CVWW November 2015 by CV WorldWide Magazine

November 2015

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Kobra And The Lotus is a Canadian Heavy Metal Band that was formed in 2009 by Classical Singer Kobra Paige. After being recognized by Metal Hammer and then by none other Gene Simmons,they now have 3 albums and one EP and touring extensively. They have toured with national acts Kiss,Def Leppard,Judas Priest and many more! With Kobra’s powerhouse vocals and range to the heavy guitar riffs, they are taking the world by storm! They were here in Vegas and we had a chance to sit down with Kobra herself and get the inside scoop of all that is going on with this amazing band! P.10

Contents... Iron Maiden Book Of Souls : Review By Timm Tantrum

News You Can Use: 10 Ways You're Ruining Your Car Without Realizing It (msn autos) 24

Jamie Paullus: Jamie Paullus continues to WOW our readers with the BEST Spokane has to offer this month: music greats Def Leppard & Styx! P.32

Order in the Chaos: Focusing On Procedure

HAIR TRIGGER: a Comic from Anthony Hitaffer

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Sherry Keith; Mystic Photography continues her up close and personal view into the Vegas music scene with MADLIFE... Page 22

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. IRON MAIDEN’s eagerly awaited new studio album The Book Of Souls was released globally on September 4, 2015, through BMG in the U.S.A. (Parlophone Records rest of world). It was recorded in Paris with their longstanding producer Kevin “ Caveman” Shirley in late 2014, with the finishing touches added earlier this year. However, the band decided to delay its release so that vocalist Bruce Dickinson, who was recently given the all-clear from a tumor, would have time to recuperate sufficiently to join in the preparations for the album’s launch. The stunning cover art was created by Mark Wilkinson, who has worked with the band previously, and because this 11-track album has a total running time of 92 minutes, it is IRON MAIDEN’ s first ever double studio album. There’ s a broader split on the songwriting compared to previous Maiden records, with bassist and founder member Steve Harris contributing to seven of the tracks; six of them with Maiden’s guitarists and one sole composition. This is also the first time since 1984’s Powerslave that an IRON MAIDEN studio album features two tracks written solely by Bruce Dickinson, one of which is the longest song Maiden has ever recorded! The Book Of Souls also features Dickinson/Smith collaborations. Steve comments: We approached this album in a different way to how we’ve rec-

ordered previously. A lot of the songs were actually written while we were there in the studio and we rehearsed and recorded them straight away while they were still fresh, and I think that immediacy really shows in the songs, they have almost a live feel to them, I think. I’ m very proud of The Book Of Souls, we all are, and we can’t wait for our fans to hear it, and especially to take it out on the road next year!” Bruce continues: “ We’ re really excited about The Book Of Souls and had a fantastic time creating it. We started working on the album in late summer 2014 and recorded it at Guillame Tell Studios in Paris, where we had done the Brave New World album back in 2000 so the studio holds special memories for all of us. We were delighted to discover the same magical vibe is still alive and very much kicking there! So we immediately felt at home and the ideas just started flowing. By the time we finished we all agreed that each track was such an integral part of the whole body of work that if it needed to be a double album, then double its going to be!”

The full track listing is: Disc 1 1. If Eternity Should Fail (Dickinson) 8:28 2. Speed Of Light (Smith/ Dickinson) 5:01 3. The Great Unknown (Smith/ Harris) 6:37 4. The Red And The Black (Harris) 13:33 5. When The River Runs Deep (Smith/ Harris) 5:52 6. The Book Of Souls (Gers/ Harris) 10:27 Disc 2 7. Death Or Glory (Smith/ Dickinson) 5:13 8. Shadows Of The Valley (Gers/ Harris) 7:32 9. Tears Of A Clown (Smith/ Harris) 4:59 10. The Man Of Sorrows (Murray/ Harris) 6:28 11. Empire Of The Clouds (Dickinson) 18:01

Formats: 2CD Deluxe Hardbound Book Limited Edition 2CD Standard Edition Triple Heavyweight Black Vinyl High Res Audio (24-bit Mastered for ITunes and non-Mastered for iTunes) Standard Res Audio (16 bit/ 44.1 kHz) The Book Of Souls is the band’s 16th studio album since their eponymous debut in 1980 charted at No. 4 in the UK, in a career achieving sales of over 90 million albums worldwide. Their previous album, 2010’ s The Final Frontier, was Maiden’s most successful chart-wise to date, reaching Number One in 28 countries and was their highest chart debut in the U.S reaching No. 4 in the Billboard 200. Due to Bruce’s illness the band had to delay touring plans but promise to be out on the road again early next year, giving time for Bruce to make a full physical recovery to be ready for the rigors of Maiden live performances.

Book Of Souls Review by: Timm Tantrum If Eternity Should Fail As a kid growing up in the 80s, I pretty much learned about Iron Maiden much the way a lot of other kids did. Back then, even if you didn't know who they were, you were immediately drawn to the artwork on their album covers. The first thing that strikes me about “Book Of Souls” is the album cover artwork which features the band's ever present mascot “Eddie”. Eddie's look has evolved throughout the decades. In some cases, the Eddie artwork that appeared on some covers made him almost unrecognizable to fans that grew up with Iron Maiden. What's striking about the artwork on Book Of Souls, done by artist Mark Wilkinson, is that it is a refreshing return to the imagery so many know and love. It's the Eddie I remember from 1985 when my best friend Tom came back from a concert raving about this amazing band he went to see. He'd gone to see the opening band Twisted Sister but, came home proudly wearing a Powerslave shirt.

In listening to new music from an older band these days, it's to not approach it with a bit of skepticism. Many band's have gone so far as to say they won't release new music because “It's not practical” or “There's just no market for it now” Iron Maiden though, has never been a band that cared what other bands were doing or following anything but their own gut. The opening track “If Eternity Should Fail” immediately obliterates and doubts one would have that Iron Maiden is still very much Iron Maiden. Well mixed and starting out quite subtle then exploding into everything we hope to hear from Iron Maiden. Track 1 does not disappoint.

Speed Of Light This track took me by surprise a bit. The first single from the album the opening riff isn't so much the Progressive sound you hear from Iron Maiden. It is instead a very solid Hard Rock riff more reminiscent of something you might hear from their 2nd album “Killers” another highlight of the track is that is displays Bruce Dickinson's incredible vocal range. I quite enjoyed the entirety of this track.

The Great Unknown Yet another example of Dickinson's vocal range and control. This track is the progressive sound Iron Maiden is known for. Musically it's a brilliant utilization of the fact that Iron Maiden has three lead guitar players. This becomes more obvious during the solo when the three unique styles and different guitar tones becomes very apparent. The Red And The Black I honestly didn't know what to make of this track at first. The song itself has that galloping beat similar to “Rhyme Of The Ancient Mariner” from Powerslave. It also is a very long piece much like the Powerslave epic with the length broken up by time and key changes which make it possible to make it through the song without getting bored. Maiden has mastered this skill throughout the years. The song however is bookended with and odd progression of chords played by bassists Steve Harris. It sounds much like something played during sound check than a structured piece of music. Although I

like the song the Jury is still out on the bass intro/outro. If anything though it displays that Iron Maiden are not afraid to try anything. When The River Runs Deep At this point the album continues to not disappoint. It seems on each track though there's a particular member that just grabs the song and makes it their own. For me on this track it's drummer Nicko McBrain. Although every member shines on this track, Nicko seems to be the one that decided he was gonna be the one to grab this one by the balls and give it a little extra thrust.

Book Of Souls There's always an expectation and curiosity that comes with hearing the song that they decided would be the title track. Sometimes that decision is simply because it sounds cool. This track however does stand out. With a different groove and feel completely and wisely Positioned as the closer of disc one with this being Iron Maiden's first double album. A light acoustic guitar sets the tone at the beginning. The rest of the song contains melody and lyrics that make it easy for one to conjure a mental image of the story line, just as any good book would do only put to well thought out music.

Death Or Glory At this point I feel like Iron Maiden could have sat on the remaining tracks and released another album in 2017. What makes me say that is “Death Or Glory” is an upbeat heavy track that could have been a brilliant beginning to another album instead track 7. on a double album. It works though. The thing that continues to impress me about Book Of Souls is not just the great songs but how they are positioned on the album. Especially considering it's a double album clocking in at over 90 minutes long, I find it impressive I have not yet grown weary of listening to the album. Shadows Of The Valley It's hard to not distinctly hear the similarity between the beginning of this track and the beginning of “Wasted Years” from the Somewhere In Time album. I suppose after 40 years, it becomes more difficult to not plagiarize yourself. This however is a little too close. It quite literally sounds like they took the opening to Wasted Years and played it back slower. Fortunately the song departs from the obvious similarity once the vocals come in. There is however chord progressions

that sound suspiciously like “Where Eagles Dare”. Similarity aside it's a solid song like the rest but I'm still not sure if they're trying to recapture their classic sound, paying tribute to some of their classic songs or if they honestly didn't hear the similarities. Or perhaps they did but just didn't care because well....They're Iron Maiden and at this point in a career like theirs they can pretty much do whatever makes them happy. Tears Of A Clown I was extremely curious to hear this song having read it was inspired by the suicide of Robin Williams. Lyrically speaking the song is filled with empathy for someone who was obviously a tortured soul yet wouldn't dare let on to that as his purpose in life was to lift people's spirits. The empathetic tone is immediately apparent from the opening lyric “All alone in a crowded room” Some songs are so good musically, you've no idea what the lyrics are even about. The words of this song though immediately draw your attention. It's hard not to focus on the lyrics to this as it should be with this one. Empathy is a trait that is sadly lacking in today's society. This for many reasons in my opinion makes this the most

The Man Of Sorrows Eerily Titled coming after “Tears Of A Clown” I find myself more focused on the guitar work on this one. There are a number of guitar solo pieces on this that make it an enjoyable tune to just sit back and set the tone in a room. If anyone questions why a band would need three guitar players just play them this track to demonstrate why this is useful. Especially for a band like Iron Maiden who do it right. Empire Of The Clouds Setting a new length record for Iron Maiden, “Empire Of The Clouds” clocks in at a whopping eighteen minutes long! This leaving even “Rhyme Of The Ancient Mariner” in the proverbial dust as far as length. The song boasts a 2 minute intro of piano and violin before the first lyric is even heard. As mentioned earlier not many bands could hold your attention for longer than five minutes much less eighteen minutes. Iron Maiden does this somehow however. This song goes in so many unexpected directions that it's not a chore but a pleasure to listen to the songs entirety. What a way to end Iron Maiden's first double album. So, after 40 years how do you keep a worldwide legion of fans interested. You could

release your first double album. You could write your first eighteen minute song or, upgrade your tour plane to a luxurious 747 jumbo jet. If you're Iron Maiden you do all of the above. As a band that's always setting the standard for the analogy “Go big or go home”, it makes you won der, with a plane that size, what is their stage going to look like on this tour?

The Book Of Souls World Tour will open in the U.S.A in late February with Ed Force One flying in for three shows before, in early March, heading into Central America visiting MEXICO, followed by a much anticipated first ever concert in EL SALVADOR and a return to COSTA RICA. Ed Force One then proceeds into South America for concerts in ARGENTINA, CHILE and a number of shows in BRAZIL before flying back to the USA at the end of March for ten more cities covering the USA and, of course, CANADA in the first two weeks of April. A long awaited return to JAPAN follows later in April, and then the band are delighted to be playing their first ever shows in CHINA before heading to NEW ZEALAND and AUSTRALIA for a comprehensive tour during the first half of May. Shows in SOUTH AFRICA, Maidenâ&#x20AC;&#x2122;s first visit there with Bruce, will be the last port of call before Ed Force One heads to EUROPE

for a very extensive tour starting in late May and finishing in early August. This will the first time Ed Force One has ever been used on any European Tour dates (other than Bruceâ&#x20AC;&#x2122;s Fan Club trips to shows) and will provide transport there for at least for the first few weeks. You can go to Ironmaiden.com for tour dates!

<CV> Tell us how you first got into music, how head? did you know that was what you wanted to do <KOBRA> The first time I was on stage I and at what age? was probably 9 and I was completely terrified. I was so scared of performing but I <KOBRA> Well I was 6 when I first wanted to used it in musical theater and through all do music, but I was a little to young to get the kinds of singing competitions so I had to coach that I wanted, so I came back to it when I get over it. I would have stomach aches for was 8 and I started vocal studies and piano and two days when I was growing up. theory when I was 8 and I just carried forward from there. <CV>I understand you formed the band <CV>I read that you started out as a classical singer. <KOBRA> Yes I did!

<CV> Growing up, who did you like to listen to? Who were you influences? <KOBRA> When I was growing up I listened to a lot of Triumph, Queen, Pink Floyd, a lot of classic rock.

CV> Besides music what were your other interests? ,<KOBRA> I actually was a figure skater. I did a lot of that! <CV> How old were you when you were first on stage and what was going through your

Kobra And The Lotus in 2009 in Calgary, what was the catalyst behind it? How did you come up with the name?

<Kobra> Yes it was Calgary. I really really wanted to start a band after I saw Judas Priest when I was 15. So when I had graduated from High School I found a bunch of guys in the classifieds that were into a bunch of the same bands. I got them together and started writing music. We called our band a bunch of things, they were really bad names. Judas Cradle was my first project, it was just terrible. I didn’t pick that. <CV> Judas Cradle? *laughter* <KOBRA> Yea, it’s like a really disgusting torture device! *laughter from all in room* So yea, I changed it to Lotus actually and then we got this drummer who did not like that name because it was to Feminine so we changed it to Kobra. Then we tried to release the first album “Out Of The Pit” but Kobra was already copyrighted with a “K” so we put Kobra and Lotus together and that is how we came up with the name. <CV> Tell us who all is in the band and their roles. How did you know they were the right fit? <KOBRA> I would love to! So right now I have Jasio Kulakowski, he has been with me a couple years and we write a lot together he’s one of the guitarists. Then we have Brad Kennedy on bass guitar, then I have Adam Brown on the drums,he is a great Canadian drummer and is also in some other Metal Bands. We have played along side for a couple of years. Then we have Bill Hudson who is on the other guitar and he is a wicked shredder! <CV> Oh,we are all about the shredders. *laughter* <KOBRA> Well you will love him, he is an import all the way from Brazil. I met him at Metal AllStars actually in Brazil last year. Brazil is exotic though, I like to point that out.

<CV> In 2009 you began recording your first independent release "Out Of The Pit" in Calgary. I understand you released the initial studio tracks on myspace? Tell us a little about that and how was the response? <KOBRA> That was the first time we ever put ourselves out there to people and the public. It was kind of crushing. There were a lot of people who enjoyed it, but there were a lot of people who really didn’t enjoy it. That was the first taste of what subjectiveness meant. I wasn’t used to it so I learned a lot and I learned to be a lot more authentic after that experience. If you listen to that album compared to the next two that come after, it’s quite a different evolution in sound. So it was good, I learned a lot from it.

<CV> In 2010 you were approached by Metal Hammer to be in the 2010 Metal Hammer Maidens of Metal Calendar. Can you tell us about that and how that came to be? How did that make you feel to be included with the likes of Lacuna Coil, Simone Simmons and Epica? <KOBRA> Well that’s funny because there you go, with “Out Of The Pit” we must have done something right because that is how they found us. They liked the music and decided to push us for some reason. We were just an unknown band trying to get started. That actually legitimately started a fan base off the bat in the UK for us. That Metal Hammer issue. It was amazing! We went over there and then we proceeded to keep putting effort into the UK to grow that fan base first even before Canada. <CV> When you began recording your second album, your manager Susan Bullen reached to a few different labels until she spoke with Mark Spicoluk at Universal Music Group and played some preliminary tracks from the new album. Mark felt that Simmons records would be interested and a week later Gene Simmons himself contacted your manager and you signed with Simmons/Universal. Tell us about that,I mean that had to have been a very proud moment for you! <KOBRA> That was wild, it was really crazy! <CV> That had to have been amazing <KOBRA> Yea, at first we thought it was a joke, I thought for sure it was a joke. She forwarded the answering machine message to us and we were currently on tour at that time in the UK . We were all listening to it in the e-

mail and we were like WHAT? Like this isn’t for real. It totally was and I met with him as soon as I got back and talked about what they wanted to offer us and that was the first time we had signed to a label. Mark was actually the guy who told us our “Out Of The Pit” Learn more about song structure, figure out who you guys are on stage and then come back at me with me the next album. So that’s what we did and then that happened. It was really cool. <CV> How is it working with Gene? <Kobra> It was great actually, he has been really good to us. He has been very accessible. Like we will e-mail him a question and he gets back to us right away. He is so excited about the new generations of metal and rock. It’s been really cool! We see a different side then other people do. <CV> That’s very cool, you know how everybody talks and says he’s mean or what have you. That’s so cool to hear! <KOBRA> He keeps his image up really well in public. *laughter from all* <CV> After the signing you went into the Studio with Kevin Churko to record new tracks and remix and remaster the entire album. How was that experience? <KOBRA> That happened because when we were

signing to Universal they wanted to have even bigger production, they said this could be better so let’s take it to someone else and that’s how we ended up with Kevin. Ironically in Las Vegas where we are now. We were here for over a month doing that with him. It was a great experience. Every time we are with a different producer we learn more things and they all work differently. <CV>When you were in the studio recording "Out Of The Pit" at Metal Works Studio, you decided to do a cover of Motorhead's Anthem "Ace Of Spades" What made you decided to record that particular song? <KOBRA> *laughter* Oh man, that has to be the little shit disturber inside me. I was like 17 when I started doing these songs with those guys and there is a lot of attitude. If you go on youtube and watch Ace Of Spades of us playing you can see young Kobra giving it up there. *laughter* I think I am just wearing like a studded bra, like it’s so different. *laughter in all of room*

<CV> There seemed to be some talk on how your vocal style changed between the video " Cynical Wasteland" from the first album and "Welcome to my Funeral" from the first album under the Simmons/Universal label. What was the reason for the change? <KOBRA> I was very intimidated when I was first getting into this industry. Actually about being a Female in the Metal World. I thought that I wasn’t big enough, or tough enough so I really tried to put that grit into my voice. I learned that isn’t where the power was so it all fell off by the end of touring. It’s better that way, this is who I am, it was supposed to be that way, the way I sing now. <CV> With that being said, is there any artist you try to emulate at all and if so why? <KOBRA> No not at all. It’s interesting because people compare us to a lot of things and they assume that I have an Idol because the voice is similar or similar range to a lot, but the fact is I just sing the way I sing.

<CV> You did your first tour in 2009 in Canada, <CV> Absolutely, it comes out natural and that how was that experience? What did you take is the best way. away from your first tour? <KOBRA> Yea, it just comes out that way. <KOBRA> the first tour was interesting because we hadn’t played anywhere before. By the end of <CV> I think that is great. I talk to so many that my voice was different. I was singing how I people and some will tell me but we want to usually sing and how I am supposed to sing as op- sound like this. I always tell them they need to posed to the voice I created for “Out Of The Pit” be and sound like themselves.. because I really wanted some rasp. I don’t have <KOBRA> Yea, no you just need to sound like rasp, I have a very clean vocal. It was just a big yourself. Exactly. learning experience in being authentic. Also seeing <CV> How did it come to be that Producer how the crowd response was. Nick Blagona (Deep Purple) rerecorded the vo<CV> How was the crowd response? cals and remixed the last track of the album <KOBRA> It was good! We saw differences with "Legend" the songs and the next album was different be- <KOBRA> Man you did a lot of research. cause of what we saw. <CV> Oh yes, always *laughter*

<KOBRA> Nick was a friend of Gaddo’s who we had worked with, he is a rock guy from the 70’s in Canada. That is how we got involved with Nick first. He was hilarious! He is like the serial napper, studio napper. *laughter* He was a lot of fun! It was really cool to do some stuff with him. He had some really cool perspectives on micing the rooms. It was the first time we had seen someone put mic’s way down the halls, like way far from the studio to capture some sounds.

in the world. That’s the most incredible thing about music. It is so unifying.

<CV> After you signed with Universal Music Group,you then signed up with producer Kevin Churko to record four more tracks, and to have Kevin executive produce, remix and remaster the entire album. The self-titled album was globally released in August 2012 in the UK and Europe by Spinefarm Records and in 138 other countries by Universal Music Group affiliates. <CV> Since we are talking about the different How well was that album received? album recordings, tell us about your song writ<KOBRA> It was received very well actually. ing process. Who writes the music or is it a That album was very exciting. I could not wait to group effort? put out the evolution of the sound. It was re<KOBRA> It’s everything actually. It’s different ceived very well, especially in the UK and Spain. every time for every song. There is a lot of co- They really took that one and ran with it. writing, a lot of writing from various members of the band and people outside the band. <CV> I hear that a lot, that people in Italy and Spain really hunger for it. <CV> What is the motivation behind the songs <KOBRA> there is a guy in Milan that fly’s to written and do any of them speak to you on a England to see us play and I was like wow, this personal level? guy has such a commitment. It’s so amazing. <KOBRA> They all speak to me on a personal <CV> A year later it was released in the USA level. They all have some kind of message and and Canada .The album rated as 7/8 POWERsome kind of feeling. All very different from the POINTS by PowerPlay (music magazine) rated other but all similar in the way that it is all about as KKKK by Kerrang, and 8/10 by Metal Hamhuman nature and what you are experiencing, the mer. That had to have been exciting, what was feelings. A lot of that classic struggle but you can rise above it. <CV> You did another extensive tour in Canada in 2010 and then in 2011 headed to Europe after the release of your second album self entitled "Kobra and The Lotus". How did you like touring in Europe? How were you received? <KOBRA> Touring in Europe was awesome. It is exciting to be in different countries and to see that people are the same no matter where you go

going through your head? <KOBRA> It was really flattering because you never know how it’s going to be received. You put your best into it and your heart and soul and it’s scary to put it out to the world. That was very encouraging to see the reviews. Especially from Metal Hammer, we were like oh!

experience. You learn so much from seeing those guys play every night. Def Leppard is unbelievable live. Their harmonies are great and their songs are so simple yet so full and KISS is just like feakin high deff entertainment but it just blows your mind! It’s just fun, ho wouldn’t have fun at a KISS show?

<CV> Exactly! What an honor for you! <CV> Yea that’s one of the bigger ones, I could <KOBRA> Oh yes, such an honor! Paul Stanley imagine. *laughter* is such a good front man! There was just so <KOBRA> *laughter* Yea, well it’s like now the many things we could take away from it and pressure is on and you don’t want to put out a they were really good to us. They told us really piece of shit after that! 8laughter from all in good stories of encouragement. Like Def Leproom* pard, some of the guys would come down and tell us, you know in 88 we played a show and <CV> You have toured with some amazing the crowd threw bottles of piss at us, you gotta bands such as Kiss, Judas Priest, Amaranthe keep going. *laughter from room* We were like and played some great festivals to include whoa!!! Wacken Open Air, Bloodstock Open Air and <CV> *laughter* You are like we don’t want to Metal Female Voices Fest. How did that make know that! *laughter* you feel to be in such great company? What did <KOBRA> *laughter* I guess we really don’t you take away from those experiences? know how hard it gets! Not yet. *laughter* <KOBRA> It’s just really humbling to share the stage with those people. There is so much legacy. It was amazing and a cool experience to be in front of so many people. People come from all over the world to those festivals, it’s so cool. It was awesome!

<CV> You were also support for Kiss/Def Leppard for Kiss's 40th-anniversary North American tour last summer. That had to have been amazing! Anything you would like to share about that and how that came to be? <KOBRA> You know, I still think that it was lucky that we got that spot. It was intense to hear that we were going to be supporting them. There were like 1000 bands that were really gunning for that spot and it was a completely surreal

<CV> You recently did a video of "Black Velvet" originally done by Alannah Myles. Great Video! Smokin hot, gotta say. What was the decision behind doing that? <KOBRA> Thank-you. I have loved Alannah Myles my whole life. I met her two times, she has been really really encouraging to me. Just for the new generation to come up with rock and metal and I really wanted to do a song that people were not expecting from the band. A lot of people were saying do “Exciter” something like that. I was like we are going to throw them a curve ball and do a classic Canadian hit. Just not edgy in the way they expected. That is how that came about. <CV> That evening dress by the way, that was awesome! <KOBRA> Oh thank-you! That was so fun! *laughter* <CV> I was talking to some friends and they were like who are going to see, I was at work actually, I have that dreaded day job. *laughter from room* I was like wow, I have never seen her that way, this is bad ass! <KOBRA> Thank-you! That actually was part of the reason for that video, and why we picked that song in particular. I really wanted to people to see the more feminine side of me and this is the chance to do that. <CV>I remember the very first time I saw you at LVCS here in Vegas last year. I actually had never heard you before and I was blown away! The band was tight, amazing stage pres-

ence and you all were having a great time which of course the audience loves to see. Your vocals are fantastic and you have a phenomenal range! I am curious, have you had any professional vocal training at all? <KOBRA> Oh thank-you so much! I did, I had vocal training for 8 years. The biggest thing I took away from that was breath support. <CV> Something people don’t know about me really is I was in Choir all through high school, and that is the thing I still remember to do this day: Breath from the diaphragm. *laughter* <KOBRA> Yea seriously, that is where all the power comes from. <CV> What is it like being a woman in the music industry? Do you feel you have more obstacles? <KOBRA> It’s interesting because yea there are obstacles for sure. I used to say, a few years ago. Music is music, if it’s good it’s good. The fact is no it’s actually tough if you are a female because not everyone is turned on to that sound or idea right away. It’s becoming more open to it though and you are seeing so many more females out there in the scene in a large way. Also there is that advantage too, there is an advantage and disadvantage. The advantage is you are not some ugly hairy dude. *laughter from whole room* <CV> I can totally relate to what you are saying, I get

<CV> What is it like being a woman in the music industry? Do you feel you have more obstacles?

some of that creep into the set tonight actually. I also freakin love Led Zepplin! I just absolutely love everything about that band!

<KOBRA> It’s interesting because yea there are obstacles for sure. I used to say, a few years ago. Music is music, if it’s good it’s good. The fact is no it’s actually tough if you are a female because not everyone is turned on to that sound or idea right away. It’s becoming more open to it though and you are seeing so many more females out there in the scene in a large way. Also there is that advantage too, there is an advantage and disadvantage. The advantage is you are not some ugly hairy dude. *laughter from whole room*

<CV> I am totally going to age myself here but I used to sit in my room when I was around 13 and I had an 8 track player that I would listen to Led Zepplin, Stairway To Heaven on, and I had this little tiny square black strobe light and I would just sit there. *laughter* <KOBRA> *laughter* That is so good and it’s so timeless too.

<CV> I can totally relate to what you are say- <CV> Who do you like to listen to in your ing, I get the same thing when I am in a photo down time? What do you like to do in your pit. Because of how I dress and I like to rock out down time? and have a good time. <KOBRA> I listen to a lot on my down time. I <KOBRA> Yea, you stand out and you are hav- really love Devin Townsend there is this crazy band from Europe called Raunchy, it’s like realing fun which is what it should be. ly heavy dance metal. I don’t know how else to <CV> Yea,I get people who tell me a woman explain it. It’s crazy but it keeps you super should not be in a photo pit doing what I do. It pumped up. *laughter* just amazes me sometimes. I have been shoved, punched and sliced once doing what I do. Crazy <CV> Me I like a little bit of everything. I grew how people can be, but I’m that girl who won’t up with my father listening to Country, Kenny let any of that stand in my way. *laughter from Rogers and Dolly Parton, Waylon And Jennings room* <KOBRA> OMG, Unbelievable! WTF <KOBRA> Oh I love Dolly! *laughter*

<CV> Then of course I bring home when I was <CV> All in the name of rock n roll right? 15, Motley Crue. *laughter* <KOBRA> Oh yes! <KOBRA> Yea *more laughter*

<CV> Yea my father threw my stereo out the <CV> Musically, who are your biggest influ- window and was like oh no, we are not having those long haired hippies in my house! ences? <KOBRA> The first thing that really got me in- <KOBRA> Both of us were hair kids! terested was Vauldy. I really love classical mu- <CV> I’m so stuck in the 80’s it’s horrible! sic, Vauldy in particular. In fact you will see *laughter*

<KOBRA> Oh it’s not horrible, it was called the decade of decades for a reason. <CV> This is true, but like you ,I have one Opera Singer that I just love. Bocelli!! <KOBRA> Oh wow, that’s crazy! <CV> My friends give me a bad time about it, because I’m the rocker girl listening to Opera and it makes me cry. *laughter* <KOBRA> Yea, he is great!

<CV> Tell us about the music industry today and where you think Kobra And The Lotus fits in? <KOBRA> We are part of a new generation that is digital and we don’t know any different so we just have to play the game. It’s about social media now. It’s all about touring, constant touring, pulling the crowd out and if we see downloads online, all we can do is hope people are coming to the show. My belief is that the future of bands for metal and stuff is not going to be single headlining arenas anymore, It’s going to be double and triple headlining shows to reach a huge concert level. I don’t think that the level of the gods or the so called godliness like Iron Maiden is going to happen again during our lifetime.

<CV> Do you have a favorite place to play and why? <KOBRA> Oh wow, this is really tough. We had some really great shows. Toronto actually is super fun, but man we have had so many great places. I played in Moscow and that was probably the craziest show I have ever experienced. I really want to go back. <CV> Is there any one show that is memorable

for you and stands out and why? <KOBRA> Let’s go with Judas Priest at The Apollo in London. It’s a very legendary venue and with a legendary band and the first big band we supported and made me say, oh I want to do metal! It was crazy how it came full circle that way. <CV> Any funny stories to tell from tour life? <KOBRA> The first time we had a bus was when we were in the UK, and I was really really shy about peeing on the bus because all of the guys were around. *laughter* So I had to learn the lesson the hard way because it was pitch black outside and I went walking around and I saw the trees but I did not see that there was like a 5 foot ditch below. So I just walked right off the road into a ditch and I was flat on my back in this shit puddle and it was full of nettles so my body was numb from my neck to my toes for 24 hours. I wrecked my cell phone and then I came on the bus and there was this creepy lady that had come with the bus driver and we did not know etiquette then, but now it would be who is this lady she needs to leave. At the time we were trying to be polite and asking who is this strange lady? She was not being very cool. She was in everyone’s business. I came on the bus and she was awake and she comes in and says oh ha,ha,ha your tit is hanging out. I was

like wtf?? I was covered in mud and my boob ney of Kobra And The Lotus was out. *extreme laughter from all of us in <KOBRA> I still think we are relatively a baby room* She had a mustache too. *laughter* band. Which is funny but that’s the truth. We have reached our break yet or anything. We have <CV> You brought this up a little bit, but what a ways to go and we are still paying our dues. It’s are your thoughts on the use and necessity of starting to pay off in some areas and we have a lot of work to do. We are on the right track Social Media. though. <KOBRA> I think it’s extremely critical now <CV> Absolutely, it takes a lot to get my attendays. That’s how people find out that you are coming. Flyers just don’t really work anymore. tion with music these days because everything I We used to have paper teams like 4 years ago, hear all sounds the same. and now it just seems useless. Even Twitter I <KOBRA> Generic keep thinking how is it something? People use it. <CV> Yes. I want to hear somebody that’s orig<CV> I don’t understand Twitter, I am that stu- inal that has edge and gonna grab me. I don’t pid person going why?? get that very often. When I heard you that’s ex<KOBRA> *laughing* I’m the same way. Then I actly how it was. I was like dayum, major props to this girl! see that it is quite a tool for the USA especially. <KOBRA> Thank-you so much, that is so awesome to hear!

<CV> How do you feel about music download sales, would you prefer a return to CD's and Vinyl? <CV> What advice would you give a band just <KOBRA> It’s a catch 22 because CD’s and Vi- starting out?

nyl’s are great because you get the artwork, you <KOBRA> I would say just get out there and start collect something. To an extent it’s sad that rec- playing some shows. In any hole that will take ords and vinyl’s are not selling the same way, but you! Get a feel for who you are and what you metal heads out of all the genres do like to collect really want to do and write and play! Then make the actual items which is cool. Now the down- a decision, if you are going to go for it then go loads can reach anybody around the world. for it. You have to put everything you have into What’s cool about the social media thing is that it and really see if you can go somewhere. we have not been to many countries, but we have fans all over the world and that’s only possible <CV What can your fans expect to see at a because everything is digitalized. Kobra And The Lotus show? <CV> I remember when I was 14-15 I actually had Def Leppard Pryomania on Vinyl! <KOBRA> They can expect to see some tasty riffs, some soaring vocals, a lot of energy and a *laughter* I actually miss that. lot of hair. Some great dual lead guitars. <KOBRA> See? That is so awesome! <CV> Where do you think you are in the jour-

<CV> What does Kobra And The Lotus have planned for the rest of 2015? Any tours or projects in the works? I read somewhere you are working on a new album? <KOBRA> Not quite yet. After this tour we are going to go back into the studio with Johnny K in Chicago. We are going to record something special for the future. It will be released a little down the line. Then we are going to tour Europe with Kamelot and Gus G. Then in February is when we will start the new album. I am very excited for that!

<CV> What would you like to say to your fans and our readers? <KOBRA> As always thank-you so much for your support, we canâ&#x20AC;&#x2122;t do it without you guys! We love you, keep defending the faith and come to a show we would love to see you!

News YOUSE Can Use 10 Ways You're Ruining Your Car Without Realizing It (msn autos)

1. You're shifting into drive while the car’s still rolling backwards. You may be thinking that going from reverse to drive before the car has fully stopped isn’t horrible, but think about this: at just 4 mph, today's average car exerts more force than a bullet fired out of a rifle, and you’re asking small pieces of metal to stop it instantly. When you think about how expensive transmission repair can be, you’ll realize why this is shooting yourself in the foot. Which is also extremely costly to repair.

2. You're filling your radiator with nothing but water If you’re driving hard or stuck in traffic during the extreme heat of summer, untreated water can approach its boiling point given the pressure of most cooling systems. Then, if that

water freezes in the winter, it will wreak some serious havoc as it expands, like cracking your engine block. Use a 50/50 mix of water and coolant, just like the book says. 3. You're cleaning your tinted windows with Windex

Windex has ammonia in it, and if it comes in contact with the tint film on your car’s windows, it will discolor it. Use a dedicated automotive window cleaner instead. If you’ve ever seen someone driving down the road with purple tinted windows, it’s fair to assume they sprayed some Windex on it.

any benefit from changing your viscosity. Always stick with the manufacturer recommendation, conveniently found in your owner's manual. 5. You're not giving your car enough time to warm up

Your oil doesn’t lubricate nearly as well when it’s cold, and all those parts in your 4. You're using the wrong engine are designed to operoil ate within a certain temperaThe thickness—or viscositure range. What happens ty—of an oil is hugely imwhen you start your car and portant to how effectively it drive away? You’re stressing does its job, and your engine everything under the hood was designed around a spe- when it’s at its most vulneracific viscosity. With very few ble moments. New cars exceptions, you won’t see warm up much faster, thanks

News YOUSE Can Use 8. You're not fixing the small things A small mechanical issue can—and will— inevitably lead to a much larger one. For example, a worn shock absorber stresses things like bushings. When suspension bushings go, you’re looking at excess movement in the tires, which increases wear and decreases stability. When engine and transmission bushings go, you have extra movement in your drive train. This butterfly effect will cause serious damage to your car and bank account.

6. You're driving with your ASS Your car’s automatic start/stop system (ASS) is designed to make your car more environmentally friendly, and save you a few bucks at the fuel pump. Make no mistake: using it will cause premature wear on parts. Today’s cars have beefier starters to compensate for this, but if you take two brand new cars and disable the start/ stop function of one and not the other, the one without the function will lead a longer and much happier life. However, your car will put out more greenhouse gas, so the choice is yours. 7. You're not slowing down for speed bumps or potholes This will absolutely destroy the life of your shocks and can lead to other damage to the car's undercarriage.

ing the sun, and let nature do its work in the One of the most common misconceptions about morning. Combine that with turning the defroster cars is that a Check Engine light isnâ&#x20AC;&#x2122;t serious, and on at full blast and pulling out the 'ole ice scraper can therefore be ignored. Sure, it doesn't always is still the safest way to get your windshield clean. signal immediate doom, but it does mean something is off with your engine. It could be something minor, but if left untreated, it could snowball into something very costly. 9. You're ignoring the Check Engine light

If any of your other dashboard warning lights come on (Check Oil, Water Temp), pull into a parking lot and shut the car off ASAP. 10. You're defrosting an icy windshield with hot water If you don't know what happens when you pour hot water on ice cold glass, allow me to inform you: it breaks. Actually, it shatters. This can and will happen to your windshield, probably in front of every neighbor on your block. Park the car fac-

Order in the Chaos

I often write about a whole slew of topics regarding music, the writing of, or even the production of music. That being said, I often find myself having the same conversation over and over with people I end up working with on a musical venture. And that conversation usually is based on PROCEDURE. Not expected outcome of the recorded product.

What I wish to do in this article is to show how focusing on PROCEDURE as a WRITER can definitely hinder, or at the worst, kill your product entirely. While focusing entirely on OUTCOME can confuse, deter, or even make the CONTRIBUTORS you are working with attempt to derail your speeding juggernaught before it ever gets on the track.

You see, it is the desire of almost every WRITER to record their songs. If they write original music, that is. And yes, sadly, some WRITERS actually do spend the time and money working on OTHER people’s songs, but I don’t care about those types, other than that they can afford to read this column too. Because recording music, is recording music, regardless of the content. Which brings us to PROCEDURE.

not my desire with this topic, but rather to show you that if you focus too much on the Procedure and Outcome of putting your money where your mouth is; it can be more of a hinder than a help.

I think every mixing engineer, recording engineer, producer, or songwriting collaborator will agree that WRITING the music is the easy part. Putting it down on tape is a different story. And with all the instant access training available all over the World Wide Web, I wouldn’t waste my words trying to tell you one more way of tracking at home or in the studio, or why MY way is the right way. Because that would all be a lie. You’ve heard the adage, “There’s more than one way to skin a cat.” Well, it’s true. Recording your music can be done in any number of ways. Capturing it can be done with a single mic in a crowded garage to a 4 Track and sell MILLIONS of copies world-wide. Or it can be eloquently and professionally hemmed and hawed over by the best minds in the industry according to THEIR formula, and STILL have it fail the label’s expectations and break your bank account back to the stone age for the next 10 years (referencing two particular stories from two of Rock Music’s biggest names in history, Van Halen and Boston).

What I am talking about is PROCEDURE for recording your material in a manner in which you Focusing on PROCEDURE instead of OUT- might not piss off everyone in the band when you DO decide to track. Cool? COME: Look, it’s easy to get wrapped up in the how’s and the how not’s of tracking your material. And it’s even easier for somebody else to come along and tell you you aren’t doing it correctly. That is Okay. Rule One is simple... the guy writing the

Okay. Rule One is simple... the guy writing the music?... he’s the guy with the say-so. Period. Unless he/she is willing to electively concede those duties to someone else, just take for granted that that writer knows EXACTLY what they want. So, if you have a question, ASK. Don’t form opinions, or jump to conclusions, or act like you know more than them, or like the whole thing is a waste of your time, get discouraged or tell that writer or the other members why you can’t do your job. Or you may find yourself wondering why that WRITER decided he no longer wants to work with you.

Now, if you are the WRITER... Write. Period. Do your job.

If the band doesn’t want to agree with you, get a new band -- they are holding you back, because if music means anything at all to you, those folks will depress you faster than anything and they will possibly rob you of your creative spirit. And DEFINITELY get new folks to work with if your band is not productive and YOU want to be (even if they constantly go on about wanting you to write MORE material if they haven’t finished the earlier stuff first.... There are plenty of other folks If you are in the studio with your band, awesome! out there with way more talent than even you, Now, just be cool. Don’t pace, don’t mouth off, who are professional enough to bring good, clean, don’t try to direct your other members, and don’t performance to your product. try to act like you know more than the people HIRED to capture your performance. Especially if YOU aren’t the one pulling everything together or And there are a multitude of personalities, styles, PAYING for it. Your WRITER(S) are the DI- and genres out there. Maybe you have a performRECTORS, and they WRITE because they know ing band locally, but a recording band made up of what they are doing, in most cases. And if you members not even in the same state that only cannot write, your opinion is null and void. Please churns out product. (That’s MY outlook these be responsible and respectful enough to recognize days as the BEST way to get good, strong, subthe talent and support it rather than deride or un- stantial product that is not stuck to the “sound” of dermine it with your own ignorance, immaturity, your band). Or, maybe you want ONE band that and lack of professionalism. And Dude! If you can do it all. Good luck... but it IS possible--if not cannot play a scale or tell the other band members RARE. Either way, build your PROCEDURE what KEY you are in... you have no right to be and outline it to your guys/gals. If they are willing there with expectations in the first place. Shut up, to move forward, great. If not, move on with other and LEARN! Or get out. Otherwise, you are the folks. weak link. And you need to respect yourself and your bandmates enough to realize that YOU don’t have what it takes to hang and step down admirably and respectfully. Don’t act like a jerk and point fingers or try to turn the other band members against the WRITER... that’s just stupid and hateful. Just leave. There really is no reason for immaturity in the band room or in the studio.

Wearable Art

Why should YOU care about PROCEDURE?

the Drums, in relation to the Guitar, in relation PROCEDURE is something that is up to the or- to the Vocal... and USUALLY in that order. chestrator of the project or product... NOT the When I bring a rhythmic pattern into the contributors. And if the contributors don’t agree room or the recording session, I already with the WRITER’S procedure, then they have no know or have a pretty good idea of what I business being there unless they are DAMNED want to hear coming from the other tones GOOD musicians with way more experience than being utilized in the track. So, if I suggest everyone else in the room. Then that person the Bassist play a specific picking pattern, should PROBABLY be helping with your proceor the Drums lay back, or punch, or dydure anyway. namically LIFT the song, it is because I know it is not only POSSIBLE to do those Now, on to focusing on OUTCOME over PROthings with those instruments, but it’s more CEDURE: than beneficial to do those things whenever If you are a WRITER who feeds off others, you possible in a song. It keeps the listener LISwill probably do fairly easily turning out product TENING. And it makes your music more in a band situation in so far as they respect you entertaining to have dynamics and expresand your contribution to the band. sionistic movement present in your song... In EVERY song. But if you work better on your own... HIRE YOUR TALENT AND DO NOT GIVE THEM The problem with THIS mindset if it is A SLICE OF THE PIE! Unless, of course, you your MAIN focus; is that nobody else will hire a Grammy Award Winning artist to work ever live up to your expectations. Let’s face with, then share the love, man... they often return it if you are too harsh about it, then you the favor. take away the free choice the other musiHowever, if you are the type that writes every lick, every stanza, every hook, and work with three or four other folks who do not recognize just what YOU are bringing to the table... again, FIRE THEM! You will never get anything done if you fill your woodshed with deadwood. Same goes with members who won’t practice, cancel practices on a regular basis, gripe about everything, or change the direction of the band continually with threats of quitting or any other childish behavior. Just get rid of them. Trust me. I know. Back to focusing on OUTCOME. I do this a LOT!!! I do it as a SONGWRITER and I do it as a GUITARIST. I hear every note, every instrument, and most often times, every tone. I hear what the Bass is doing in relation to

cians have in their parts. Like a dick-tator, you rob them of the glory they can bring to the song by introducing themselves into it through their performances, styles, and unique decision making processes they bring to the table via their own experiences as musicians. Personally, I like to work with other musicians who BLEED their craft. Who KNOW their instruments at least HALF as well as I know mine, and who PRACTICE to constantly better themselves just like I do on an almost DAILY basis whether with a band or not. You need an equal balance of focus on PRO CEDURE and OUTCOME to be an effective WRITER/PRODUCER of any product. To

focus too much on either may not cause your product to fail, but it will cause others to not want to work with you. Whereas, to focus on neither is already what your band HAS been doing, and look where you are... playing the same clubs every Summer, in the same city, in the same state, and wondering why nobody cares about you, your band, or your music... Because you DIDN’T care enough yourself... and the audience can ALWAYS see right through it.

So, kids... what’s the recap? Know your craft, practice your craft, write your material, rehearse said material, know your parts, record your parts. All the rest is for the WRITERS to worry about. But if you do YOUR due diligence, and are okay with NOT trying to control every situation, outcome, and procedure, you just might make it! Yes, COLLABORATORS, by riding that WRITER’S coat-tails. Be cool with being on the bus without having to try to STEER IT!

Brien DeChristopher ~

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