{"id":5099,"date":"2012-04-24T00:00:06","date_gmt":"2012-04-24T00:00:06","guid":{"rendered":"http:\/\/www.metalforcesmagazine.com\/site\/?p=5099"},"modified":"2012-05-21T21:49:33","modified_gmt":"2012-05-21T21:49:33","slug":"feature-prong-04-12","status":"publish","type":"post","link":"https:\/\/www.metalforcesmagazine.com\/site\/feature-prong-04-12\/","title":{"rendered":"PRONG – Eternal Heat (April 2012) | Features \/ Interviews @ Metal Forces Magazine"},"content":{"rendered":"

PRONG – Eternal Heat<\/strong><\/span>
\nAnthony Morgan<\/span>
\nApril 2012<\/span><\/p>\n

\n\n\n
<\/td>\n\n
<\/p>\n\n\n
\n
Tommy Victor<\/b><\/em><\/span><\/div>\n<\/td>\n
\n
<\/span><\/div>\n<\/td>\n<\/tr>\n<\/table>\n<\/div>\n<\/td>\n<\/tr>\n<\/table>\n<\/div>\n

New York, United States-based heavy metal outfit Prong issued seventh studio full-length Power Of The Damager<\/em> in October 2007 through 13th Planet Records, their last studio outing proper of the noughties. Five years would separate that album and its successor, mainman Tommy Victor remaining musically preoccupied between 2007 and 2012. Featuring his contributions were Ministry studio records 11 (The Last Sucker<\/em>, September 2007) and 12 (Relapse<\/em>, March 2012), Ministry And Co-Conspirators covers album Cover Up<\/em> (April 2008), Prong remix effort Power Of The Damn Mixxxer<\/em> (May 2009), and ninth Danzig studio offering Deth Red Sabaoth<\/em> (June 2010, Evilive \/ The End Records).<\/p>\n

\u201cThere were tours in there with those groups as well,\u201d notes Tommy Victor, lead vocalist, guitarist, and co-founder of Prong. \u201cProng did some touring in the last two or three years too, even without a record coming out or anything. We did a couple of tours with the likes of Soulfly and Fear Factory, and did some scattered dates. I was in the mind of getting material together, and thinking about working on a record. That pretty much sums it up for the last five years, I guess.<\/p>\n

\u201cNot long ago though, I had to cut Ministry out. It was a simultaneous release; I worked on the Relapse<\/em> record, and I told them I wasn\u2019t going to tour with them for this because I\u2019ve gotta focus on Prong. I\u2019ve actually sacrificed a lot of stuff with Prong because of doing other things. It got to the point where I couldn\u2019t do Prong that much, and it\u2019s hard enough fitting in playing with Glenn. It\u2019s always so crazy with scheduling problems that always come about, but fortunately Glenn doesn\u2019t really do that many shows during the year so it seems to be working out okay. I\u2019m dedicated to doing Prong as a priority now. That\u2019s something I haven\u2019t done in awhile because, again, there was so much other stuff I was busy with.\u201d<\/p>\n

Danzig is currently recording a covers album. \u201cHe\u2019s pretty much doing it all himself, but I go in there every once in awhile and lay some tracks down with him,\u201d the Prong singer reveals.<\/p>\n

In recording Carved Into Stone<\/em><\/a>, the assortment had a wide pool of compositions to select from. \u201cThe initial part of it was getting a lot of material together, and then trying to figure out which were the best ones later on,\u201d Tommy recalls. \u201cI just kept on writing, and that started about two-and-a-half years ago. We did stuff on ProTools, and I did some stuff on my own. Tony Campos and I jammed some stuff together on the road, and Alexei had some stuff. We came together, and just kept making demos in between tours etcetera. We then did a lot of those songs, demoed them again, went through probably four different stages of making demos, and got a producer. We picked Steve Evetts; he listened to all of the stuff, and between him and our managers we decided which songs we were gonna focus on. We got it down to like 14 songs out of 25. We did pre-production for the record, cleaned up some more stuff, and 14 songs went down to 11 songs. I was then in the studio for two months, and between mixing and mastering that was another milestone. The actual making of the record was like three months. It was a lot of work, more than I\u2019ve done in a particularly long time.\u201d<\/p>\n

Of these leftover ideas, two might publicly surface in future. \u201cThere was one song we started doing the basic tracks for, but then we decided not to continue working on it because we wanted to focus on 11 tracks,\u201d the mainman divulges. \u201cSo yeah, there are two really strong ideas probably that we may reconsider using. The rest of them are just in the garbage, and will probably never be used.\u201d<\/p>\n

Steve Evetts produced Carved Into Stone<\/em>, having previously worked with Sepultura, Symphony X, The Dillinger Escape Plan, and Hatebreed, among others. According to Tommy, this is the first occasion that Prong has taken direction from a producer in the studio. \u201cHe was really pro-active in all aspects of it, including helping a little bit with arrangements,\u201d he enthuses. \u201cWe wanted a guy that was gonna be really in tune with the vocals too. I\u2019ve pretty much been producing myself vocally for all these years, and I didn\u2019t really have anybody pushing me in a certain way. This record has a lot more focus on vocals, guitar playing, and all other aspects too like getting everything designed, and thinking out precisely things that we wanted to do. <\/p>\n

\n\n\n
\n
<\/p>\n\n\n
\n
Prong (l-r): Alexei Rodriguez, Tony Campos and Tommy Victor<\/b><\/span><\/div>\n<\/td>\n
\n
<\/span><\/div>\n<\/td>\n<\/tr>\n<\/table>\n<\/div>\n<\/td>\n
<\/td>\n<\/tr>\n<\/table>\n<\/div>\n

\u201cAs you get older, I guess you start getting stuck in certain ways and certain bad habits whether vocally or guitar playing wise. Steve was a bit of a disciplinarian in there, something that we needed in order to get a better record than we had put out previously. He\u2019s worked a lot with Alexei on his drum parts, and the sounds too. We just tried out a whole bunch of stuff and agreed upon what amps to use, whereas in the past, working with Terry Date he\u2019d be like \u2018Is this your guitar rig? Okay, fine. Let\u2019s just use that.\u2019 We didn\u2019t really try anything with Terry, and he didn\u2019t really interfere… That\u2019s a bad choice of words, but he didn\u2019t have anything to do with the vocals really. He had me do what I did and that was it, but there was a very big difference on this one.\u201d<\/p>\n

Such comments suggest Prong is disappointed with Terry Date\u2019s approach in hindsight, but the axeman is adamant that this isn\u2019t the case. \u201cNo, not at all,\u201d he stresses. \u201cHe got great sounds; for that time and what we were doing, that was really appropriate. I just wanted to re-challenge myself a little bit on Carved Into Stone<\/em>, and I couldn\u2019t do it on my own. I needed somebody that would be able to do that. From what people have been telling me and from listening to our records, Steve brought things up to date too. He was able to make Carved Into Stone<\/em> sound current, and that\u2019s what we did with Terry as well. Those records sounded very current, and this one does too. There was just a lot more participation from the producer. Terry was mainly an engineer, and totally focused on a lot of the sounds. I think what we got back then was something that is hard to achieve really, and the budget back then too… We were dealing with more money on Carved Into Stone<\/em>; a pretty amount of money was spent on this record, which is completely the whole budget that we had. It\u2019s pretty amazing what got accomplished with it.\u201d<\/p>\n

Steve Evetts pushed Prong\u2019s individual members towards their very limits. \u201cIf he knew he could get something out of you, he kept pushing until you were able to do that,\u201d Tommy remembers. \u201cWe didn\u2019t cut any corners really; it was never \u2018Let\u2019s just go with that,\u2019 but \u2018We\u2019ve gotta get it right.\u2019 It took our standards to a different level; whereas normally I would\u2019ve thought that it was okay, he would say that that\u2019s not right. He just kept pushing it to the best that anybody could get. When I did the solos too, there were a lot of things here and there that… just little, tiny intricacies in terms of transitions in like a guitar solo or a rhythm part that you really take for granted. He was like \u2018How are you holding that chord at the end of that part? It\u2019s not right,\u2019 or would say things like \u2018You\u2019re not really holding that chord down strong enough. You\u2019ve gotta move to the next section in a different way.\u2019 <\/p>\n

\u201cThese are just some things that I would never even think of. It was just a matter of tightness and trying to be perfect. As far as perfection goes you\u2019re always gonna fall short a little bit, so you\u2019ve gotta keep working to get those parts really dialled in and then double it all and at some points triple it. Vocals too… There were vocal harmonies, stuff that I never, ever did before. It was just finding the right notes to do it, and being able to do that. Maybe disciplinarian wasn\u2019t the correct term, but we got in there early and worked all day. There was no partying and no fooling around; we just got it done.\u201d<\/p>\n

\n\n\n
<\/td>\n\n
<\/p>\n\n\n
\n
Prong 1987 (l-r): Mike Kirkland, Ted Parsons and Tommy Victor<\/em><\/strong><\/span><\/div>\n<\/td>\n
\n
<\/span><\/div>\n<\/td>\n<\/tr>\n<\/table>\n<\/div>\n<\/td>\n<\/tr>\n<\/table>\n<\/div>\n

Steve\u2019s advice for the frontman extended towards approaching vocals in general. \u201cIn the past, other guys in the group would go \u2018You\u2019re not pushing yourself hard enough. It doesn\u2019t sound heavy enough,\u2019\u201d he muses. \u201cEveryone would try to get me to scream more, and you lose the tonality of your voice in a lot of that. That\u2019s why I was always curious, because I\u2019ve watched other singers and it seemed like they weren\u2019t struggling so much all the time. There\u2019s a fine line between being wimpy or being overblown. He helped me find that right spot where the voice sounded good, but it wasn\u2019t fake. It wasn\u2019t like putting on another voice; it was me, but just me singing properly. For a producer that has been working with a lot of young guys on a lot of newer records, it was really a revelation to me in terms of how to approach singing or whatever you want to call vocals in this type of music. It was really helpful. I started being able to sing on my own without his instruction; I didn\u2019t have to push it too hard, and I didn\u2019t have to strain. There are certain ways of opening your mouth, a certain way to project without actually straining. Things of that nature. It was an education for me in a lot of ways.\u201d<\/p>\n

Albeit a positive experience overall, whether Steve Evetts will produce Prong\u2019s next full-length is unclear. \u201cThe only problem I have with having a guy do a record twice is every time we did that, a jinx started happening,\u201d Tommy cautions. \u201cIt seemed like Cleansing<\/em> was really good, and then when we had Terry the second time it was like the familiarity between each other bred some contempt of some sort. It was the same thing with Mark Dodson with Beg To Differ<\/em>; I thought we had communal agreement on a lot of things, and then the second time we went in we seemed to be arguing all the time. That\u2019s really what I\u2019m afraid of. It seems like every time we did something with a producer for a second time it wasn\u2019t as fresh, and we weren\u2019t trying to impress each other enough. The second time, it was always a different vibe.\u201d<\/p>\n

The entrance of bassist Tony Campos (Static-X) and drummer Alexei Rodriguez (ex-3 Inches Of Blood \/ ex-Walls Of Jericho) into the Prong fold was publicly announced on September 16th, 2009. \u201cWith the last record and touring cycle we had Aaron Rossi,\u201d the guitarist explains. \u201cHe wasn\u2019t able to tour with us, but we had a tour booked. We were ready to cancel the tour. We had a couple of other guys that wanted to do it that we were rehearsing with, but they weren\u2019t working out. A friend of mine then said \u2018What about Alexei?\u2019 I didn\u2019t know whether he would be able to do it, but I knew of him. He was basically there for the tour at first, and the same thing with Tony. We needed somebody we could go on tour with, so inevitably we started working together.<\/p>\n

\u201cThey just play great, and are super professional. They just do a really great job. There\u2019s nothing more you can say about it \u2013 absolutely fantastic. There\u2019s no limitations with what you can do with somebody like Alexei playing drums. You never fear anything; if I write a really fast song, I\u2019m not worried if somebody is gonna be able to cut it. With guys in the past, we really had to work around everyone\u2019s limitations. If anything now we have to work around my limitations, because there are a lot of things that I definitely can\u2019t do on guitar and vocals as well. I just do what I do.\u201d<\/p>\n

Occupying the guitar position in addition to supplying vocals immediately places limitations on a musician. \u201cAs far as playing the songs you\u2019re doing two things at once and then soloing on top of it,\u201d Tommy acknowledges. \u201cIt\u2019s pretty obvious that there\u2019s gonna be certain restrictions, unless you\u2019re a complete magician. As far as technique, I\u2019ve learnt as I\u2019ve gone along. I wasn\u2019t even really seriously playing that much when Prong started. The truth of the matter is I certainly fell into the whole thing. Before Primitive Origins<\/em> (August 1987) I had never played a guitar solo in my life; that was just learnt on the spot, and I wasn\u2019t even really playing guitar that much before that anyhow. I sang in a couple of cover bands as a bass player, and was really horrible, terrible. I never sang in a band before really. It wasn\u2019t like when I was eight-years-old I said \u2018I\u2019m gonna be a rock star,\u2019 was learning to play guitar, and had a teacher for years, a vocal instructor, or any of that stuff. That wasn\u2019t the case at all. It\u2019s not like kids today where their parents want them to be a rock star, and they\u2019ve had lessons or what have you since they were little kids. That\u2019s what I\u2019ve gotta compete against in a couple of ways, people that have had a lot more instruction and support. I\u2019m limited (laughs).\u201d<\/p>\n

\n\n\n
\n
<\/p>\n\n\n
\n
<\/span><\/div>\n<\/td>\n
\n
<\/span><\/div>\n<\/td>\n<\/tr>\n<\/table>\n<\/div>\n<\/td>\n
<\/td>\n<\/tr>\n<\/table>\n<\/div>\n

Nowadays, the vocalist is more confident behind the microphone stand. \u201cIt\u2019s getting better,\u201d he confesses. \u201cNowadays I think I am, yeah. Totally. It was definitely rough here and there in the past, but you can always improve on anything that you\u2019re doing really. I didn\u2019t really focus on it that much. I think with the help of having ProTools, you can work on your own a lot these days more. It has its downside too, where you can become too isolated. I don\u2019t like sitting in front of a computer to make music. As far as tracking vocal parts and stuff like that or even guitar parts though, it\u2019s a great tool once you get together with the band and jam stuff out. You can then go home on your own and figure it out. With the early Prong records there was nothing like that; I would just blast out some vocals while we were playing the song actually, and that\u2019s what I would sing on the record. We didn\u2019t have any tools to go home and look at what we were doing that much.\u201d<\/p>\n

Carved Into Stone<\/em>\u2019s lyrical content delves into a wide variety of topics. \u201c\u2018Revenge… Best Served Cold\u2019 is this story of a guy who knows that he\u2019s hated, and has done some bad things to people in the past,\u201d Tommy discloses. \u201cHe\u2019s starting to get really paranoid, and his enemies feed on that. They just knock on his door and run away, and call him up on the phone and hang up. That\u2019s what I mean by \u2018Revenge… Best Served Cold\u2019. \u2018Eternal Heat\u2019 is about getting that personal passion back and being able to get out there and actually write songs, which Prong hasn\u2019t done in recent years. It\u2019s about getting that energy, and tapping into the source. <\/p>\n

\u201cThen there\u2019s the song \u2018State Of Rebellion\u2019, which is about the fact I don\u2019t get involved in political discussions anymore with people. I\u2019ve been there and it doesn\u2019t really help anything. It\u2019s almost in that realm where I numb myself and walk the fence a little bit, which isn\u2019t a good thing. I started to numb myself from any kind of arguments or controversy. Of course when you\u2019re young and you\u2019re more brash, you\u2019re quick to get into arguments a lot more. Later on you start to realise that it\u2019s not really worth the trouble, and for your own sanity. There are other things that I\u2019d rather spend my energy on, which is taking it easy really. It\u2019s just a matter of priorities, but yeah. It\u2019s not that I don\u2019t have a strong opinions on things; it\u2019s just that I don\u2019t think it\u2019s necessary to try to convert anybody, or even express myself that much. It doesn\u2019t take precedent over other things in my life anymore.<\/p>\n

\u201c\u2018List Of Grievances\u2019 is just a rant about hypocrites, and just people that wave this peace flag and say they\u2019re all so liberal and left-wing. Meanwhile, you try to get paid by them and they\u2019re ripping you off. They\u2019re the biggest capitalists of anybody. Each song has its own identity.\u201d<\/p>\n

With the rise of the internet, viewpoints are a greater focus of attention and reach a wider spectrum of people. \u201cYeah, but it\u2019s just a bunch of talk anyhow,\u201d the singer dismisses. \u201cIt doesn\u2019t really do anything. I think I\u2019ve gotten to the point where I\u2019m more into action than trying to converse. I have an old buddy of mine; we\u2019ve been friends for a really long time, and we were hardcore punk rockers back in the day. He doesn\u2019t drink anymore, because that wasn\u2019t good for him. Every time we get together though we play video games like American football games or whatever on Xbox, but then he starts getting political. It\u2019s like \u2018While we\u2019re hanging out, I don\u2019t really wanna hear about it anymore.\u2019 It\u2019s the same old issues from when we were kids. I just smile at him. It\u2019s great that he still has those views, but he\u2019s just preaching to the converted and it\u2019s pointless at this point in time. It\u2019s like \u2018Yeah, whatever. I don\u2019t wanna hear about it anymore\u2019.\u201d<\/p>\n

\n\n\n
<\/td>\n\n
<\/p>\n\n\n
\n
Prong (l-r): Tommy Victor, Tony Campos and Alexei Rodriguez<\/em><\/strong><\/span><\/div>\n<\/td>\n
\n
<\/span><\/div>\n<\/td>\n<\/tr>\n<\/table>\n<\/div>\n<\/td>\n<\/tr>\n<\/table>\n<\/div>\n

Tommy has an older brother, though their opinions generally conflict. \u201cHe\u2019s at the other end of the spectrum \u2013 he\u2019s very Republican,\u201d he relates. \u201cHe starts ranting, and I don\u2019t even respond to it. I don\u2019t even say anything. I go \u2018Yeah, yeah, yeah. That\u2019s fine. Whatever,\u2019 but years ago I would get into arguments with him. I\u2019d be like \u2018Shut the fuck up. You don\u2019t know what you\u2019re talking about,\u2019 and it\u2019s just pointless. I\u2019d rather maintain the relationship than get into these battles with him.\u201d<\/p>\n

Comparing production as well as the sound quality of both Carved Into Stone<\/em> and Power Of The Damager<\/em>, Carved Into Stone<\/em> is \u201cjust so much better,\u201d the mainman concedes. \u201cThat\u2019s so general a statement though. I think the songs were really good on Power Of The Damager<\/em> mind, but there was no-one there to really help me take them to the next level. We didn\u2019t examine the arrangements that much \u2013 it was just a free for all. Again, no-one was there to question anything and I think that\u2019s important. I want somebody to critique what\u2019s going on. When you\u2019re involved in a project, it\u2019s just a project. When I was working on vocals by myself for the demos for Carved Into Stone<\/em>, I would send Tony Campos a file or Alexei and say \u2018What do you think of this?\u2019 Tony would go \u2018I don\u2019t know man. You should try something else,\u2019 and I was like \u2018Cool, man. Great.\u2019 I want everyone to be happy about it, even the managers too. One of our managers used to be an A&R guy, and I was sending him a lot of stuff. That gives me more confidence, and I feel secure about what I\u2019m doing. I\u2019m not that much of an egotist to go in there, and go \u2018Everything I do is great.\u2019 <\/p>\n

\u201cI think on Power Of The Damager<\/em>, I had to do that. It was pretty much all me. Monte (Pittman, bass) was there for three days and then he left, so he wasn\u2019t even there during the process. His contribution was limited therefore, and it was the same thing with Aaron. He came to jam on the stuff, and then split. It was a very lonely experience. With this one I wanted everyone to be involved more, and keep an eye on me to make sure that I was going in the right direction. Even during the process of the album, I didn\u2019t know where we were going, so I was frustrated. I had to really trust Steve Evetts on a lot of things. I was hitting these dark holes where I was like \u2018I don\u2019t really know how this fucking thing is coming out,\u2019 and I was freaking out. We really didn\u2019t listen to anything afterwards; we would just lay it down, and onto the next. <\/p>\n

\u201cWe didn\u2019t have enough time to make any judgements. We had to commit ourselves to certain things, like even effects and certain vocal parts we went with. We didn\u2019t do anything in the mix really; it was all there while we were recording. There was a small amount of processing going on on the record, as you can hear. We didn\u2019t go back and listen to things, because we weren\u2019t able to do that. All these things didn\u2019t exist with Power Of The Damager<\/em>; it was like \u2018We\u2019ll put something in later,\u2019 or \u2018We\u2019ll fix that up and find another part.\u2019 We didn\u2019t do any cutting and pasting on this record. It\u2019s all played; with each verse we didn\u2019t copy and paste parts from another segment, and all the choruses were done completely from start to finish. It\u2019s not a computer record.\u201d<\/p>\n

On November 11th, 2011, it was publicly revealed that Prong had inked a global contract with Long Branch Records \/ SPV Records. \u201cWe actually had to go in and make demos, and send them out to labels again,\u201d Tommy admits. \u201cThat actually helped the end all result of the record because I think it pushed us to do better songs, and I wanted the best songs possible to impress a label and impress people. We got rejected by a lot of people, and a lot of people were interested. SPV were more interested than anybody, really. You can tell in this process when people are answering your phone calls, and getting back to you fast. We didn\u2019t wanna pull any teeth, or beg. When somebody was really interested in doing it, was excited about it, and had faith in an older band like Prong, that was something that was important to us too. It\u2019s a youth-oriented thing; a lot of labels want to break something new and fresh, which is fine. It\u2019s difficult to find anybody that\u2019s interested in something that\u2019s based in the past a lot. They definitely don\u2019t want to put out a new record from a legacy band.\u201d<\/p>\n

\n\n\n
\n
<\/p>\n\n\n
\n
Prong 1988 (l-r): Ted Parsons, Tommy Victor and Mike Kirkland<\/b><\/span><\/div>\n<\/td>\n
\n
<\/span><\/div>\n<\/td>\n<\/tr>\n<\/table>\n<\/div>\n<\/td>\n
<\/td>\n<\/tr>\n<\/table>\n<\/div>\n

Nothing is wrong with a legacy band, in this writer\u2019s opinion. \u201cI know, but there\u2019s a lot of snobbery out there too,\u201d the axeman observes. \u201cA lot of people roll their eyes about something that\u2019s been around the block a bunch of times. There\u2019s different segments of the rock world that have different views on things.\u201d<\/p>\n

Carved Into Stone<\/em>\u2019s artwork was designed by Vance Kelly, who has previously undertaken commissions from Down and The Sword. \u201cMike (Gitter) \u2013 one of our managers \u2013 was an A&R guy, so he had a lot of resources,\u201d Tommy surmises. \u201cI don\u2019t know who the hell\u2019s doing artwork out there. I\u2019m not that in touch with it, based on the fact that I\u2019ve been on the road a lot in the last five years and concentrating on other things. I\u2019m not really seeing what\u2019s going on, so he just sent over a whole bunch of guys to me. I looked over what they did. He said \u2018This guy\u2019s really good; he works fast, and he\u2019s really open to ideas.\u2019 I pretty much told him what I wanted, and he did it. We collectively thought that out as well. It was sort of a no brainer what the cover was supposed to look like, but just needed the right guy to do it.\u201d<\/p>\n

From hereon in, Prong will likely be a more active outfit. \u201cAs long as we can make it happen, yeah,\u201d the frontman confirms. \u201cIt\u2019s something that I\u2019ve been thinking about a lot. I think it\u2019s really necessary for us, and I\u2019ve been hearing this too from kids, fans or whatever. They really don\u2019t wanna wait four years between records, and we don\u2019t wanna keep having to try to build up the momentum again. I don\u2019t wanna go through that anymore, either. As soon as I get any opportunity between tours or whatever \u2013 any solitary moments \u2013 I\u2019m gonna start working on songs again in order to have ideas for the next record. That\u2019s another hurdle. I\u2019ve just gotta pull myself together to do that, wake up and pick up the guitar rather than do other things. So yeah, definitely. That needs to happen. That\u2019s a very important thing, and that\u2019s a great question too. That\u2019s really one of the main things on my mind these days.\u201d<\/p>\n

Carved Into Stone<\/em> was released on April 20th, 2012 in Europe and on the 24th in North America, all through Long Branch Records.<\/p>\n

Interview published in April 2012.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

PRONG – Eternal Heat Anthony Morgan April 2012 Tommy Victor New York, United States-based heavy metal outfit Prong issued seventh studio full-length Power Of The Damager in October 2007 through 13th Planet Records, their last studio outing proper of the noughties. Five years would separate that album and its successor, mainman Tommy Victor remaining musically […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[269],"tags":[],"class_list":["post-5099","post","type-post","status-publish","format-standard","hentry","category-prong"],"_links":{"self":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/5099","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=5099"}],"version-history":[{"count":18,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/5099\/revisions"}],"predecessor-version":[{"id":5161,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/5099\/revisions\/5161"}],"wp:attachment":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/media?parent=5099"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/categories?post=5099"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/tags?post=5099"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}