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After a four-year break, Helmet will followup 2006’s Monochrome with Seeing Eye Dog. The album also marks the first release on their newly-launched indie label, Work Song. Seeing Eye Dog was produced by frontman Page Hamilton, with additional production by Toshi Kasai and vocal production by Mark Renk.
Obligatory press release gush from Page Hamilton:
“The Helmet musical vocabulary is well established at this point, but I continue to work on a variety of musical projects that inevitably influence the Helmet songs,” says PAGE. “I’ve been working on movies with Elliott Goldenthal and co. for 17 years now and had never really experimented with incorporating these soundscapes (or shit sculpting as I prefer to call it) into Helmet songs. We had a much better recording situation in which I felt much less time pressure and was working with an engineer who was patient and very creative (Toshi Kasai) so away we went. I started layering upper parts of the chords and was digging the sound so I went with it.”
He adds: “It’s so important to have great musicians in this band as we track the music with my guitar and the drummer and then overdub the 2nd guitar and bass. I can’t stand the sound and anti-human feel of edited rock music. People have always commented that we sound like our albums live. This has a lot to do with it. Humans playing music will always be better than chop shop rock so one has to find the right players.”
In related news, Helmet has just released a digital-only deluxe version of their third album, 1994’s Betty. The reissue features additional tracks were originally only available on the 10″ double gatefold LP and 12″ single for “Biscuits for Smut,” released by Interscope in 1994.
Helmet will embark on a U.S. and European tour later in the year.

Fuente: LimeWire Music Blog