{"id":5723,"date":"2012-05-22T00:00:11","date_gmt":"2012-05-22T00:00:11","guid":{"rendered":"http:\/\/www.metalforcesmagazine.com\/site\/?p=5723"},"modified":"2015-06-18T13:39:05","modified_gmt":"2015-06-18T13:39:05","slug":"feature-affector-05-12","status":"publish","type":"post","link":"https:\/\/www.metalforcesmagazine.com\/site\/feature-affector-05-12\/","title":{"rendered":"AFFECTOR – Rise Of The Beast (May 2012) | Features \/ Interviews @ Metal Forces Magazine"},"content":{"rendered":"

AFFECTOR – Rise Of The Beast<\/strong><\/span>
\nAnthony Morgan<\/span>
\nMay 2012<\/span><\/p>\n

\n\n\n
\n

Affector (l-r): Mike LePond, Collin Leijenaar, Daniel Fries and Ted Leonard<\/em><\/b><\/span><\/div>\n<\/td>\n
<\/td>\n<\/tr>\n<\/table>\n<\/div>\n


\nInternational progressive metal outfit Affector formed during 2006, Dutch drummer Collin Leijenaar acting as the touring drummer for Neal Morse (ex-Spock\u2019s Beard \/ Transatlantic \/ Flying Colors) at the time. Following the conclusion of one specific show Neal Morse as well as his group remained at the venue, talking to fans and so on. German guitarist Daniel Fries approached Collin, saying \u2018I got this CD of music that I wrote. Do you want to listen to it?\u2019 Collin responded \u2018Yeah, cool. I don\u2019t have anything to do right now, so let\u2019s listen to it.\u2019 <\/p>\n

\u201cWe went to his car,\u201d supplements Collin Leijenaar. \u201cI had an hour to kill or something because the crew were still breaking down stuff, and Neal was talking to fans. I listened to the music, and I was really astonished by what I heard. It was like \u2018Wow, this is very good music.\u2019 I liked his guitar playing, but I also liked the songwriting. Somehow I kept in mind his songs, and that he was such a good songwriter and such a good player. We exchanged info, and I think a year later we put forward the idea of recording an album together but without any pretensions. We didn\u2019t have a label yet. We\u2019re just two guys that met by accident actually, and that\u2019s how Affector came to be. Of course, it was over a four-year period that this whole thing happened. <\/p>\n

\u201cWe had a lot of writing sessions together, and then we were talking about a singer, a bass player, and a keyboardist. We asked some people just to guest on our album, Ted (Leonard) and Mike (LePond). We really loved what they were doing, but it was not really supposed to be a band at first. It was just two guys making an album. To our ears, the music was getting more and more to where we wanted it. We thought \u2018Well, maybe this is just too good to put on a CD for ourselves and put on a shelf. We should do something with this.\u2019 We asked Ted and Mike if they would be willing to be a part of a band, and luckily they said yes to that. They loved the album. They loved the music we made together, so we formed a band, really finished the album, and made it what it is right now. In a nutshell, that\u2019s four years of how Affector came to be.\u201d<\/p>\n

Mike LePond (Symphony X) occupies bass, while Ted Leonard (Spock\u2019s Beard \/ Enchant \/ Thought Chamber) supplies vocals. \u201cDaniel was already in contact with them,\u201d the sticksman divulges. \u201cHe met them at concerts and got to know them, so they were emailing a lot. They were just talking about the music we were writing together, and whether they wanted to be involved. We thought \u2018Mike is a great bass player and Ted is a great singer, so why not? Why not have them?\u2019\u201d<\/p>\n

In christening the quartet Affector, Collin sought a moniker beginning with the letter A. \u201cThen you\u2019re always on top of the list,\u201d he explains. \u201cIt wasn\u2019t easy (laughs), but we were just sharing ideas. I think we had like 300-400 different band names on paper, and then somebody suggested this name. It stuck in our mind, and we chose it.\u201d<\/p>\n

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

Progressive metal at heart, progressive metal ensembles naturally influence Affector. \u201cI think our influences are pretty obvious,\u201d the percussionist admits. \u201cWe love music like Dream Theater, Symphony X, and all that stuff \u2013 the prog metal stuff \u2013 but also the old stuff like Genesis and Rush we all love to listen to. Of course, when people hear the album they might say \u2018This is a little bit like Dream Theater\u2019 or \u2018This is a little bit like that.\u2019 Of course that\u2019s what happens when you listen to music you like; you happen to write music in that same range. Dream Theater is one of the big influences for myself. Daniel is a big Symphony X lover, and he also loves Metallica and that kind of stuff.\u201d<\/p>\n

Erstwhile Dream Theater member Mike Portnoy (Adrenaline Mob \/ Flying Colors \/ Transatlantic \/ Liquid Tension Experiment \/ Liquid Trio Experiment \/ ex-OSI) influences Collin\u2019s drumming. \u201cI\u2019ve been playing with Neal Morse for six years now, and in that time I had to really study Mike\u2019s playing because Mike was doing all the albums for Neal Morse and I was doing all the live shows,\u201d he notes. \u201cI had to play his parts, so I really studied his work and I really got into what he was doing. That is reflected in my playing as well, because I really like what he\u2019s doing. Before I was playing with Neal I was already a fan of Mike\u2019s music, so in that respect, yeah, he\u2019s definitely an influence on my drumming. I also like music that is played by Simon Phillips (Judas Priest \/ Michael Schenker Group \/ Derek Sherinian \/ The Who \/ Jeff Beck \/ Toto), Jeff Porcaro (Toto), and those kinds of players.\u201d<\/p>\n

Six years separate Affector\u2019s 2006 formation and the issue of debut full-length Harmagedon<\/em>. \u201cIt wasn\u2019t intended to be an album that would be released,\u201d the rhythmist confesses. \u201cFirst it was just two guys making music, and then it grew into more and more and more. With every step we were taking, we were reaching a higher level. It\u2019s been awhile. We\u2019ve also been extremely busy; I\u2019ve been touring with Neal Morse, and next to playing I\u2019m also a director and owner of a music school. That takes up a lot of time as well. All in all there was not enough time to only focus on one thing, so that will take some time of course as well. The main thing is it started as a hobby though, and turned into this band. That took some time.\u201d<\/p>\n

Songwriting began in 2008, Collin and Daniel creating demos based on separate and collaborative musical ideas. \u201cWhat happened was Daniel had some ideas, and I had some ideas,\u201d Collin elaborates. \u201cWe put them together, and when we were writing it was just guitar and drums. There was no bass, no vocals \u2013 just guitar and drums. We were just playing around with riffs and grooves, and trying to find cool stuff. When I was getting music from him to write drum tracks to it was just guitar and click, so there was no form whatsoever. We really could dig deep in finding nice grooves that were layered with his playing, and vice versa. That was the basic way we wrote but everyone was involved, even the guests. We gave them carte blanche, so whatever they wanted to do \u2013 whatever they felt would contribute to the music \u2013 they could do. At first we played drums and guitar, and then the bass came. If Mike wanted to change the bass parts, that was fine. Just whatever he felt inspired to play he could play, and that was the same for everybody. That made it quite interesting because you didn\u2019t know what you got back. <\/p>\n

\u201cWe didn\u2019t record in one studio; there was no budget available to be able to fly everybody in, and do a few weeks of studio sessions. There was no money, so everybody did it at their own place. It was quite interesting though. When we got the tracks back from Ted when he was ready with the vocals, we were just amazed by what he did. We had some ideas of course \u2013 some guide vocals \u2013 but he took it to another level. It was really awesome, and the same with Jordan Rudess, Neal Morse, or Derek Sherinian. When we got those parts back we were like \u2018Woah, what did they do?\u2019 Some parts were just totally different than we thought they would be, but that\u2019s the beauty of working this way. Everybody can put their own ideas and their own inspiration, what they feel at that moment. They can put it in without having a producer say \u2018No, you should do it like that\u2019 or something.\u201d<\/p>\n

\n\n\n
\n
<\/p>\n\n\n
\n
Collin Leijenaar<\/em><\/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

Neal Morse, Jordan Rudess (Dream Theater \/ Liquid Tension Experiment \/ Liquid Trio Experiment), Derek Sherinian (Black Country Communion \/ ex-Dream Theater \/ Yngwie Malmsteen), and Alex Argento all cut guest keyboard parts for Harmagedon<\/em>. \u201cWe first started with only guitars, drums, bass and vocals, and of course we wanted to have keyboards,\u201d the skin-beater expounds. \u201cWe were thinking of how we should do that. I had this idea of having a few guests, but felt that we should have a main guy that was present on all of the songs. That was so we have one sound, so that doesn\u2019t sound like a collection of songs with a collection of musicians. Somehow it should have a band feel in the keyboards as well. I got to know Alex Argento by his solo album Ego<\/em> (2007), which is an awesome album. I was a fan of him immediately when I heard that album, so I asked him if he would be interested in doing our album as well. He did the main parts of the whole album, but then we wanted some guest solos. We were just shooting around ideas, like \u2018Who shall we ask?\u2019 <\/p>\n

\u201cDerek Sherinian came to our mind immediately; we were like \u2018We should have him.\u2019 Through Derek\u2019s official website, anybody can ask him to play on their music. He will listen to it; if he likes them, then he will be a session player. We asked him to do a song, and that was \u2018Falling Away & The Rise Of The Beast\u2019. He played on that, and he did an awesome job. Actually, for that song he did all of the keyboards except for two solos that are by Neal Morse. Of course my involvement with Neal is pretty obvious; I\u2019ve played with him for six years, so it was very easy to ask him. I really felt that \u2018Cry Song\u2019 \u2013 he played on \u2018Cry Song\u2019 \u2013 really suits his style of playing, and he did an amazing job. <\/p>\n

\u201cWe just thought he would do some keyboards and piano or whatever, but I got a bunch of tracks with all these different sounds so we had a selection to choose from. It was really awesome what he did. Then during I think it was 2009 or 2010, Neal Morse opened for Dream Theater in Germany. Backstage I talked to Jordan Rudess about this album and asked him if he would like to be a part of it, to do some solos. He said \u2018Let me hear some of the songs, and if I like them I\u2019ll be happy to do it.\u2019 We sent him some songs, and I think half a year to a year later we got his tracks. Yeah, awesome.\u201d<\/p>\n

A concept full-length, Harmagedon<\/em> explores the predictions \u2013 courtesy of the Mayan calendar and the writings of Nostradamus \u2013 that the world will cease to exist during 2012. Biblical verses are exclusively used to sing the tale. \u201cWe were shooting ideas back and forth about the concept, what would work lyrically, and what we would do with this album,\u201d Collin recalls. \u201cIt\u2019s released in 2012, and especially last year there were all these stories about how 2012 will be the end of the world, the whole apocalypse, and the Mayans. Here in the Netherlands you heard a lot about it, so we spoke about that and said \u2018Let\u2019s do something with that. It could be fun to have an album coming out in 2012.\u2019 A timely thing, you know? That\u2019s how we came to explore that concept but then there\u2019s what you\u2019re going to tell, what you\u2019re going to do about it. We thought \u2018Let\u2019s read one of the books that talks about the end of the world,\u2019 and that was Revelations from the Bible.<\/p>\n

\u201cWe didn\u2019t wanna do it in a way that told people what they should personally believe or not though, because we don\u2019t know and I don\u2019t know what\u2019s going to happen. I don\u2019t know if there will be end times. We thought \u2018Let\u2019s just use the words as they are in the Bible\u2019 and just sing those words exactly how they are in the Bible, word for word, and not put any human thought into that. Just tell it as it is, and everybody can do whatever they want with it. It\u2019s just one way of seeing things and that\u2019s it, so that\u2019s how it came about. It was quite difficult to make music with that of course, because those words aren\u2019t written to be used in music. There\u2019s no rhyme in it, there\u2019s no rhythm. It\u2019s just words, so we had quite a problem getting all the music and all the words together. I think it\u2019s impossible to get the whole story on one album though (laughs). It\u2019d be six or seven discs or something, so we selected what we think are the major things that tell the story in just eight songs. Daniel and Ted really worked on that, and they did an awesome job I think.\u201d<\/p>\n

\n\n\n
<\/td>\n\n
<\/p>\n\n\n
\n
Ted Leonard<\/strong><\/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

The drummer feels that Harmagedon<\/em> is the most progressive full-length he has cut to date. \u201cI\u2019ve done some live stuff with Neal of course that was pretty progressive, but in terms of playing original songs this is the most progressive I\u2019ve done,\u201d he confirms. \u201cI\u2019m proud of what I played, but it is what came out at the time of recording it. I recorded my drum tracks last year. I first had different tracks for the recordings, but like I said, the songs were reshaped. Sometimes we re-recorded because we developed a cooler sound or something. I thought at one point \u2018Let\u2019s redo some drums,\u2019 but I redid the whole album. It\u2019s been a long period of getting the songs into the shape that we loved, where we thought they were finished. That took a lot of recording. <\/p>\n

\u201cI think it helped me a lot having played with Neal Morse to get into that progressive style, because before Neal Morse I wasn\u2019t really doing a lot of progressive stuff but more mainstream rock stuff. I really liked what I did. I\u2019m amazed by what this music has already done for us, because of what I said earlier. This album wasn\u2019t written in the first place to be heard by the masses, to be released on a record label. We just wanted to make some music we like, and just document some ideas we had. Now I\u2019m talking with you about this album, so it\u2019s a dream come true.\u201d<\/p>\n

Collin, meanwhile, feels that Daniel\u2019s guitar playing \u201chas everything you expect from a progressive rock \/ metal guitarist. He has really good techniques so he can make great solos, but also has a very good sound and groove to it. I think he\u2019s also very, very strong as a songwriter. A lot of the vocal stuff he arranged and wrote \u2013 Daniel and I together wrote the songs. He\u2019s a really, really good songwriter, and I think we will hear a lot more from him and hopefully from Affector of course. The funny thing is though that next to being a musician, he\u2019s a doctor. He works at a clinic. It\u2019s really funny to have a doctor in the band (laughs).\u201d<\/p>\n

Opening number \u2018Overture Pt. 1\u2019 is complimented by Sinfonietta Consonus, a Polish orchestra helmed by Micha\u0142 Mierzejewski. \u201cAt first it wasn\u2019t supposed to be a concept album, but just a selection of songs,\u201d the sticksman acknowledges. \u201cWe were just writing stuff, and it happened to become a concept album. We thought \u2018Why not use a classical opener to start a piece of music, to introduce certain themes of the music?\u2019 We were just playing around with that, and then we first wrote \u2018Overture Pt. 2\u2019 with just the band playing. We liked it. Then I got to know Micha\u0142 Mierzejewski, the director and arranger of the orchestra. I asked him to do the same, to make an intro. I was thinking maybe a 20-second intro to what we play in \u2018Overture Pt. 2\u2019, just one part called \u2018Overture\u2019 and that should be it. He then sent me his ideas though and there was this whole, nice intro, almost like a soundtrack to a movie. We loved it, so we just said \u2018Let\u2019s combine those things to make one big overture with two movements.\u2019 That\u2019s how that came to be.\u201d<\/p>\n

\u2018Salvation\u2019 is the inaugural composition Affector worked on, and the inaugural composition the band authored and recorded. \u201cI think that song even dates back to 2006,\u201d Collin adds. \u201cWe were shooting ideas back and forth on that song almost six years ago, so that song I think is the foundation of the whole album and the foundation of what Affector is at this moment.\u201d<\/p>\n

\u2018The Rapture\u2019 as well as the title track \u2018Harmagedon\u2019 comprise the lengthiest tunes on the records. \u201cI think those two are my most favourite songs on the album,\u201d the percussionist enthuses. \u201cI like how they have so many movements, some lighter parts, and some heavy stuff. Those are the two songs from this album that are closest to my heart in terms of what I musically like, and we were very, very honoured to have Jordan Rudess on both songs doing some solos. I love them.\u201d<\/p>\n

A departure from Harmagedon<\/em>\u2019s lyrical concept, \u2018Cry Song\u2019 was penned regarding the passing of Daniel\u2019s father. \u201cWhen I got the lyrics Daniel said \u2018I\u2019ve written these lyrics, and I think they fit on the album,\u2019\u201d Collin augments. \u201cReading those lyrics, I thought \u2018That could fit.\u2019 If you were in a time of end times where everything is dying around the world and you really feel the world is going to end, how you would you feel? That was my feeling about that song. Later I heard that he wrote that song for his father who passed away two years ago I think… I\u2019m not sure… Two or three years… I don\u2019t know exactly when, but after his father passed away he wrote that song. It\u2019s a very personal song about his feelings, about the time his father passed away and what was going on in his mind. Somehow it fits beautifully inside the story though, so it unintentionally has a double meaning.\u201d<\/p>\n

\n\n\n
\n
<\/p>\n\n\n
\n
Daniel Fries<\/em><\/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

\u2018Falling Away & The Rise Of The Beast\u2019 sits at position six on Harmagedon<\/em>\u2019s track listing. \u201cEvery track on the album started with guitars and drums, just Daniel and me writing the song,\u201d Collin clarifies. \u201cIt slowly grew into what it is by adding the guests and adding the rest of the band. I think it\u2019s a nice track. With every song we tried to not be in one mood all the time because people want to have some change as well. When you hear a song it shouldn\u2019t always be the same, so we tried to get some movement but also be rocking in parts. I think it\u2019s mostly like all the other songs are as well, the mixture of different styles and different feels but with Derek\u2019s sound. You can easily hear it\u2019s Derek with his keyboard sound, so we were very honoured to have him on that track as well.\u201d<\/p>\n

Swansong number \u2018New Jerusalem\u2019 was one of the last tracks to be recorded for Harmagedon<\/em>. \u201cThat\u2019s a little more mainstream, straightforward song,\u201d the rhythmist critiques. \u201cDaniel is into Metallica, and all that kind of stuff. I also like modern metal stuff. We\u2019re not only listening to progressive music, but also mainstream stuff. I think that comes a little bit to the front in a song like \u2018New Jerusalem\u2019; still it\u2019s a progressive song, but it has a more straightforward feel. In between the time those songs were written, I think the songs evolved. If you listen to the first demo we did for \u2018Salvation\u2019, it\u2019s totally different to what it is now. During the years we kept changing the songs, the arrangements, and even the time signatures etcetera. They evolved and became what they are right now.\u201d<\/p>\n

Limited edition CD versions of Harmagedon<\/em> include acoustic renditions of the title track and \u2018New Jerusalem\u2019. \u201cThey\u2019re a little different,\u201d Collin reckons. \u201cWe didn\u2019t have any bonus tracks when we finished the album. I was in LA for a month mixing this album with Rich Mouser, and during that mixing process I was thinking \u2018We should have some bonus tracks so we can release a special edition, or something like that.\u2019 I called Daniel in Germany, and said \u2018Get behind the microphone in your studio, and just record a few acoustic songs so that we have some bonus material.\u2019 He sent them to me. He sings on those songs, and it shows how good his songwriting is. <\/p>\n

\u201cIt\u2019s progressive rock and metal, it\u2019s bombastic with an orchestra, and has a lot of layered guitars, keyboards and everything. It\u2019s a big step, but then just hearing him play the same songs on just acoustic guitar is awesome. I think it really works. As I was listening to it, I thought maybe it\u2019d be nice to include some of the orchestra parts from the original, bigger, full band version. I played around with that in the studio, and added some of the orchestral arrangements to his acoustic version of \u2018Harmagedon\u2019. I think it just works really, really great \u2013 you should listen to those tracks. He\u2019s got an awesome voice. Of course when we play this live, he will be doing backing vocals as well. I think Daniel\u2019s timbre is a little different to Ted\u2019s. Ted has a bigger range; he can go really low, really high. Daniel is first and foremost a guitar player, but happens to have a great voice as well.\u201d<\/p>\n

Cover artwork duties were handled by Daniel Latsch. \u201cDaniel Latsch is a personal friend of Daniel our guitar player,\u201d the skin-beater imparts. \u201cHe played him parts of the album, because it wasn\u2019t finished at that time. They spoke about the concept, and then he just went behind his computer and did his magic. There was the artwork. It almost looks like a film poster for some epic movie, or something. We really felt that this would be the cover we wanted.\u201d<\/p>\n

On February 28th, 2012, it was publicly revealed that Affector had inked a record contract with Inside Out Music, Inside Out Music handling the release of Harmagedon<\/em>. \u201cI was posting on my Facebook page a lot of times that I was working on this album with all these musicians,\u201d Collin discloses. \u201cI work as a tour manager for Transatlantic, and I work as a tour manager, drummer, band leader or whatever for Neal. I got to know Thomas Waber, the director of Inside Out. We were friends on Facebook, and he saw those posts. On one post he asked me what Affector\u2019s music is about, and if I could send him something because he was interested. I sent him I think half of the album, and the rest is history.\u201d<\/p>\n

\n\n\n
<\/td>\n\n
<\/p>\n\n\n
\n
Mike LePond<\/strong><\/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

Affector harbours desires to conduct live performances. \u201cAt this point we\u2019re gonna wait first before we make any bookings, because I don\u2019t know how the album will be received,\u201d the drummer cautions. \u201cI\u2019m just waiting to see how the album does, but definitely we want to hit the road and do concerts. When, we don\u2019t know. There are already quite a few promoters that have emailed me about whether we would be interested in doing a tour. We are gaining interest, but at first we wanna see how the album is going to be accepted.\u201d<\/p>\n

A sophomore full-length awaits in the pipeline. \u201cAt this moment we\u2019re already writing songs for the next album, but it\u2019s at a very early stage,\u201d Collin stresses. \u201cFor two to three songs we\u2019ve got quite interesting ideas, but we haven\u2019t recorded anything major yet. We haven\u2019t talked about lyrics yet though. I was thinking about the unique concept of having parts of a book being sung to music. I think it\u2019s an interesting process, so I was thinking maybe a talking book or something but also something epic. Probably it will be something completely different like this one though; we don\u2019t like to do the same thing over and over again, but like to reinvent the same concept in a new way. We\u2019re not sure what\u2019s going to happen, but maybe it\u2019ll be a mixture of stuff. I think probably it won\u2019t be a concept album, but that\u2019s what we said when we started writing this one as well. Who knows? We will definitely record a second album, but when I don\u2019t know.\u201d<\/p>\n

Harmagedon<\/em> was released in Germany, Austria, and Switzerland on May 18th, 2012, on the 21st in the rest of Europe, and on the 22nd in North America, all via Inside Out Music.<\/p>\n

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

AFFECTOR – Rise Of The Beast Anthony Morgan May 2012 Affector (l-r): Mike LePond, Collin Leijenaar, Daniel Fries and Ted Leonard International progressive metal outfit Affector formed during 2006, Dutch drummer Collin Leijenaar acting as the touring drummer for Neal Morse (ex-Spock\u2019s Beard \/ Transatlantic \/ Flying Colors) at the time. Following the conclusion of […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[285,23],"tags":[],"class_list":["post-5723","post","type-post","status-publish","format-standard","hentry","category-affector","category-features"],"_links":{"self":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/5723","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=5723"}],"version-history":[{"count":18,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/5723\/revisions"}],"predecessor-version":[{"id":31573,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/posts\/5723\/revisions\/31573"}],"wp:attachment":[{"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/media?parent=5723"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/categories?post=5723"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.metalforcesmagazine.com\/site\/wp-json\/wp\/v2\/tags?post=5723"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}