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Dead Throne
Dead Throne
Dead Throne
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Dead Throne
Studio album by
The Devil Wears Prada
ReleasedSeptember 13, 2011
RecordedNovember 2010 – April 2011
Studio
GenreMetalcore[1][2][3][4]
Length40:49
LabelFerret, Roadrunner
ProducerAdam Dutkiewicz, The Devil Wears Prada
The Devil Wears Prada chronology
Zombie
(2010) 		Dead Throne
(2011) 		Dead & Alive
(2012)
Singles from Dead Throne
  1. "Born to Lose"
    Released: June 15, 2011[5]
  2. "R.I.T."
    Released: August 14, 2011[6]
  3. "Mammoth"
    Released: September 27, 2012[7]

Dead Throne is the fourth studio album by American metalcore band The Devil Wears Prada. It was released on September 13, 2011, through Ferret Music. Produced by Adam Dutkiewicz, the record was recorded in several studios across the United States from November 2010 – April 2011. The album is a follow-up to The Devil Wears Prada's 2009 album, With Roots Above and Branches Below. Much like their previous efforts the album's lyrics were penned by lead vocalist Mike Hranica, whose lyrical direction focused on anti-idolatry concepts. The band's musical style changed after the success of the Zombie EP; this led to the band's decision to fuse the melodic elements of their previous studio albums with the ferocity of Zombie.

Background and recording

[edit]

The band's previous approach to songwriting, which would involve all band members writing collaboratively, had not been used since Plagues. It is noted by guitarist Chris Rubey that about midway through the writing process of their third full-length With Roots Above and Branches Below, their songwriting style and process changed drastically.[8] Vocalist Mike Hranica stated the album's lyrical themes are based on anti-idolatry. He also said it's the "heaviest and most aggressive album to date."[9]

We aim to give listeners and fans something they can enjoy, but we'll also always make songs we personally stand behind. We'd write differently if we were purely trying to sell albums, that's just not how it works for us. No compromises.

— Mike Hranica[10]

Hranica speaks on the evolution of the band as a whole: "Our early material was dumb, plain and simple, and moving away from that, I think we've grown into smarter, more creative riffs, along with easier to follow songs. It's things like that that mark the evolution of TDWP."[9] The album also features the absence of clean vocal passages on select songs, a songwriting choice the band had not made since their debut.[11] Dead Throne was recorded from November 2010 to April 2011, with the sessions taking place at Zing Studios in Westfield, Massachusetts, Blacklodge Studios in Eudora, Kansas and The Foundation Recording Studios in Connersville, Indiana.

Composition

[edit]

Influences, style and themes

[edit]

Mike Hranica explained that Dead Throne did not need "to sound a certain way throughout."[11] Rhythm guitarist Jeremy DePoyster's clean vocals are still contrasted with a wide array of screamed vocals, which are featured more prominently than clean singing. Lead guitarist and primary songwriter Chris Rubey stated that the musical direction of the album on the Zombie EP was "heavier, more sinister, and zombie-like. Those songs were written pretty much solely by me on my computer and that’s why they sound different. For Dead Throne we wanted to do that and obviously bring in some of the other elements people liked in Plagues.[8]

While Zombie was centrally themed lyrically and musically around a specific topic, Dead Throne conveys a central message with common themes "revolving around idols." Hranica expands when asked about his lyrical themes, which have always been very abstract and metaphorical in order to draw out different meanings depending on the interpreter:[11]

The record is mostly based on idolatry. There's a lot of different lyrical content. It's not a concept record, but a lot of it has to do with anti-idolatry... it's the idea of putting up our idols, heroes, and entities we worship onto a figurative throne. Those things won't stay up there, and they're not meant to be up there. That idea behind Dead Throne is making kings out of things that shouldn't be kings.

Hranica also stated that many of the album's negative themes were inspired from the ending of his five-year relationship.[12]

Critical reception

[edit]
Professional ratings
Aggregate scores
SourceRating
Metacritic(76/100)[13]
Review scores
SourceRating
AbsolutePunk90%[14]
AllmusicStarStarStarHalf star[15]
Alter The Press!(1.5/5)[16]
Blare MagazineStarStarStarStar[17]
Christian Music Zine(4.5/5)[18]
Jesus Freak HideoutStarStarStarStar[19]
RevolverStarStarStarHalf star[20]
Review Rinse RepeatStarStarStarStar[1]

The album received generally positive reviews from music critics.[13] At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 76, based on 6 reviews, which indicates "generally favorable reviews". The album was credited for its more experimental and orchestral[20] take on metalcore, and less produced and more violent sound. Ryan Williford of Audiopinions gave the album a 7.5 out of 10 describing the band's choice of producer, Adam Dutkiewicz as a wise move for the band. This is because Williford believes that Joey Sturgis, who produced all of their discography prior to Dead Throne, overproduces his work. He credited the record for its rawer and more natural sound.[21] Drew Beringer of AbsolutePunk also favored Dead Throne for the variety on the record, particularly praising The Devil Wears Prada for their instrumental song "Kansas" and their evolution as songwriters.[14] Jason Lymangrover on a review for Allmusic gave the album three and a half stars out of five, describing it as being "at its most technical and most brutal" and comparing it to "technical metalcore and European symphonic metal."[15]

Wayne Reimer of Jesus Freak Hideout, appreciated the progression from The Devil Wears Prada's third studio album, With Roots Above and Branches Below to Dead Throne as well as crediting the band's drummer, Daniel Williams, for his performance on the record, praising his creativity in the songs and his lack of double bass pedal motions to fill his role. Reimer went as far to say "The tempo fluctuates effortlessly and fluidly throughout each track; this is not to be taken for granted."[19] In Adrian Garza's review for Christian Music Zine (giving 4.5 out of 5) he praises the vocal performance of clean vocalist Jeremy DePoyster and musical development shown on the album: "Jeremy DePoyster has really stepped up his vocal game, the vocals sound so much less produced, in a good way. Aside from the more experimental tracks on the album, there aren’t really any crazy synthesizer sounds, now it’s mostly piano and strings."[18]

Not all reviews were positive, however. Connor O’Brien of Alter the Press! gave the album 1.5 out of five, believing that the album shows no progression for the band, stating: "It seems that TDWP have evolved within their own distinction, yet are left seemingly years behind the rest of the genre."[16] Ryan Williford of Audio Opinions alongside O'Brien sees it as only a "step in the right direction" saying, "Once they start writing something original will be the release that will excite everyone again."[21]

In 2024, John Hill of Loudwire named it the best metalcore album of 2011.[22]

Commercial performance

[edit]

Dead Throne is their highest charting release, peaking at No. 10[23] on the Billboard 200, selling 32,420[24] copies in its first week.[25] It also topped the Billboard Christian Albums and Independent Albums chart, as well as peaking at No. 3 on the Rock Albums Chart[26] and No. 40 on the 2011 Billboard year-end Hard Rock Albums chart.[27] This is the last album to feature James Baney before he left the band on February 22, 2012. There is also a guest vocal appearance by Tim Lambesis on "Constance".

The album has sold 92,000 copies in the U.S.[28]

Track listing

[edit]

All lyrics are written by Mike Hranica; all music is composed by The Devil Wears Prada.

No.TitleLength
1."Dead Throne"2:45
2."Untidaled"2:55
3."Mammoth"2:43
4."Vengeance"3:02
5."R.I.T."2:49
6."My Questions"3:12
7."Kansas"3:36
8."Born to Lose"3:05
9."Forever Decay"3:25
10."Chicago"2:45
11."Constance"3:19
12."Pretenders"3:28
13."Holdfast"3:45
Total length:40:49

Notes

  • The instrumental song "Kansas" has a spoken audio sample from Southern Baptist preacher Paul Washer.[29]

Personnel

[edit]

Charts

[edit]
Chart (2011)[15] Peak
position
US Billboard 200 10
US Top Christian Albums 1
US Top Digital Albums 9
US Top Hard Rock Albums 3
US Top Independent Albums 1
US Top Rock Albums 3

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Dead Throne

View on Grokipedia
from Grokipedia
Dead Throne is the fourth studio album by the American band The Devil Wears Prada, released on September 13, 2011, through Ferret Music. The album was produced by of and features a stripped-down sound emphasizing low-tuned guitars, aggressive rhythms, and the band's signature blend of screamed and clean vocals led by Mike Hranica. Lyrically, Dead Throne explores themes of anti-idolatry, with Hranica addressing the dangers of elevating unworthy things to positions of power, framed through a lens of spiritual and intellectual introspection. The record marks a darker evolution in the band's sound compared to prior releases, incorporating haunting keyboard ambience and dynamic shifts between ferocity and melody across its 13 tracks, including standouts like "Untidaled," "Mammoth," and "Born to Lose." Upon release, Dead Throne achieved significant commercial success, debuting at number 10 on the chart and reaching number 1 on both the Christian Albums and charts. It received positive critical acclaim for its technical prowess and thematic depth, solidifying The Devil Wears Prada's position within the genre. The album has been reissued in various formats and is scheduled for a remastered vinyl edition on December 5, 2025.

Background and development

Band context

The Devil Wears Prada is an American band formed in in , by vocalist Mike Hranica, guitarist/vocalist Jeremy DePoyster, guitarist Chris Rubey, bassist Andy Trick, keyboardist James Baney, and drummer Daniel Williams, initially identifying as a Christian group that incorporated spiritual themes into their aggressive sound. The band self-released a demo EP, Patterns of a Horizon, in late before signing with the independent label , which was distributed by and focused on positive-themed acts. Their debut studio album, Dear Love: A Beautiful Discord, arrived in August 2006 via Rise Records and sold over 30,000 copies, establishing their presence in the metalcore scene with a blend of screamed vocals, melodic clean singing, and atmospheric keyboards. Follow-up Plagues (2007), also on Rise, marked their first entry on the Billboard charts and expanded their fanbase through relentless touring and tracks emphasizing faith-infused introspection amid heavy breakdowns. By 2009, the band had transitioned to Ferret Music, releasing their third album With Roots Above and Branches Below, which debuted at No. 11 on the Billboard 200 with 31,000 first-week sales and topped the Independent, Hard Rock, and Christian Albums charts, solidifying their growing popularity within the metalcore community during a period of heightened interest in Christian-influenced heavy music. In the lead-up to their fourth studio album Dead Throne (2011), The Devil Wears Prada signed with for worldwide distribution while remaining with Music for the release, reflecting their from indie roots to broader industry support amid the band's rising profile. The 2010 Zombie EP, released on , briefly showcased a shift toward a heavier, more thrash-influenced sound while maintaining thematic depth, peaking in the Top 10 and setting the stage for Dead Throne's apocalyptic motifs.

Pre-production

Following the success of their 2010 Zombie EP, which showcased a heavier sound and debuted at No. 10 on the Billboard 200, The Devil Wears Prada announced plans for their fourth studio album, Dead Throne, in July 2011. The band shifted their creative direction away from the more collaborative songwriting approach of their 2009 album Plagues, opting for a structured process primarily led by vocalist Mike Hranica and guitarist Chris Rubey. Rubey composed the majority of the tracks—nine or ten out of thirteen—on his computer, programming drums and instruments before presenting them to the full band for refinement, a method that began with the Zombie EP and emphasized precision in building complex riffs and arrangements. This evolution allowed for a darker, more aggressive tone, blending programmed elements with live band jams for select songs. Inspirations for Dead Throne drew from Hranica's personal struggles and reflections on the music scene, shaping the album's overarching anti-idolatry themes that critique the deification of musicians and celebrities. Hranica, drawing from his early experiences attending hardcore shows as a teenager around , sought to convey that bands are not infallible "gods" but ordinary people, urging fans to admire rather than idolize. These themes emerged from his evolving perspective on fame and , adding emotional depth to the . To achieve a heavier, more technical sound, the band decided to work with producer of , selected for his expertise in dissecting and rearranging songs to enhance their structure and impact. As an external collaborator, Dutkiewicz provided a fresh viewpoint, polishing the tracks while preserving the band's aggressive edge and ensuring a crisp production that amplified the album's intensity.

Recording and production

Studios and process

The recording sessions for Dead Throne took place over six months, from November 2010 to April 2011, allowing the band to refine their material across multiple locations. Primary tracking occurred at The Foundation Recording Studios in , with additional sessions at Blacklodge Studios in Eudora, , particularly for elements of the instrumental track "Kansas". Mixing was completed at Zing Studios in . Adam Dutkiewicz, known for his work with , handled production, engineering, recording, and mixing duties, aiming to deliver a raw, brutal sound that balanced technical complexity with the band's intense live energy. He collaborated closely with the group to dissect arrangements, separate instrumental layers, and adjust dynamics in real time, addressing challenges in replicating their high-octane performances within the studio setting. The full band gathered early in the process for collaborative jamming sessions to ensure cohesion. Production techniques included selective sampling to enhance thematic depth, such as incorporating an excerpt from preacher Paul Washer's sermon into the instrumental "", which underscores the album's motifs without overpowering the . In line with the record's aggressive tone, clean vocals were used sparingly compared to prior releases like With Roots Above and Branches Below, favoring screamed deliveries and layered harsh elements to maintain ferocity.

Songwriting and collaboration

The songwriting for Dead Throne marked a shift toward a more structured, guitar-driven process led primarily by guitarists Chris Rubey and Jeremy DePoyster, who developed the core riffs and song structures before lyrics were incorporated. Rubey composed the majority of the album's tracks—nine or ten out of thirteen—on his computer, programming initial drum patterns, guitar riffs, and bass lines, which were then refined through band collaboration and jam sessions, particularly for the lighter, more melodic sections. DePoyster contributed to the guitar frameworks and vocal melodies, helping shape the album's dual clean and screamed vocal dynamics, as seen in tracks like "Vengeance," where he worked alongside guest vocalist Jeremy McKinnon of A Day to Remember to craft infectious hooks. Vocalist Mike Hranica joined the process after the music was established, layering lyrics that addressed personal and thematic struggles onto the completed instrumental beds, a method that allowed for tighter integration of the band's heavy breakdowns with soaring choruses. This post-music lyric-writing approach contrasted with the more simultaneous band-wide composition on earlier releases like Plagues, emphasizing and focus during the Dead Throne sessions. James Baney integrated synthesizers and for subtle atmospheric support, enhancing transitions and ambient textures without dominating the mix, as the album prioritized riff-based aggression over the electronic flourishes of prior works. A notable collaboration came on the track "Constance," where As I Lay Dying frontman provided additional screamed vocals, adding intensity to the song's climactic sections and bridging the band's style with broader influences. Overall, the album's creative dynamics blended the unrelenting heaviness and experimental edge from the band's 2010 Zombie EP—including tracks like the title song "Dead Throne," initially demoed during that period—with the melodic, anthemic hooks prominent in With Roots Above and Branches Below, resulting in a more mature and varied sound.

Composition

Musical style

Dead Throne exemplifies the genre, characterized by technical breakdowns, dominant screamed vocals, and occasional clean singing that provides contrast without overpowering the aggression. The album's sound centers on heavy, hooking guitar riffs that drive the intensity, often layered with sludgy, buzzsaw-like tones and soaring leads to create a dense, claustrophobic atmosphere. Drums incorporate blast beats and creative, fluid tempo shifts, supporting the rhythmic backbone while avoiding over-reliance on double-kick patterns. Atmospheric keyboards add subtle orchestration, enhancing the overall texture, particularly in interludes that introduce ambient elements. Key tracks like the title song "Dead Throne" highlight the album's brutal, experimental aggression through frantic energy, pummeling breakdowns, and modulated screams that convey raw desperation. "Mammoth" showcases aggressive tempos with prominent bass lines and piercing guitar work, while the "Kansas" shifts to ambient, melodic keyboard-driven passages, offering a breather amid the heaviness. These elements combine to form a tight, mature arrangement that balances speed, ferocity, and variation, with production techniques ensuring crisp separation of instruments. Compared to the band's prior release, With Roots Above and Branches Below, Dead Throne adopts a rawer, less melodic approach, emphasizing darker, heavier with influences and instrumental interludes for structural diversity. The 13-track album spans 40:49, featuring songs that vary from high-energy assaults to more subdued, atmospheric moments, prioritizing emotional depth through instrumentation over melodic accessibility.

Lyrics and themes

The lyrics of Dead Throne, written by vocalist Mike Hranica, center on the theme of anti-, portraying the collapse of false gods and misplaced as ultimately futile and transient. Hranica described the title track as establishing this motif, explaining, "'Dead Throne' is the title track, and it opens the record. It's the idea of putting up our idols, heroes, and entities we onto a figurative . And they’re going to fall. The idols that we are going to die. That's the overarching theme of the record." This perspective draws from biblical warnings against , while incorporating Hranica's personal reflections on life's distractions and spiritual battles. Hranica's style features poetic, metaphorical phrasing adapted to the band's screamed and growled vocals, creating layered critiques of vanity without explicit . In "Born to Lose," for example, the decry and , with Hranica admitting personal in lines like "I can't help but see the / It's all around me," to illustrate the hollowness of idolizing wealth or status. "R.I.T." (an for "Rest in Torment") delves into over and poor decisions, as seen in verses urging with one's flaws: "Turn your back now, in / Dancing, dancing to forget your desperation." The album weaves subtle Christian undertones throughout, emphasizing , redemption, and as antidotes to , consistent with the band's identity as Christian pioneers who avoid overt proselytizing. A is the instrumental "Kansas," which incorporates a spoken-word sample from preacher Paul Washer's on the ephemerality of worldly power, reinforcing the record's message that "all thrones are dead" and nothing endures apart from .

Release and promotion

Singles and videos

The lead single from Dead Throne, "Born to Lose", was released on June 15, 2011, ahead of the album's full launch to generate early buzz. The accompanying , directed by Drew Russ, captures the band's high-energy live performance interspersed with thematic visuals that underscore the track's themes of struggle and resilience. Following this, "R.I.T." (an acronym for "Rest In The End") served as the second single, released on August 14, 2011. While no official was produced, promotional efforts emphasized the 's chaotic energy through audio streams and live renditions, aligning with its aggressive breakdowns and lyrical intensity about personal turmoil. Nearly a year after the album's release, "" was issued as a promotional single on September 27, 2012. The track received a lyric video that highlights its heavy breakdown sections and epic scope, further extending the album's visibility in the scene. Additional promotional releases included "Vengeance," which received a lyric video in March 2012, and "Dead Throne," with an official released in February 2012. These singles were strategically chosen for targeted radio airplay on rock and metal stations, as well as digital platforms, to build anticipation and drive pre-orders ahead of the September 13, 2011, album drop.

Marketing and touring

Dead Throne was released on September 13, 2011, through Ferret Music in and internationally. The album's marketing campaign emphasized digital accessibility and fan engagement, beginning with pre-orders available through the band's official website and retailers like , where fans could customize bundles including CDs, T-shirts, posters, and signed items. Limited edition packages featured exclusive merchandise tied to the album's themes of decay and resilience, enhancing collector appeal. The artwork, illustrated by , depicted a jagged upside-down skull bathed in an eerie glow, visually encapsulating the record's motifs of fallen power and rebirth, as described by the band in promotional materials. To promote the release, the band offered early online streams of select tracks via their official site, building anticipation ahead of the full album premiere on just weeks before launch. The rollout integrated singles like "Born to Lose" into broader efforts, with music videos and live performances at events such as Warped Tour 2011 amplifying visibility. Live promotions centered on the Dead Throne Tour, a fall 2011 North American headlining run supported by , , and , spanning November to December and showcasing material from the new album alongside fan favorites. In early 2013, the band co-headlined a U.S. tour with As I Lay Dying, joined by , The Color Morale, and The Chariot on select dates, extending the album's momentum through high-energy sets focused on tracks like "Dead Throne" and "Mammoth." These tours highlighted the band's evolving sound, with setlists prioritizing Dead Throne songs to connect with audiences amid the promotional cycle.

Reception

Critical response

Upon its release, Dead Throne received generally favorable reviews from music critics, earning a score of 76 out of 100 based on six aggregated reviews. Critics praised the for its in and raw energy. Kerrang! magazine echoed this sentiment, scoring it 80 out of 100 and calling it The Devil Wears Prada's best yet due to its dramatic dynamic shifts and refined blend of melody and heaviness. However, some reviewers criticized the album for lacking originality and innovation within the metalcore landscape. Alter The Press! issued a low score of 1.5 out of five, labeling it as clichéd and repetitive with palm-muted breakdowns and uniform tempos that failed to evolve beyond genre conventions. Publications like IndieVision Music noted the scarcity of clean vocals as a regression from prior works, arguing that the melodies did not carry the same weight without them, resulting in a heavier but less balanced sound.

Commercial performance

Dead Throne debuted at No. 10 on the chart, selling 32,420 copies in the United States during its first week of release. The album performed strongly within niche markets, reaching No. 1 on both the Billboard Christian Albums and charts. It also peaked at No. 8 on the , underscoring its appeal to rock and metal audiences despite the band's Christian affiliation. Internationally, Dead Throne achieved modest commercial success in through distribution by . The release received no major certifications from bodies such as the RIAA.

Music and credits

Track listing

The standard edition of Dead Throne features 13 tracks with a total runtime of 40:52. All lyrics were written by Mike Hranica, with music composed by and primary songwriting by guitarist Chris Rubey.
No.TitleLength
1"Dead Throne"2:45
2"Untidaled"2:55
3"Mammoth"2:43
4"Vengeance"3:02
5"R.I.T."2:49
6"My Questions"3:12
7"Kansas" (instrumental)3:36
8"Born to Lose"3:05
9"Forever Decay"3:25
10"Chicago"2:45
11"Constance"3:19
12"Pretenders"3:28
13"Hold Fast"3:49
The album was produced by the band alongside , who also contributed to arrangements but not songwriting credits. No bonus tracks appear on the standard edition, though various vinyl reissues exist with alternate artwork and pressing variants. "Kansas" stands out as the album's sole instrumental track, inspired by the location where portions of the album were written.

Personnel

The lineup of The Devil Wears Prada for Dead Throne consisted of Mike Hranica on lead vocals and lyrics, Chris Rubey on , Jeremy DePoyster on and clean vocals, Andy Trick on bass, James Baney on keyboards—this being his final album with the band before his departure on February 22, 2012—and Daniel Williams on drums. The album was produced and mixed by , with additional engineering handled by Dutkiewicz and the band. Tim Lambesis of As I Lay Dying provided guest vocals on the track "Constance". The artwork was created by , while mastering was performed by .

Charts and legacy

Chart positions

Dead Throne debuted at number 10 on the US chart, marking the band's first top 10 entry. The album also achieved strong performance on genre-specific , topping the Christian Albums and charts while reaching number 3 on both the Top Rock Albums and Top Albums charts, and number 9 on the Digital Albums chart. Internationally, Dead Throne peaked at number 44 on the Albums Chart. It reached number 8 on the Rock & Metal Albums Chart.
Chart (2011)Peak position
Australian Albums (ARIA)44
US Billboard 20010
US Christian Albums (Billboard)1
US Digital Albums (Billboard)9
US Independent Albums (Billboard)1
US Top Hard Rock Albums (Billboard)3
US Top Rock Albums (Billboard)3
UK Rock & Metal Albums (OCC)8
The album spent a total of 3 weeks on the .

Impact and aftermath

Dead Throne is regarded as a pinnacle of The Devil Wears Prada's heavier musical phase, characterized by its aggressive sound and incorporation of classic metal elements that diverged from the band's earlier work. The album's raw energy and emotional depth have been highlighted in retrospective analyses as surpassing many contemporaries in the genre, solidifying its status as one of the band's most honest and impactful releases. Its lyrical focus on anti-idolatry themes, exemplified by the title track's critique of elevating worldly pursuits to a "dead throne," contributed to broader discussions within about faith and materialism. Following the album's release, significant band changes occurred, including the departure of longtime James Baney in 2012, which was later revealed to be a forced exit rather than a mutual decision. This shift led to a more guitar-centric lineup for subsequent albums, emphasizing riffs and dual guitar attacks over atmospheric keyboards in The Devil Wears Prada's evolving sound. The album reinforced The Devil Wears Prada's position within the Christian niche, blending heavy breakdowns with faith-based messaging that resonated in that subgenre. The guest vocals by of As I Lay Dying on the track "Constance" underscored connections across the Christian scene, bridging two prominent acts known for their thematic depth. In the long term, reviews have praised Dead Throne for its enduring raw energy and melodic intensity, with one 2025 assessment calling it a standout for its genre-blending aggression. By 2025, the album had amassed significant streaming traction, contributing to The Devil Wears Prada's overall plays exceeding 470 million.

References

  1. https://www.discogs.com/master/374526-The-Devil-Wears-Prada-Dead-Throne
  2. https://shop.revolvermag.com/products/the-devil-wears-prada-dead-throne-lp-exclusive-limited-to-500-iridescent-green-vinyl
  3. https://music.apple.com/us/album/dead-throne/461163003
  4. https://www.allmusic.com/album/dead-throne-mw0002189628
  5. https://www.qobuz.com/ca-en/interpreter/the-devil-wears-prada/304996
  6. https://www.revolvermag.com/music/devil-wears-prada-how-faith-hell-chelsea-wolfe-inspired-metalcore-acts-new-album/
  7. https://www.metalpaths.com/news/2009/05/14/the-devil-wears-pradas-roots-cracks-us-top-15/
  8. https://lambgoat.com/news/16417/the-devil-wears-prada-signs-deal-w-roadrunner/
  9. https://thenicsperiment.blogspot.com/2012/07/the-devil-wears-prada-zombie-ep.html
  10. https://loudwire.com/devil-wears-prada-chris-rubey-interview-new-album-dead-throne/
  11. https://noisecreep.com/the-devil-wears-prada-mike-hranica-interview/
  12. https://www.allmusic.com/album/release/dead-throne-mr0003416636
  13. https://genius.com/The-devil-wears-prada-kansas-lyrics
  14. https://www.albumoftheyear.org/user/remisreviews/album/6922-dead-throne/
  15. https://www.discogs.com/release/3543440-The-Devil-Wears-Prada-Dead-Throne
  16. https://www.songfacts.com/facts/the-devil-wears-prada/dead-throne
  17. https://www.indievisionmusic.com/reviews/the-devil-wears-prada-dead-throne/
  18. https://www.jesusfreakhideout.com/cdreviews/DeadThrone.asp
  19. https://distortedsoundmag.com/heavy-music-history-dead-throne-the-devil-wears-prada/
  20. https://www.sputnikmusic.com/review/45265/The-Devil-Wears-Prada-Dead-Throne/
  21. https://loudwire.com/the-devil-wears-prada-dead-throne-album-review/
  22. https://genius.com/The-devil-wears-prada-rit-lyrics
  23. https://archive.sltrib.com/article.php?id=52914532&itype=CMSID
  24. https://www.sputnikmusic.com/review/45266/The-Devil-Wears-Prada-Dead-Throne/
  25. https://music.apple.com/us/song/born-to-lose/461163035
  26. https://www.imdb.com/title/tt11580462/
  27. https://www.youtube.com/watch?v=peYyVbyLkWE
  28. https://www.youtube.com/watch?v=kRQTtrXhsks
  29. https://rateyourmusic.com/release/album/the-devil-wears-prada/dead-throne-1/
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  31. https://www.discogs.com/release/17138935-The-Devil-Wears-Prada-Dead-Throne
  32. https://gigcity.ca/2011/11/09/preview-the-devil-wears-prada-loves-the-messengers-hates-the-message/
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  34. https://www.theprp.com/2011/08/26/news/the-devil-wears-prada-announce-headlining-tour-with-whitechapel-enter-shikari-for-today/
  35. https://www.punknews.org/article/44107/tours-the-devil-wears-prada-whitechapel-enter-shikari-for-today
  36. https://blabbermouth.net/news/the-devil-wears-prada-as-i-lay-dying-to-join-forces-for-u-s-tour
  37. https://www.setlist.fm/setlist/the-devil-wears-prada/2011/bogarts-cincinnati-oh-3bd10c2c.html
  38. https://www.metacritic.com/music/dead-throne/the-devil-wears-prada/critic-reviews
  39. http://www.alterthepress.com/2011/09/album-review-devil-wears-prada-dead.html
  40. https://metalinsider.net/columns/metal-by-numbers/metal-by-numbers-921-a-dramatic-turn-of-album-sales
  41. https://www.officialcharts.com/albums/devil-wears-prada-dead-throne/
  42. https://blabbermouth.net/news/the-devil-wears-prada-dead-throne-track-listing-revealed
  43. https://www.songfacts.com/facts/the-devil-wears-prada/kansas
  44. https://scream-it-like-you-mean-it.fandom.com/wiki/Dead_Throne_%28The_Devil_Wears_Prada%29
  45. https://loudwire.com/the-devil-wears-prada-part-ways-with-keyboardist-james-baney/
  46. https://genius.com/The-devil-wears-prada-dead-throne-lyrics
  47. https://www.youtube.com/watch?v=6pllUCihbCA
  48. https://www.discogs.com/release/3150903-The-Devil-Wears-Prada-Dead-Throne
  49. https://www.songfacts.com/facts/the-devil-wears-prada/constance
  50. https://dudethatsrad.wordpress.com/2011/10/21/dead-throne/
  51. https://www.metalkingdom.net/album/The-Devil-Wears-Prada-Dead-Throne-56354
  52. https://www.billboard.com/charts/billboard-200/2011-10-01/
  53. https://acharts.co/australia_albums_top_50/2011/38
  54. https://www.officialcharts.com/charts/rock-and-metal-albums-chart/20110918/112/
  55. https://www.godtube.com/blog/top-10-christian-metal-bands-of-all-time.html
  56. https://metalinsider.net/splits/keyboardist-clarifies-split-with-the-devil-wears-prada
  57. https://lambgoat.com/news/17887/the-devil-wears-prada-keyboardist-was-fired/
  58. https://dailytitan.com/lifestyle/review-devil-wears-prada-ups-the-ante/article_40e8058b-f400-55ef-a727-ce0201773c1a.html
  59. https://stitchedsound.com/album-review-the-devil-wears-prada-dead-throne/
  60. https://www.musicmetricsvault.com/artists/the-devil-wears-prada/0NbQe5CNgh4YApOCDuHSjb
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