Guest Blog: The Devil Wears Prada Vocalist Mike Hranica, Part 2

Mike Hranica is the frontman of metalcore act The Devil Wears Prada. Recently, Hranica wrote a short fictional book, Home for Grave, which you can purchase on his website. The Devil Wears Prada’s most recent album, 8:18, was released earlier this fall. The band is currently on a headlining tour of the country and dates can be found here. Below, the vocalist and writer contributes the second in a series of guest blogs.

“Is the process cathartic?”

“Is writing, for you, a means of catharsis?”

So they ask.

It’s difficult to imagine writing without such an emotionally expunging element.  I think that’s what I find to be most interesting about the question.  Creating something with your own personal identity includes an extraneous amount of side effects, some better than others.  A more primary side effect is a product’s transformation with time.  Some of the things we do (or write) might age like a guitar of the finest vintage, or turn moldy and rot in the back of a forgotten refrigerator.

I believe there is great deliberation to be devoted to these sorts of things.  Even with all the pain it might bring, inspecting how things grow, or get older, or die is a part of the process.  With Prada having cooked up so many songs over the past eight years, it is my responsibility to watch and wonder.  Sometimes it just so happens that such inspection is prescribed: sort of like an interview or writing a blog on my hazy misunderstanding of touring.

After my last post here on Revolver, a gentleman on twitter told me, “Directionless can have its virtues.”  Needless to say, the idea has had its resonation.  I can’t tell how much friction exists between accident and calculation.

Take care.

 

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  • Javier Santoscoy

    I can’t tell how much friction exists between accident and calculation.

  • Blake Cunningham

    Catharsis is often overrated, though. Any time it is brought up in relation to an artistic creation, I am reminded of something Stephen Fry states in “The Ode Less Traveled.” He says that we never ask someone to sit down at a piano, untrained, and be cathartic. It would be unpleasant. The same can be said for various other mediums: there is technique, style, commentary, etc. Emotions are important, but they are often given too much preference. I don’t really know why–it is possible that there is some unrealized critique of the austerity of patriarchy. Either way, to place too much emphasis on catharsis can degrade other aspects of a given text. It is just a generalization that makes searching for deeper meaning meaningless. I do enjoy your consideration of transformation, and, I suspect, that is what you truly find most interesting. Emotions, alone, can get boring, but their journey through a given text is not.