Fuel The Scene Magazine Issue #7: July / August 2018 by Fuel The Scene Magazine

FUEL THE SCENE MAGAZINE

ISSUE #7 | JULY / AUGUST 2018

IN THIS ISSUE 3 6

THE EDITORS’ LIST: KICK ASS BANDS THAT YOU SHOULD ABSOLUTELY BE LISTENING TO RIGHT NOW

Infinity Fortress, Undone, Annabel Lee, Past Tense of Never, OverMyDeadBody, Oculum Dei

COVER STORY: CELEBRATING 39 YEARS OF THE SOMEWHERE ELSE TAVERN INTERVIEW WITH MOTIONLESS IN WHITE AT VANS WARPED TOUR 2018

BROKEN TESTIMONY “HOLDING ON TO NOTHING” ALBUM REVIEW

COVER STORY (CONTINUED)

POUND OF FLESH “THE DEVIL IS IN THE DETAILS” ALBUM REVIEW

8 VACANT GRAVES “GRAVE 1: ROOT ORIGIN” ALBUM REVIEW

ANNABEL LEE “DIVIDED WE STAND” ALBUM REVIEW

COVER STORY (CONTINUED)

SPREADING THE DISEASE “INSURRECTION” ALBUM REVIEW

ROTTEN REPUTATION “CASTRATION STATION” ALBUM REVIEW

LOOKING FORWARD: LOUDER THAN LIFE 2018

CREDITS

Thank you to all of our contributors who make this dream possible and are actively working together to breathe life into the live music scene that we all love. You are the fuel that keeps the music alive. Editors | Rei Haycraft, Seraphim Dibble, Kristy Streyle Photographers | Seraphim Dibble, Terie Shaver, Rei Haycraft, Ambler Irby, Kevin McGee, Lola Marie, Paul Jones Writers | Seraphim, Rose Estrada, Rei Haycraft, Savanah Ruiz, Josh Foster Designer | Rei Haycraft / Revenant Images Founded by | Rei Haycraft, Jaton Blaney, and Kristy Streyle Proudly sponsored by | Crim Radio

All band promotional photos submitted to us are copyright their respective owners, please contact each band for more information. 2

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THE EDITORS’ LIST OF KICK ASS BANDS THAT YOU SHOULD ABSOLUTELY BE LISTENING TO RIGHT NOW

INFINITY FORTRESS Symphonic Metal from Wilmington, NC

As Rhia’s crystal clear voice echoes out against the anguish and triumphs painted by Infinity Fortress’s music, Matt’s brooding cello lines delves darkly into classical motifs with a freshness seldom found in symphonic metal. The flying fingers of Christopher’s guitar work paired with Andrew’s ballistic bass lines create a lush soundscape, rich with dynamic tensions. The tribal thunder of Mike’s drums are tamed by the melodic canvas of Randy’s keys. Together, they build the majestic fantasy world that is Infinity Fortress.

@infinityfortress @infinityfortress infinityfortress.bandcamp.com Photography by Don Sloan

UNDONE

Hard Rock from Cincinnati, OH Combining the elements of melodic, gothic, symphonic metal, Undone was formed by Tim and Bernard in the late 90’s. Various members and incarnations later, the current lineup of Undone is by far the most accomplished and formidable it has ever been. With a wide range of influences, Undone’s music runs the gamut from soft, melodic and beautiful to dark, angsty, and angry.

@undonerox @undonerox reverbnation.com/undonemetal FUEL THE SCENE MAGAZINE

THE EDITORSâ&#x20AC;&#x2122; LIST OF KICK ASS BANDS THAT YOU ANNABEL LEE Metal/Hardcore from Charlotte, NC

Annabel Lee began their musical journey back in 2010 as a 5 piece melodic metalcore band. Over the years the lineup has changed slightly and the sound has changed drastically. Exploring the world of extended range guitars and alternate tunings along with a more djent, rhythm based sound has proven to be right direction for the band. Coupled with an intense, energetic live show, Annabel Lee has been making a lot of noise and has grown to be one of the premier metal bands in the region.

@annabelleeNC @annabelleeNC annabellee.net

PAST TENSE OF NEVER Hard Rock/Alt-Metal from Saxapahaw, NC

Past Tense Of Never is an original synth rock group established officially in 2016 with emotionally captivating music. The band calls the Piedmont Triad area of North Carolina home. Children who grew up there either became heretics, presidents or a toothbrush once used by our lord and Savior Jon Snow, King In The North. While only one of those things are true, PTON are a little of a lot. Their sound is likened to a life changing religious experience, but only while eating fried Snickers bars.

@pasttenseofnever @ptonofficial pasttenseofnever.bandcamp.com 4

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SHOULD ABSOLUTELY BE LISTENING TO RIGHT NOW OVERMYDEADBODY Experi-Metal from Butler, PA

Formed back in late 2014 this Experi-Metal band has been on a roll. Playing show after show in Pittsburgh and Butler honing their skills to new heights. In 2017 OverMyDeadBody released their self titled EP which was a testiment to their unique metal vibe. Now in 2018 they have released their first video for their song “Damaged” and signed to Dead Sea Records. Keep an eye out for what this band does next.

@officialovermydeadbody overmydeadbody.rocks

OCULUM DEI

American Black Metal from Winston-Salem, NC Hailing from the ashes of Charlotte NC’s darker side comes forth the black metal trio, Oculum Dei. Mixing different elements and influences of black metal the band is set to bring forth a horde of darkness and set the listeners into a realm of deep chaotic experiences. Formed in 2016 as a studio band with members CAMALUS and TENEBRIS, upon meeting up with frontman ZEBULV it was decided to finally bring the project to the stage. The band is due to release a full length album fall of 2018 as well as a music video for the title track entitled “DREAMS of DESIRE and TORMENT.“

@oculumdei @oculum_dei_official oculumdei.bandcamp.com FUEL THE SCENE MAGAZINE

COVER STORY / INTERVIEW

THE SOMEWHERE ELSE TAVERN Celebrating 39 Years of Supporting Live Music When approached for this interview, owner Burley Hayes insisted that his portion be brief because the true heart of the story lies in all of the patrons and musicians that The Somewhere Else Tavern has impacted over its four decade run. The following is a small sampling of the outpouring of personal stories that we recieved for this issue. Though we could not print them all, the complete collection can be found online.

n the ever-changing landscape of the North Carolina live music scene, The Somewhere Else Tavern has stood the test of time, supporting the area’s original music and musicians for nearly four decades. The Somewhere Tavern, fondly referred to as SWET, was created on July 3rd, 1979 as a family business which opened daily at noon and featured a jukebox during the week and bands on weekends. Owner Burley Hayes fell in love with live music at

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a young age and instantly knew that he wanted to follow this passion for the rest of his life. A turning point for the club was when Hayes was approached by Dwayne Leonard and Aubrey Henley, wanting to create a weekly event to bring musicians of all walks and genres as a part of the Sunday Night Super Jam. That open jam continued for 586 consecutive Sunday nights, bringing in musicians from all over the region and touring acts from all over

the world. SWET became the place to be on Sunday nights and with somewhere to play, bands were coming out of the woodwork. SWET was the first all-ages club in North Carolina, something that was no small feat but very important to Hayes. “We weren’t understood by parents or the police,” said Hayes. “Parents hated their children going to a club that sold beer and was on the wrong side of the tracks, but kids flocked to us because it was something so desperately needed.”

STORY AND PHOTOGRAPHY BY REI HAYCRAFT INTERVIEW WITH BURLEY HAYES

It hasn’t always been smooth sailing, however, and there were times that the club was in serious danger of shutting down. Hayes’ brother, who had become a drug addict and moved out of state, began returning monthly to steal all of the club’s money only to disappear until the next month. When Hayes stood up to him and refused to pay, his brother flew into a rage and destroyed much of SWET’s equipment, forcing Hayes to rebuild from the ground up. Though a challenge, this gave Hayes the opportunity to finally run the club the way that he wanted to. Just as things were back on track, tragedy struck—Hayes’ father died suddenly and his family had named his brother executor of the estate. Two weeks later, Hayes’ brother had sold the club and kicked Hayes to the curb, marking the end of an era and leaving Hayes depressed and lost. In a beautiful twist of fate, shortly afterward Hayes learned from a friend that a club on Friendly Avenue had just gone defunct and was up for sale. With the help of former patrons, Hayes borrowed $2,000 to secure the location and The Somewhere Else Tavern lived on. Since 1998, SWET has remained at the Friendly Avenue location, continuing the dream and keeping it alive until the present day. Over the years, SWET has seen many incredible milestones including Burley Hayes’ own wedding to the love of his life, Crystal Floyd Hayes, on July 4, 2015 on The Somewhere Else Tavern stage surrounded by family and friends. For nearly four decades, the message has always been the same: it’s all for the love of music.

(top) Burley Hayes in 1983 (middle) Sunday Night Super Jam in the mid-80’s. (bottom) Patrons at the Freeman Mill Road location

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Burley Hayes Meets His Match Crystal Hayes: I moved here permanently nearly 25 years ago. I came from a very religious upbringing with very limited live music opportunities. I would drive four hours a night and then four hours more back on many nights to go see any and every concert I could. Once I moved here I found SWET. A red headed asshole ran the door. I stood by him at funerals, was always safe in his space, and felt free. I became bogged down with life and responsibilities and didn’t go out as often. I went kicking and screaming out to the Tavern a little over three years ago. I immediately fell in love with Burley. Went back the next night and fell in love with the stories told by the bands’ members walking past. Long story short, I married that guy at the door a little over two months later. I’m so proud of his legacy. I became not the party girl at the door and am now the bartender, promoter, and share booking duties with my husband. I’m overwhelmed with the love he has for local and original music. I’m so blessed by the love that comes back to him. Burley Hayes is Music. We shall carry on together.

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STORIES COLLECTED WITH LOVE PHOTOGRAPHY BY REI HAYCRAFT

A Beacon For The Broken Sonni Von T: SWET has always been a place of healing, rejuvenation, and bonding for me. As a sophomore in high school, I would come to the venue to seek refuge from the cruel kids that didn’t understand me or my purple streaked hair, the anger of my fighting parents, and to hide from the internal loneliness we all suffer from as a teen. I would spend my weekends observing the live performances of people that ranged from my age, all the way to middle aged. We all had something special in common. We were all missing something inside ourselves that we could not describe. As I watched these performers pour their emotions into the stage I realized I wasn’t alone. I realized no matter how perfect your hair or eyeliner is—we are all beautifully flawed in some way. I could see that SWET was a magical place that celebrated the beautiful imperfections of each individual that walked through its doors. I had found an “artistic heaven.” Years passed, I graduated and went on to join the military. What else is a poor girl from a small town to do if she wants a college education? I spent my time in the USAF, full of regret for the things I witnessed and was forced to be a part of. When I came home I found that friends were no longer friends, and family felt like a joke. The pit in my chest was larger, loneliness had made its home there and flourished. I had been home for three days and decided to go to the mall. A kid with a mohawk handed me a flyer. She had the most beautiful smile. The flyer was for a show at SWET... the MADD Hatters were playing and everyone knows I can’t pass up a good punk band. So I made my way back to the building that had once saved my life before. I was greeted by Burley Hayes, the owner. I didn’t even think he would have remember me. But as I walked up the steps he greeted me with a huge hug and tears in his eyes, and said “Welcome home, baby.” I smiled and said “Thanks, man.” Then immediately went to the bathroom, locked myself inside, and sobbed

for about 5 minutes. Someone remembered me, someone cared, and the healing began.

Though I am no longer part of the venue crew, I still believe what I felt so long ago to be true.

I spent the rest of the night soaking in the atmosphere. Drunk off laughter, full on smiles, and for the first time in a long time I felt whole again. Shortly after, Burley offered me a job. I gladly took it. I spent the next 14 years by his side helping him maintain this environment for others to enjoy and experience. We worked together to create a safe place to truly be yourself and express unique talents.

The Somewhere Else Tavern is a beacon for the broken. A place family is created to heal those wounds. A place of support, that shines even on the darkest nights. And I know no matter where I go, I’m always loved somewhere else.

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Like Long Lost Family Todd Yohn: My story began in the early 80’s when the band I was in, The Link Brothers, were discovered by two characters named Magoo and Dwayne at Huck’s Delicatessen in Greensboro on a Monday night. They invited us to a place called The Somewhere Else Tavern on Freeman Mill Road, to participate in a thing called the Super Jam on Sunday. The name of both the bar AND the jam intrigued us so much, that we were compelled to check it out! The following Sunday Super Jam number 33, we met Mr. Burley Hayes who was tending bar, and were welcomed like a long lost family member. The Super Jam lasted for years, how many I can’t accurately say, but just the fact that it went as long as it did, should tell you how special it was. 10

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Burley and I had an immediate connection, and we became brothers instantly, and that has lasted to this very day! A side note… Magoo passed away several years ago, but Dwayne Leonard and I are now in the same band and also best friends after all these years! The local talent that graced the stage of Somewhere Else, on any given Sunday, was second to none! Ricky Reynolds, Pete George, Ray Burnett, Magoo and Dwayne Leonard, Norman Allred, Chuck Cotton, and so many others, to vast a list to name at this time, would pack this little out of the way roadhouse. It was THE place to be! And oh, the music and talent! Incredible! Magical is a word sometimes overused, but it truly defines what transpired there on so many nights, and not just on Sunday! I spent many a night locked in that club, for being a starving musician, I was sometimes in need of a place to crash. Burley of course

always came to my rescue… adding frozen toaster pizzas and a couple of free beers to sustain me during the hard times. That is the crux of what I want to say about Somewhere Else and more importantly, Burley Hayes, they have both exemplified what music and love are all about and how it can affect a person as well as a community. Because of The Somewhere Else Tavern, and more importantly Burley’s steadfast love for the art of music, and the love of people... I am a better musician, friend, and human being, than I ever would have been without having the precious gift of meeting my best friend Burley Hayes, and fellow musicians and characters of The Somewhere Else Tavern on Freeman Mill Road! If the walls could have talked… they would have had an incredible tale to tell!

COVER STORY

STORIES COLLECTED WITH LOVE PHOTOGRAPHY BY REI HAYCRAFT

Home Away From Home Taylor Mark Bays: Somewhere Else Tavern is one of my favorite places to be in Greensboro for a multitude of reasons. It’s been around forever. I mean, forever insofar as I’ve been alive, effectively making it a staple of the city’s culture. The beautiful thing about SWET is the community atmosphere. I’ve seen huge shows with nationally and internationally touring bands and I’ve seen locals playing their first gig. It’s such a mixed bag, it really does make it feel like a home for everybody. Your experience at SWET depends completely on what you are looking for and what you put into it. There’s something for everybody because everybody is accepted. I’ve seen people play at the Somewhere Else Tavern that I ended up seeing doing big things later. Kids I saw playing at the Tavern when they were 16 years old ended up on Conan O’Brian one night. I saw a band with a singer who eventually joined GWAR for a period. SWET has been a hub for anyone and everyone who wants to have a good show locally, or as a tour stop or even just an out-of-town-getaway. It has a rich history and I’m so glad to see it still thriving. In a town where so many venues have come and gone, varied between different levels of functionality, and often even struggled to stay open, The Somewhere Else Tavern has remained incredibly consistent over the years. And that’s why it’s still a home away from home to me.

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INTERVIEW

MOTIONLESS IN WHITE

Rei Haycraft spoke with Chris Cerulli (Chris Motionless) of MOTIONLESS IN WHITE before their set at The Final Vans Warped Tour in Charlotte, NC about the state of the music community, signing to his “dream label” and creative freedom, and secrets about new Motionless music!

Alright, Warped Tour. Charlotte, NC. I am here with Chris from Motionless in White. How has your Warped been thus far? Chris: It has been fantastic. It’s definitely, I think, the most fun Warped Tour that we’ve been a part of of all the times that we’ve done it. In different ways than it was earlier on, but it’s definitely, you can tell that it is a special year. And everyone’s showing up and going all in, and it’s been a pleasure. Now, what everybody’s talking about is the void that’s gonna exist in the music community now that Warped is going away. For you all, as veterans who have really been a part of this family for a long time, how does that feel and how does it feel being part of this last one? Chris: I think we owe so, so much of our career to Warped Tour. I think I’ve been saying it so much lately to really get the point across that we owe so much of our career to Warped Tour. I mean, some of the biggest moments that have taken place for us have been a result of being a part of Warped Tour. So to 12

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be in the last one and get to say goodbye, just on the actual last one. If we were in our last year, I would’ve been really heartbroken this year. But to be on it and to feel what the environment that’s been going on this summer, we’re just very fortunate. And we’ve been trying to be, as someone called us, Warped cheerleaders this summer. I think we’ve done a pretty good job at that. And that’s because, you know, why wouldn’t we? Warped Tour’s been there for us when a lot of other people and organizations haven’t bene. So we’re just very grateful. Now, for bands that are starting out, Warped has always been that bucket list item. That “if we can just get on Warped, I’ll be happy. Or getting on Warped could take us to the next level.” What do you think will be able to fill that void for aspiring musicians? Chris: Well, I was talking with some people over the summer about that, and I feel like where it’s headed is gonna be a lot of ... well, first off, it’s a great mystery. I don’t know, I don’t think anybody really, truly knows, but I think the trend that we’re gonna see for the

summer is pop-up festivals. It’ll be similar to self-help. Or you’ll take the same idea of what Rock on the Range, and Welcome to Rockville, and Rocklahoma, all those kinds of active rock festivals that are a weekend here and there. I think you’ll start seeing that in the summer for the Warped Tour world, rather than so much the active rock world. And that makes sense to me, in my head, after kind of discussing it with other people, that is where I would imagine it’s already kind of headed. But I do think that there will be a lot of bands that are gonna try out doing their own headliners in the summer, which is very new, because it’s usually, every band headlines or tours in the spring, and then in the fall, and you don’t really try to compete with Warped Tour, ‘cause you’ll get your ass kicked. So it’s gonna open up a lot of opportunities for bands to go out there and do their own tours in the summer, and see what happens with that. But I really think it’s gonna be the weekend festivals for the Warped Tour world that’s gonna pop up.

INTERVIEW BY REI HAYCRAFT PHOTOGRAPHY BY KEVIN MCGEE Moving on from Warped stuff, Graveyard Shift has been out for a while now and the fans love it. What’s resonating the most with everyone still? Chris: This album cycle has been so interesting to us, because some of the things that we thought fans were gonna be really into, I’m not talking about Loud, by the way. Some of the songs that we thought fans were gonna be really into, they liked, and it was an overall positive response to the entire album, but some of the songs I thought initially, fans were just gonna be weird about, ended up being songs that are their favorite. And their input and their, I guess not their data, but their streaming, their tweeting, all the things that they do on these sites that we can see how people are interacting have told us that, song x, y, or z is a song that they’re really enjoying that I just never really thought that they would as much as they do.

Chris: It’s great. We had a wonderful time over at Fearless, and we had three albums with them, and it went- and an EP. And it just, it was a great time. But Roadrunner was like the label that, since we were kids, it was the dream label. And to have seen that, as we got to the point where we were ready for a new contract with whoever, seeing that they were interested in us and wanted us. Obviously we wouldn’t have gone there if it was a bad offer, but it was one of those things where it’s

just like our dream label has an open hand, and we’re just like, how do you not want to go in that direction? Because that’s what we wanted as very, very young musicians. And they’ve been great. I think my favorite part is that they really like the band for what the band is, and they didn’t bring us in and say, “Okay, how about we do this kind of thing,” or, “We need you to write more of this kind of song.” They were just like, “Go do your thing, and take your time with it,

So we’ve listened to them, and we’ve created music videos, or we’ve released songs as a single, based on their input. Most recently, being the song Voices, I just didn’t think fans were gonna enjoy it that much. And they loved it. And I’m so happy. Well, that’s fantastic. Chris: Yeah, I’m so happy that they did, ‘cause we love it a lot. And it’s just one of those things where like, okay, you’ve spoken, we’re gonna listen, and we ended up talking to Roadrunner and asking if we can do a music video for it, because we had a really great idea. And they were behind it, we did it, and it’s ended up being the most quickest viewed and most liked music video I think that we’ve put out in years. So it’s just been a really cool learning experience, and thankfully, now, with all the social sites and Spotify and everything, we can not only just listen to fans on the social sites, but we can also see the numbers behind it to back it up. And that’s really cool, to know what to do going forward after this. You’ve talked sometime before about Roadrunner being your dream label. So how is this album cycle been having Graveyard Shift come out on Roadrunner?

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INTERVIEW and when the album’s right, we’re gonna put it out.” And it was like ...

that give out time tables, because I don’t ever wanna get nailed to that social cross again.

That’s amazing.

So yeah, we’ve just been quietly working on it, and we’re like halfway done, and after this tour, we’re not doing any more tours for the rest of the year. We’re just gonna do single shows here and there, and we’re gonna work on new music.

Chris: Yeah, like just a ray of sunshine just came upon me and I felt like creative freedom. So that’s been really, really awesome. We’re about now just ready to start the next album on Roadrunner, and we’ll see what happens. Do you have secrets you can tell us? Chris: We’re about halfway done with the writing, so we’ve been quietly working on music all year. Some of the negative things, when I say quietly, some of the negative aspects of social media is that, you want to get excited and talk about things, but then fans nail you to what you said, even if things change. So I no longer talk about certain things

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You’ve gotten to work with some of your heroes, and have some collaborations with amazing artists. What is that like, being able to create something with someone that you’ve looked up to? Chris: It’s just another layer to add to the dream world that I feel like I’m living in. I mean, it seems like, so many of the biggest dreams that myself and the guys in the band have had, have come true. We’ve been a

band for 13 years, so in 13 years, we’ve had so many of the biggest things. We’ve toured with Slipknot, we signed with Roadrunner, we’ve had my favorite vocalist, or my favorite heavy vocalist of all time sing on of our songs. Just, we’ve written music with people, it’s just ... I don’t know. I don’t really know how to describe it except for just like ... Surreal? Chris: Yeah. I just try to be as good of a person as I can, and hope that that karma and that positive energy that I put out in the world returns to me in some way, and I would guess by, what has happened, I would say it’s working pretty well. Amazing things happen when you’re not an asshole. Though, some people would probably say I’m an asshole, so who knows.

INTERVIEW BY REI HAYCRAFT AND KRISTY STREYLE IN PARTNERSHIP WITH W4CY RADIO Who is left on your bucket list that you would like to work with? Chris: The big band that we want to tour with is Rammstein. Just doing a tour with them, even if it was just a single show, that would be good enough for us. As far as working with, I would say on a guest vocal scenario, it’d be Davey Havok, or Ville Valo from HIM. Either one of those two would be pretty awesome. So I think that’s some of the collective answers that we all talk about, Rammstein being the biggest touring dream. That would be pretty sick. Beyond secrets you can’t tell us, is there anything else that you would like fans watching at home to know, be aware of, keep an eye out for? Chris: I mean, here we are just continuing to get the word out that we are working on another album, and I’m not telling you when we expect it to come out. But, we do want it to be sooner than later, because we do want to take our time with it. We do want to do what we feel is right for the band. But we do also really want to see what it’s like to put an album out while riding the momentum from the previous one. It’s always been two years or a little bit longer for us, and we’re trying to ... oh, God, now I’m giving away time tables. You trapped me, look what you did. [laughs] Yeah, we’re trying to do it sooner than later. But if it doesn’t happen sooner than later, and it happens on a normal time table, then that’s just, it is what it is, and that’s what we’re gonna do, ‘cause that’s what we feel is right. So watch closely. It could happen at any time. It could be happening now. You don’t even know. Chris: It might be next week, it might be next year, I don’t know. And you don’t either, and that’s great. And that’s how it’ll be. Well, thank you so much for taking time with us today, and have an amazing rest of your Warped! Chris: Thank you for having me!

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ALBUM REVIEW

REVIEW WRITTEN BY SAVANAH RUIZ PHOTOGRAPHY COURTESY OF BROKEN TESTIMONY

BROKEN TESTIMONY

Holding On To Nothing

“Fade Away” changes this a bit by being considerably heavier, instrument-wise. The vocals are very consistent, and in places reminiscent of Seether. Broken Testimony has crafted a very reliably listenable album here. It will also be a huge hit amongst millenials who grew up listening to this type of music. Track five is another intermission track, “Instead We Hid From Them, Just Like Our Fears”. This one features a droning sound along with a lengthy monologue from Charles Manson. It remains to be seen if this has any relevance to the album, but it seems to mostly be Manson justifying his actions.

udge Page and Bryce Chism founded Broken Testimony in 2016 when they were both 16. The four-piece alternative rock group has played a number of live shows, including opening for several larger bands in the genre such as Trapt. They have just released their full length album, Holding On to Nothing. The eleven-song album clocks in at forty-two minutes long. It opens with an instrumental interlude, “We Never Learned From Our Mistakes.” The interlude consists of soft guitar, a thunderstorm, and a siren at the end. It closes with the sound of thunder, leading into the track “Control.” “Control” is a song very much in the vein of bands like Breaking Benjamin and Chevelle. The melodic vocals blend well with the heavier instruments, lending the song a feeling as if it walked out of the early

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2000’s. Together with “One Day”, the first three songs on the album sound like a callback to the alt-rock movement of that era. The sound is very measured and practiced, with well-placed harmonized vocals.

“Blessing”, the next track, starts up immediately with a wicked bass riff. Much like the previous songs, it plays out as an homage to many of the hard rock bands of the 2000’s.

It is a bit heavier on the screams than the previous songs. “Medusa” similarly features an emphasis on heavy riffs and drums. It ends on a scream and heavy beat, leaving it open for another interlude. “We Smoke Them Away, Thinking They’ll Burn Off” is a bit softer than the last and features a lengthy monologue from Alan Watts, British philosopher. This one feels a bit more at home in the album than the previous. What is interesting, though, is the track also feels like it would be at home on a The Contortionist album. It is appropriate, then, that “Unknown” opens a bit more softly than the previous albums. It comes as a surprise, as Broken Testimony has established quite a consistent sound to this point. Even when the electric guitars and heavier drums come in, “Unknown” manages to remain restrained and consistent in its softer tone. “Vitality” also opens up softly, but returns to the early ‘00’s hard rock sound of the rest of the album in seconds. It is a callback to Staind, providing quite a listenable last track before the album’s outro. “But They Just Stain Who We Are Inside” provides the album with a soft, ambient closing. The sounds of scuffling chairs, clinking glasses, and voices can be heard quietly in the background. Acoustic guitars and drums swell in the middle before fading out with the end of the album. Broken Testimony has put together an album that has a stunning amount of finesse to it for such a new band. It sounds like an album from another decade, with throwbacks to Seether, Chevelle, Breaking Benjamin, Staind, and more. The inclusion of Charles Manson’s monologue is confusing to the ear and discomforting, though. It’s hard to say why the decision to include that was made, but it is the only uncomfortable moment in an otherwise very pleasantly listenable rock album. Holding On To Nothing released on June 22nd, 2018! Get it today!

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COVER STORY (Cont.)

The Island of Misfit Toys Shawn Delling: I came to SWET at a time in my life that I was absolutely broken. I had survived a national rape case but with a broken family that seemed to go in opposite directions. I had absolutely no friends after being moved to different schools each year due to the rape and the attention it brought. I finally broke down 18

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STORIES COLLECTED WITH LOVE PHOTOGRAPHY BY REI HAYCRAFT

and told them I felt like I didnâ&#x20AC;&#x2122;t belong anywhere anymore... my family was so broken after each person was ripped apart in court, my friends parents wouldnâ&#x20AC;&#x2122;t allow them to hang out with me because of the case... I was lonely and broken. I heard about SWET and the way it was explained to me was perfect.. it was the Island of Misfit Toys from Rudolph the Red Nosed Reindeer! SWET was the place for the outcasts. I came and was absolutely hooked! I was diagnosed with C-PTSD,

severe depression and anxiety, and I have no doubt that SWET saved my life. I came back and forth to SWET all the way into my first pregnancy. And now I have a 14, 7, and 3 year old boys that we bring up there all the time and watching them get to interact with Burley and Crystal and the bands and seeing that love for local music spark so bright makes my heart shine.

Daring To Be Original Allen Cheshire: Somewhere Else Tavern is the manifestation of the ideals held in the heart and soul of Burley Hayes. A world based on social inclusion, free expression, equal opportunity and one single rule: “you must be original.” In a world that pressures us to fit in and keep our heads down there is still a place that says be an individual, express what you feel, and do it in a circle of friends that believe if one of us rises, then we are all lifted. I am filled with what I would describe as poetic satisfaction to know this world does indeed exist. And you can find Somewhere Else.

Friendship and Family Jori Oi: What does SWET mean to me? Glad you asked. It means many things. First it is the love and dedication that one man gives to the music scene and those in the music community. It truly is someone giving back day in and day out with asking for anything in return. It is the follow your dreams and do what you love that we all search for. It is a living breathing beast of its own kind. And it is also where I feel at home. You have loved me and always kept you door open for me. I know I can always go home and get a great big hug and make memories. It’s also how I learned what true friendship and family is. Without you I would not know the amazing people I know or have a place to catch a great show. It’s the place in my heart that can’t be taken. I owe you so many thank yous for everything you have given and the support you show. SWET isn’t a building but a piece of us all.

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STORIES COLLECTED WITH LOVE PHOTOGRAPHY BY REI HAYCRAFT

It’s All Good Melanie Holdway: Somewhere Else is magic. In the early Freeman Mills days, when the blues weren’t paying the bills, Burley and I started booking a handful of local bands to see where the wind would take it. Bands like Sans Sobriety, Toxic Popsickle, Geezer Lake and Misplaced Aggression opened the door for a beautiful monsoon of magic. Before we knew it the demos were piled high with local and touring bands looking for gigs. Burley’s “It’s all good” philosophy started something that is still going decades later. Somewhere Else is an essential element the North Carolina music scene and the world needs music now, more than ever. Magic lives Somewhere Else. All hail Burley and our beautiful children of the corn!

You Are Loved Somewhere Else Christy Johnson: Somewhere Else Tavern has been monumental for giving new and developing bands the opportunity to get off of the ground and flourish. I personally played my very first gig not on the stage, but the FLOOR in front of the bar for a festival. Burley had the confidence in me to push me to succeed and because of his support, I’ve gone on to tour nationally and release numerous albums. All it takes is one person to believe in a kid just starting out for that person to grow up and change the world. I can’t thank Burley and Somewhere Else Tavern enough for opening his doors to me as a practice spot when I was down, offering the venue as a benefit host to send us on tour and becoming more than just a hang out spot but another place to call home. As Burley would say, “You are loved Somewhere Else.”

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Made of Memories Brian “Bull” Bentley: My story with SWET and Burley Hayes started many many moons ago when I would ride my bike to Freeman Mill Road and beg Burley to let me in. I would then sit on a split rail fence and listen to the music and talk with Burley. Finally after begging and pestering Burley relented and I was able to actually go into the club. I was in heaven! Finally I could go inside and hear the music and when I went in those hallowed doors the spirit of SWET was in me and it has never left.

The memories from SWET are too many to mention in an article— it needs a book all its own. Burley Hayes has given so much to us as a music community that there is not enough thanks or praise that we can give to him. It is our long standing home club where everyone is welcome to come and play their music and let themselves go. I had the honor and pleasure of being able to marry Burley and Crystal at SWET and I couldn’t believe the amount of people that squeezed in to witness it. I just want to say thank you burley from all of us children of the corn for all the awesome memories and all the love that you have given us over the years.

Musical Milestones Peredy: SWET to me is a milestone and a landmark in my life. I have played there with a few bands I was in and as a solo artist. Truth Decay, Stiph, Blyster, and as myself solo as Peredy. SWET holds so many memories that I cherish. I will always be grateful for the times I was on that stage and will never ever forget how it was a staple in my adventure as a musician, performer, and artist.

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REVIEW WRITTEN BY SAVANAH RUIZ PHOTOGRAPHY PROVIDED BY POUND OF FLESH

POUND OF FLESH

The Devil Is In The Details

ound of Flesh have fallen from grace and reached into the depths of hell to bring you The Devil Is In The Details. This album features eight tracks of pure wicked fun and two remix tracks that showcase the fire within Pound of Flesh. This electronic hard rock band from Chicago brings eerie vocals mixed with hypnotic instrumental work to bring you a truly mesmerizing listening experience. This album has anger, passion, and in the words of the band’s facebook, “dark pop industrial ear candy”. According to frontman Darrell James, The Devil Is In The Details “dives into the hatred, the exhaustion, the blame, and the futility, as we tried to find our own answers and deal with how to keep going. As with all Pound of Flesh material, it’s about balancing the dark and the light in

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want to go through walks in the moonlight and summon the evil forces that created such addictive music. The Devil Is In The Details was produced by frontman Darrell James and Steven McIntosh at Drakeraven Studios in Chicago. The album was also mixed and mastered by Doug McBride at Gravity Studios in Chicago.

our lives and, of course, sex, drugs, and rock and roll… with a dash of sarcasm.” “Misery Remix” introduces listeners to this album with flare and spookiness that makes you

For 18 years this band has been bringing it with their talent and this album shows that they are still able to bring it time and time again. So, whether you’re a fleshling or just want to find a new album to play in your dungeon- I mean bedroom, anyone can listen to this spooky album. Make sure you pick it up today!

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REVIEW WRITTEN BY SERAPHIM DIBBLE PHOTOGRAPHY BY WILL MOSS

8 VACANT GRAVES

Grave 1: Root Origin similarities. Riffs and drum beats resemble Slipknot, and certainly both bands use heavy screaming. However, there’s something about 8 Vacant Graves that seems to bring it closer to the death metal half of things than nu metal.

Some half jokingly refer to Asheville as the Boulder of North Carolina. Much like its Colorado relative, Asheville is a relatively quiet mountain town nestled in the foothills. They both have large art scenes and are known for populations that love tea. Asheville also has a longstanding legacy with music and famous venues, though. One of the latest things to come out of that legacy is metal band 8 Vacant Graves. Despite recently going through a short hiatus, the four-piece group has just released their new EP, Grave 1: Root Origin. “Lucid Nightmare” is the EP’s first track. With a heavy, growling intro, it prepares the listener for singer Anthony Worley’s guttural vocals. 8 Vacant Graves is two parts numetal and one part death metal. This shows 24

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through the structuring of songs like “Lucid Nightmare” and “Anxiety”. The band compares themselves to groups like Slipknot and Korn, and compositionally, there are definitely

This only serves to separate them from their contemporaries, though. The excellent track “Hate Thyself” feature riffs and verses that are notably faster and heavier than the previous track. Also noticeable on it is the bass guitar, giving the song a little extra force. “Mastadon Hunter” follows this trend, opening with an intense drum fill and sliding straight into the first verse. While being a blistering fast song, it is not as short as “Hate Thyself”. The tempo slows down a bit for the intro to “Slay the Masses”. That doesn’t last

“...a raw and visceral display of aggression through music.” long, though. The song is a raw and visceral display of aggression through music. The screams and growls approach squealingscreaming at points, and the audible bass guitar makes a second visit to the album. The album closes with “Hope(less)”. Somehow, despite maintaining speeds faster than a sports car, this song also gives the EP a much-needed feeling of winding down. Whether that’s because the song feels like it is coming down from higher notes to lower ones or some other factor, its hard to say. But 8 Vacant Graves made an excellent choice in closing Grave 1 with this song. 8 Vacant Graves self-describes as unapologetically metal. They are not wrong in that description. Grave 1: Root Origin is an excellent introductory work for the band, and is sure to please listeners. While it is not easy to discern the lyrics, that is not necessarily a unique problem. It is something that is well known to screamed genres of metal, and doesn’t detract from a face-melting listening experience. Grave 1: Root Origin is now available, so make sure you pick it up from 8 Vacant Grave’s bandcamp page today!

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REVIEW BY SERAPHIM DIBBLE PHOTOGRAPHY BY PAUL JONES

ANNABEL LEE Divided We Stand Annabel Lee’s new EP, Divided We Stand, released recently via streaming services and online music purveyors. The brutal new tracks come in as the first new recordings in a few years after years of live shows in and around North Carolina. Divided We Stand launches like a missile with the opening track, “Brutality of the System”. This album isn’t here to make friends or play nice. It is here to shatter eardrums, and “Brutality” makes that obvious from the moment it begins. It combines crushing riffs and drums with SiD’s screams to produce a visceral aural experience. Toward the end of the song is a blistering yet melodic solo that fits in perfectly with the rest of the song, before sliding into a vicious breakdown. 26

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superb mastery of metalcore as a genre, with this song sounding at once unique and catchy. Filled with incredible guitar leads and drum fills, it’ll be sure to inspire slam dancing in any venue.

“Betrayal” gives no moment to rest, as it is determined to carry the sound to another level. It is clear that Annabel Lee possesses a

“Paradox” adds in some higher-pitch screams alongside the previous guttural ones, demonstrating SiD’s diverse capabilities. Interspersing drum fills with bass triplets and stop-and-go segments, it is another example of Annabel Lee’s capable songwriting. At points it resembles older All That Remains songs while retaining its identity. It closes on a breakdown before the ominous tones of “Salvation for Sale”. While it is hard to put a finger on exactly what it is, something makes “Salvation” feel like a much more ominous

“This album isn’t here to make friends or play nice. It is here to shatter eardrums...” song than other tracks on the album. It offers a critical look at the concept of megachurches and the massive amounts of money they take in, closing on a spoken word segment stating “He loves you and he needs money”, with the emphasis on money. The listener’s ears get a semi-break with the lone guitar that opens “Revolution”, but that changes before the song is even twenty seconds old. At that point, it joins the rest of the album in an energetic, fist-swinging orgy of sound. There’s no denying it at this point. Divided We Stand is possibly one of NC’s heaviest albums of 2018. There’s still five months to go, but it sets quite the standard. The namesake of the EP opens with a similar note, but also adds heavy drums to the mix. Throughout the song, Annabel Lee mixes softer segments with whispered vocals between the heaviest parts before trailing off into guitar distortion, closing out the album. Throughout the years, Annabel Lee has released two albums on the Spotify streaming service along with a number of other songs on Reverbnation. In between that, they’ve played dozens of shows in their hometown and further out. At eight years old, they’ve had plenty of time to practice and refine their sound, and it shows. Divided We Stand is a stunning album with six relentless tracks. It is absolutely not something that should be overlooked. Make sure you pick it up today!

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STORIES COLLECTED WITH LOVE PHOTOGRAPHY BY REI HAYCRAFT

The Art Of Original Music Eric “EricX” Equis: Very few music venues and clubs have survived the day and age of downloads and streaming. Most music today is presented via internet either in audio or video with a cold, produced, sterile presentation. Live music today is something most people think can come from a streaming video or download… but can it? Can you feel the thump of a bass line or kick drum on your chest from a streaming video? Are you listening to applause and the screaming from a crowd or just listening to it? Can you smell and even taste the reality of being in a small and intimate club where you are shoulder to shoulder with strangers; all sharing a moment of synchronicity and togetherness online? No, you can’t! There’s something about live music… not just the music itself – but the nuances and intricacies. That improvised part in a song, that lead singer reaching out to high-5 you and your friends, the guitarist or drummer going on an improvised solo… that being part of a group… even witnessing that f*ck up onstage or technical difficulty… it’s ALL part of the live music experience and nothing you can stream or download compares! On July 3rd 1979, a little club off the south side of Greensboro NC started up. Not the normal cover-band dump that wanted to hear popular music but one that focused on and promoted original live music. This was the Somewhere Else Tavern; started by Burley Hayes with a dream of making not only this club the pinnacle of original live music but the Greensboro and the Piedmont Triad area a zenith of the live music scene on the east coast. Well, the idea succeeded and some of the greatest talent in this area (and the amateur scene) took their first steps in the Somewhere 28

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Else Tavern (SWET for short) thanks to Burley’s venue and an attitude that “everyone gets a shot”. That’s right, everyone… whether you are straight out of the garage still smelling like your mother’s dryer sheets or a touring road-band passing through and smelling like you missed the laundromat in the last few towns, Burley gave EVERYONE a chance to get on-stage and “put their music to the people” for better or worse. The “Tavern” soon became a landmark both in the city and region and helped hundreds if not thousands of bands get their start or at least give them that short shot at glory. In 1996, the original Tavern had to shut down. This did not deter Burley… he found another suitable location and set up shop to continue the tradition. Since then, some of the greatest indie and local bands have

come to this dark, humid, sticky floor venue to take their act to the public for approval or scrutiny. Some have persisted over the years; some have fallen to the realities of life… STILL, the legacy of the Somewhere Else Tavern has endured… all because of one Burley Hayes’ dedication and sacrifice to the art of original live music. Ask anyone who in the Piedmont Triad area of North Carolina who has done the most to promote and provide for original live music and one name is resonated… Burley and the Somewhere Else Tavern! As a musician, audio technician and a simple fan that has worked or patronized the club, the SWET was my go-to place to experience something new, something fresh, unique and different. Though with my career and life obligations I don’t make it to Greensboro much anymore, when I do, I make a point to come to the SWET to take

a breath of fresh (well, musky and humid) air, drink some cheap swill and remember what it was like to be so passionate about music and expressing individuality. The SWET shaped my personality and thinking in so many ways… not only in my music but in my life. Very few places can claim as such. Being part of “The Tavern” has enriched my life in more ways measurable or I am willing to admit. Few understand this unless they are regular patrons or visitors there. It is truly a unique scene that in a rarity in this business; encourages individuality and originality over conformity and orthodoxy. Although this testimony is lengthy and long in words, there are not enough words to describe the gratefulness and appreciation that Burley Hayes has given us by providing this opportunity… no, this legacy for us to enjoy and enrich our lives from both sides of the stage for over 39-years now. FUEL THE SCENE MAGAZINE

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STORIES COLLECTED WITH LOVE PHOTOGRAPHY BY REI HAYCRAFT

For The Wayward And Downtrodden Stacey Katz: SWET. An acronym and a literal adjective for what that venue is. As an early 20s “child of the scene,” my first experience was thrashing with Kill Whitney Dead. I remember the possession the music as well as the sense of belonging being inside those walls. The graffiti of band stickers stamped on by glue and becoming shards of a memory for the musician that hung it there. I’ll never forget the gut wrenching nervousness I felt stepping in that stage as the lead vocalist with Jessica is Dangerous (Now Past Tense of Never) but humbling at the fact of my feet were in the same place as many before me and I now am a shared memory as well. Now, SWET is a home. For the wayward, the down tronded, the lost soul that can’t find their place. A place for those Misfits to find other misfits to build a lifetime of memories. My current band, Murder by Melons had the pleasure of playing there recently with friends we made—you guessed it—at SWET, The Cult Classics. They definitely have become like family. We welcome all among us to support us and share in our joy and our talent. Talent that works tirelessly to give a soundtrack to all of us and beyond that found our place in the spotlight at SWET.

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REVIEW WRITTEN BY SERAPHIM DIBBLE PHOTOGRAPHY COURTESY OF SPREADING THE DISEASE

SPREADING THE DISEASE

Insurrection

he United Kingdom has a long and storied history in metal. It is the country that

gave bands like Judas Priest, Iron Maiden, and Cradle of Filth. Genres of metal have born and died in the UK. Now, the UK gives us a new heavy metal band, Spreading the Disease. They hail from Kent, UK. The band was formed in 2014, and released their first EP, Viral, to much acclaim. Now, they present their first full-length album, Insurrection. Insurrection was actually released last year, but it is worth revisiting this energetic release. The opener, “Find My Path”, borrows heavily on the metal trope of opening an album with Snyder’s vocals are one of the immediately noticeable things. While every lyric is

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screamed at the audience, the words are, for the most part, also easy to understand. The song itself is heavy, intense, and in your face, while not having that high of a tempo. This is impressive in and of itself. The second track, though, changes that. “Words Unspoken” comes racing out of the gate with an intense riff and blasting drums. The alternating of fast and slow is fantastic, and one can imagine the band swinging their hair in a helicopter pattern quite easily. “Dischord” gives us just a few moments to breathe as an otherworldly computerized voice chants. They use these chants to break up other parts of this intense track. Up next is “Spreading the Disease”. Here, they combine semi-melodic songs with their screams, producing yelled verses that

sound almost like rap. It doesn’t deviate from the sound or tone of the rest of the album, yet offers a distinct and different sound. If anything, this track and “Greed” cement

that Spreading the Disease are extremely skilled musicians. “Greed” is a rambunctious manifesto about the everyperson standing up to those who are holding them back. Combined with the speedy follow-up “Save Me”, it’s no small wonder that Spreading the Disease are working up to their first US tour. “Whores of War” opens with guitars similar to the first track. It also adds in growl-whispered lyrics before cutting into the trademark screams and heavy riffs of the rest of the album. A critique of those who go to war at the expense of others, it offers a sprawling, diverse song with blistering fast parts alternated with slower, whispered verses. It is also the longest song at almost seven minutes long. “Method to My Madness” has a few seconds of similar intro, but catapults right to the pounding sound that Spreading the Disease is so very good at creating. That’s part of what makes “Can’t Let Go” so surprising. You’re suddenly presented with a song that

is mostly clean guitars and melodic vocals. This song fits in perfectly, though, with harder riffs and verses interspersed throughout. It is a fantastic track and fits in perfectly. Being a UK band, it is understandable that Spreading the Disease will have opinions on political matters, and “Brexit Wounds” is a potently relevant track for those living that reality. Social relevance like that is what gave many bands like Judas Priest, Iron Maiden, and The Sex Pistols staying power. With a modified version of the Lord’s Prayer, they express their anger about the government’s decision. “Last Goodbye” is a fast-paced outro to the album, offering a powerful send-off for a stellar album.

“It would not be surprising to see Spreading the Disease spreading their influence throughout the US and worldwide metal scene.”

It would not be surprising to see Spreading the Disease spreading their influence throughout the US and worldwide metal scene. They have a tight sound and excellent execution. The technical solos and excellent vocals give a lot to listen to and process, and the entire album sounds well put together. You’d be remiss not to pick this one up, so make sure you do that today!

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REVIEW WRITTEN BY SERAPHIM DIBBLE PHOTOGRAPHY PROVIDED BY ROTTEN REPUTATION

ROTTEN REPUTATION

Castration Station

“Castration Station is one part hardcore punk and one part social commentary.”

or a while, it seemed like the day of riot grrrl punk rock was gone with the rest of the 80’s punk movement. Punk never died, it lived on through multiple other genres. Some of its early trademarks had faded into memory, while others remained the same. Denver locals Rotten Reputation are a callback to early-era punk. Their new EP, Castration Station, was released recently, bringing four speedy tracks with it. There’s no chanted intro track. No sampling of news stations or rapped intros seen on a handful of modern punk albums. Castration Station launches straight into the slam dance with “Bridget Bishop”. Castration Station is one part hardcore punk and one part social commentary. “Bridget Bishop” features the catchy and easy-to-learn chorus of “She’s a witch, she’s a witch, she’s a witch” but explores various ways and reasons society

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disenfranchises and attacks women and their rights. Lola Lightning delivers an emotional, punchy performance of these lines that matches up well with the precision and speed of the rest of the band. “The Game” follows “Bridget Bishop” out the gate, not

once breaking a sweat while keeping up the same breakneck pace. While melodic singing certainly has its place in punk, it is also important to remember that many of the bands that invented the genre combined this with yelling, or used yelling entirely in the place of traditional singing. Rotten Reputation combines melodic backup vocals and yelled lyrics in this song with fantastic skill, creating a layered feel to the song that really enhances every listening.

Editor’s Note: Content warning for discussion of rape. If this bothers you, you should go to the next paragraph. “Chronicles of Tragedy” jumps right into the story that a lot of women and fem teens have experience with. It’s a rough song to listen to, but its message is important nonetheless. This song is the story of a twelve year old who has experienced abuse and manipulation from before they were even a teen. They could not tell their parents, their friends, or anybody else. In high school, they gave up their virginity to try to escape a label, and the abuse continued. At this point, there is a list of various situations in which the singer was raped, and some of these double as excuses people use to belittle or dismiss rape victims. The song ends with the lyrics “You kept my heart beating so I could be abused”, a damning accusation at the person this song is directed at, though that person could just as easily be society. Musically, the song stands out as having a slower bridge featuring what sounds like a piano, while fitting in perfectly with the distinctly crunchy sound of the EP. Castration Station closes with “Rock n Roll Queen”, an excellent example of how rowdy punk can get. With the roar of an engine and a killer riff, it goes right into describing the singer’s rock n roll queen. A killer femme fatale who drinks and smokes, she makes her way down Route 66. With plenty of auditory throwbacks to Joan Jetts and the Blackhearts, this is a catchy riff-heavy song with a fun and catchy chorus. Rotten Reputation has been in the Denver punk scene for quite a while, and they played with Anti-Flag and more in January. Far from being amateurs, they have a refined and practiced punk sound, if such a thing exists within the bounds of a genre that prides itself on breaking rules. Included in the physical copy is a few notes they’d like the fans to know, reminding their fans to support sex workers, practice consent, and that gender is a social construct. Fans of punk rock would be doing themselves a disservice to pass on this album, so be sure you pick it up today.

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JULY/AUGUST 2018