good also. I\u2019m happy about that.\u201d<\/p>\n

The \u2018brickwalling\u2019 phemonenon of recent years among some artists has endured a backlash from fans, generally speaking. \u201cWhen your song is on some kind of a compilation, you want your music to have a certain volume to be kind of comparable to the rest,\u201d the vocalist elaborates. \u201cWhen you put your CD into the CD player and your music is much lower, it just leaves a weak impression. That\u2019s what\u2019s in people\u2019s heads \u2013 that they have to be louder. The American recording industry inspired this some years ago. <\/p>\n

\u201cIn the beginning of the 2000s, it was getting to the stage where all of the American productions and masters had such a loud volume, and everybody was following it. Over the years, it became normal that all albums were sounding fucking compressed to death. I remember the Metallica album \u2013 the latest one (Death Magnetic<\/em>, September 2008) \u2013 where it had like cracks. It was so compressed, and it was starting to crack through the speakers. That\u2019s definitely not the way to go, so I\u2019m glad that we have the control to move back to where we want. That\u2019s why we didn\u2019t choose to work with a big producer this time, because even if you tell them not to compress it so hard, they still do it.\u201d<\/p>\n

Some producers feel they know more with respect to the recording process than the bands themselves. \u201cYes, because they are famous producers,\u201d Schmier judges. \u201cThey have done a lot of stuff, and of course they have a certain influence on a record. A lot of bands let them do what they want because they are famous, and have a lot of control. Sometimes when they\u2019re forced to work with people that are experienced like us, then of course you have a certain diversity. You have different opinions, and so you have to find a middle opinion for how the album should sound. A producer puts his name on it and you put your name on it, and so it\u2019s not so easy to find that middle ground. <\/p>\n

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\u201cI can\u2019t put blame on anyone. We always had okay results with the last few productions, but if I look back now, I think here and there we should\u2019ve done some stuff differently. It\u2019s a part of the learning process, though. When you\u2019re a band, you never stop learning from what you do. I think that\u2019s in general, too.\u201d<\/p>\n

An array of topics encompass Under Attack<\/em>\u2019s lyrical matter. \u201cBasically, it deals with a lot of different topics around life,\u201d the bassist begins. \u201cOf course, I try to write about stuff that really bothers me. \u2018Under Attack\u2019, the title song, is about the problems we have right now with terrorists. I wrote the song after the Bataclan shootings, because we had all played at this place before of course. It was a big shock for the music world. <\/p>\n

\u201cWe have a song about the tragedy of the backing track nowadays. It\u2019s just a sad fact that a lot of rock and metal bands nowadays are using backing track tape for backing up the band, with vocals, and strings, and backing vocals, and guitars, and keyboards, and all kinds of shit. For me, when you play live, there should be no backing track. A lot of vocalists also back up their whole lead vocals with backing tracks nowadays, and that\u2019s a very sad fact. In that song \u2018Elegant Pigs\u2019, I\u2019m asking \u2018What the fuck happened to rock \u2019n\u2019 roll?\u2019 It\u2019s lying. The fans don\u2019t know when the band is cheating, but for me it\u2019s a fucking topic that I want to talk about. <\/p>\n

\u201cA lot of my musician friends don\u2019t like the fact that I\u2019m talking about it, but I don\u2019t care. For me, rock \u2019n\u2019 roll is a holy spirit, and it\u2019s a fucking no-go to do this in this kind of music. A lot of pop bands have been doing this for generations, but not in heavy metal. Yeah, I\u2019m dealing with stuff that is basically bothering me. It\u2019s also a big release for me to write lyrics \u2013 kind of my own psychological session.\u201d<\/p>\n

Some rock and metal groups employ the use of backing tracks in light of the fact that they are arguably past their prime. \u201cI think there are different reasons,\u201d Schmier ponders. \u201cWhat I hear on times of course is that the big bands are doing it so they sound live like they do on the record. They say \u2018The big bands are doing it, too. I wanna sound good live,\u2019 and so then they use all of this backing stuff. Then there\u2019s another reason, which is what you just said; that there are a generation of singers that can\u2019t do it any more, or could never do it. Then they\u2019re backing up their vocals; the high parts, the melodic parts, the harmonies. They\u2019re backing them up with all of those backing tracks. <\/p>\n

\u201cThen there\u2019s a third thing, which is the new generation. The new generation is the laptop generation, who grew up producing their albums on their own laptops. When you go onstage you just flip out that laptop, and then you have like 20 backing tracks running with the band. I see this a lot with all of the new bands. There\u2019s one singer, and he\u2019s singing in three harmonies live, and it\u2019s like \u2018What the fuck?\u2019 It\u2019s different. It goes from generation to generation \u2013 it\u2019s not just the old guys that can\u2019t do it any more. It\u2019s also a new thing which the young guys do too.\u201d<\/p>\n

Given that the Destruction frontman is behind the microphone as well as occupying bass, he notices more than the average observer. \u201cIt\u2019s like this: when a band sounds too perfect live, then there\u2019s mostly something wrong,\u201d he argues. \u201cIn my generation and in my rock \u2019n\u2019 roll book, I go to a live show to see a band that plays live and sounds different live. It\u2019s not metal. Who wants to sound exactly like a record? That\u2019s fucking totally stupid. In my world, music created live is a wholly different thing than a studio album. In the heat of the moment onstage, bands that sound the same every night are very suspicious. When I\u2019m on festivals and on tour, I have access to backstage and the mixing desk, and I see what\u2019s happening. I see ten to 20 channels of backing tracks on the main desk, and if I think of the names of the bands, it\u2019s everyone from old, established heavy metal bands to the new generation.\u201d<\/p>\n

Live albums can be suspicious, where a band will subsequently enter the studio to fix mistakes made on the evening of the performance. \u201cA lot of bands go in the studio later on and fix stuff, but every night onstage, having a backing track, doing the vocals, and playing the show, basically,\u201d Schmier divulges. \u201c\u2018How do you feel about this?\u2019 I couldn\u2019t fucking look at myself in the mirror. I\u2019d be cheating on the fans, on the people who pay my rent. I don\u2019t think it\u2019s very professional. This is just fucking bullshit, but those musicians have to make themselves sound so good live. It\u2019s not live any more, though.\u201d<\/p>\n

The title track \u2013 a fellow composition to \u2018Elegant Pigs\u2019 as well as the rest of the numbers on Under Attack<\/em> \u2013 lyrically concerns the November 2015 Paris attacks. Albeit targeting an Eagles Of Death Metal performance at the Bataclan theatre, the terrorists could have targeted a Destruction show, or anyone else\u2019s.<\/p>\n

\u201cWe actually played that night, also,\u201d the rhythmist recalls. \u201cWe came off stage into the backstage area, and there was a football game \u2013 Germany against France \u2013 on the TV. When we came into the backstage though, there was the news. Everybody dropped all of their stuff, and was shocked. We sat down, and watched the news that was going on. I had to play another show the next day, so this was of course a brutal experience. As you said, this could have happened to anybody. It\u2019s a similar feeling like when Dimebag (late Pantera \/ Damageplan guitarist \u2018Dimebag\u2019 Darrell Abbott) got killed back in the day (December 8th, 2004). <\/p>\n

\u201cI was just sitting in front of my computer for days, shaking my head and not believing what I read on the online news. It\u2019s something you can\u2019t believe, and something you have to face when you are a musician. I guess it\u2019s not just a problem in the music industry, though. This terrorist problem goes much further than just the music industry, but of course music festivals in the future will be an easy target.\u201d<\/p>\n

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Recording sessions for Under Attack<\/em> took place at several different studios. \u201cWe recorded all of the main stuff \u2013 from the vocals to the demos and the guitars and bass \u2013 in Switzerland at Little Creek Studios with our old friend V.O. Pulver,\u201d Schmier informs. \u201cHe\u2019s also a guitar player in a band called Poltergeist and Gurd. He\u2019s been working with the band for many years \u2013 he\u2019s been recording a lot of our stuff in the last few years. He\u2019s a good friend and a close friend, and so it\u2019s nice to work together with somebody you can trust. <\/p>\n

\u201cThat\u2019s how we did all of the basic recording, and then the drums were recorded in Germany \u2013 close to Cologne \u2013 with another musician, which was Martin (Buchwalter) from the band Perzonal War. He has a studio up there. We\u2019ve also recorded with him before. He just has a very nice drum room, and so we could record the drums the way we wanted without using too much technology afterwards. It worked out really good. It was a good team.\u201d<\/p>\n

The fact that V.O. Pulver happens to be a musician himself benefits all concerned. \u201cSometimes you have trouble explaining to people what you want, and what you want to achieve,\u201d the singer relates. \u201cHe\u2019s a musician himself though, and he\u2019s known Destruction since the 80s, so I don\u2019t have to explain too much. He already knows the direction, and he already knows what I want. He\u2019s very professional, and he\u2019s very fast also. Sometimes working procedures between us that would take days with a normal sound engineer just takes hours between us. From recording stuff to changing the songs or some sounds, we\u2019re very fast. He\u2019s always like a band member to us, because he knows us so well.\u201d<\/p>\n

Relatively little effort was needed in recording vocals and bass for Under Attack<\/em>. \u201cI actually recorded a lot of the vocals that you hear on the album in a first take, like from the first demos for the album,\u201d Schmier discloses. \u201cA lot of the vocals you hear are from the demo part. I liked them so much, because they sounded fresh and real that we kept them on the final album. That was something we had never done before. Usually, you just sing it again, but then afterwards you say \u2018Oh, this is so much better than the demos.\u2019 This time though, we said \u2018No. Doing it over and over will not make them any better.\u2019 <\/p>\n

\u201cSometimes the spirit of the first is the best, and so that\u2019s what we did this time. We kept a lot of the first takes, and the first moments that were recorded with the vocals, from the demos. The basic recording was very easy to feature in it, because I also wrote a lot of the songs. We took our time with the bass, but I didn\u2019t need more than a couple of hours for all of the album because I wrote a lot of the material. It\u2019s not like I had to put so much effort into them. With the bass, you need one hour per song I\u2019d say.\u201d<\/p>\n

Performing bonus track duties on Under Attack<\/em> are a cover interpretation as well as a re-recording. \u201cWe have \u2018Black Metal\u2019 from Venom (originally featured on the November 1982 album of the same name), and we had Alex Camargo from Krisiun guest,\u201d the four-stringer notes. \u201cWe played the song together at Rock In Rio some years ago (September 22nd, 2013), and it was just a magical moment. We knew the song was such a classic, and so then we got our friends from Brazil onstage in Brazil at the Rock In Rio festival in front of 100,000 metalheads, and like huge circle pits. It was magical. We said \u2018When we do a cover version, we\u2019ll do Venom again, and we have to invite Alex to sing with us.\u2019 That\u2019s what we did. <\/p>\n

\u201cI think it turned out brilliant. It\u2019s like a fresh version of the classic song, and the other song \u2013 \u2018Thrash Attack\u2019 \u2013 is a classic song. It\u2019s from Infernal Overkill<\/em> (May 1985), and was the first real instrumental metal song that was written back in the day. It\u2019s a classic for the fans, and we haven\u2019t played it live for many years. We put it back into the setlist, and made a lot of fans happy at some shows we did. We decided to put it on the album, to give it a fresh face. It\u2019s kind of a pretty unique thrasherpiece.\u201d<\/p>\n

In making cover renditions, Destruction opt not to cut facsimiles. \u201cWhen we do covers, we always try to make the song our own,\u201d Schmier stresses. \u201cIn the end, we pay tribute to the original and play with it. You can hear what it is, but I think it\u2019s always very important to put your own style and your own direction on the song so that in the end, it should sound like a Destruction song. Sometimes fans write \u2018I like the song so and so from this album,\u2019 and they don\u2019t even know that it\u2019s a cover version. I think that\u2019s sometimes a good compliment for a band, making cover versions sound like your own.\u201d<\/p>\n

And in turn, the cover version encourages the uninitiated to investigate the original artist\u2019s material. \u201cYeah, of course,\u201d the mainman seconds. \u201cAll of the cover versions that we\u2019ve done over the years, most of them were actually English bands (laughs). There was Tank, Iron Maiden. There was Saxon, it was of course Mot\u00f6rhead twice, and now Venom. They\u2019re actually all British (laughs). The New Wave Of British Heavy Metal influenced us a lot back in the day.\u201d<\/p>\n

A music video was filmed for the title track. \u201cThis time, there was a big effort to make a video,\u201d Schmier reveals. \u201cWe wanted to have this live vibe from the album, as well. The song \u2018Under Attack\u2019 is of course dealing with attacks around the world to date. We wanted the video to have this world ending look that the record has, too. Of course, to do it professionally was a lot of effort. It was a lot of filming and a lot of special effects, and so this is maybe the biggest production we\u2019ve ever had for a video clip. I think it\u2019s an exciting video clip for us. I think the title track for Under Attack<\/em> stands totally all for what Destruction is about; it\u2019s a good song from a good album, so it\u2019s a good representation of the new record.\u201d<\/p>\n

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The prospect of further music videos being filmed to promote Under Attack<\/em> is uncertain. \u201cThe thing is, nowadays all of the video clips that you do you finance yourself,\u201d the vocalist laments. \u201cThe record labels don\u2019t pay for this any more, so we do the video clip basically from our own money. Since MTV<\/em> is no more, labels kind of stopped putting it into the contract \u2013 a budget for a video. Now, what they do is they pay you advance money, which is basically recouped from your own sales, and then you can put this money into a video clip. We use this as a massive promotional tool, because of course YouTube and other online channels are very famous nowadays. So, every video clip is also a big investment into the band\u2019s promotion. <\/p>\n

\u201cIt\u2019s very tricky; the quality of videos in the last few years hasn\u2019t risen as the technology has improved, because it costs a lot of money. This was a very big investment. We\u2019ll see if we do another one. It also depends on the success of the record. When a record is selling well and you make some money, you always reinvest the money into the band, so then you can do another video clip. Right now though, we\u2019re looking forward to making this one happen. Hopefully fans will like it, and buy the album. We\u2019ll see.\u201d<\/p>\n

Hungarian artist Gyula Havancs\u00e1k designed the cover artwork which adorns Under Attack<\/em>. \u201cThe cover artwork of course expresses the band,\u201d Schmier affirms. \u201cIt has everything you need to know; the title, the band\u2019s name, and of course our skull symbol is kind of pinned up there. I think it\u2019s very important, because we\u2019re an 80s band. When you look at a cover, you should feel which band it is. I think this is a trademark of Destruction. I think it\u2019s one of the standout covers of the last few years \u2013 it\u2019s quite a strong image. This is what a thrash metal band needs.\u201d<\/p>\n

Under Attack<\/em> was released on May 13th, 2016 via Nuclear Blast Records.<\/p>\n

Interview published in May 2016. All promotional photographs by Kai Swillus.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

DESTRUCTION – Second To None Anthony Morgan May 2016 Destruction (l-r): Wawrzyniec \u2018Vaaver\u2019 Dramowicz, Marcel \u2018Schmier\u2019 Schirmer and Mike Sifringer In crafting May 2016 effort Under Attack, German thrash metal outfit Destruction changed their general approach. The trio authored compositions in-between tours and concerts, which wasn\u2019t the case with previous studio affairs. Almost four years […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[58],"tags":[],"class_list":["post-44423","post","type-post","status-publish","format-standard","hentry","category-destruction"],"_links":{"self":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/44423","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/comments?post=44423"}],"version-history":[{"count":3,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/44423\/revisions"}],"predecessor-version":[{"id":49132,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/44423\/revisions\/49132"}],"wp:attachment":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/media?parent=44423"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/categories?post=44423"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/tags?post=44423"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}