HEAVY Music Magazine Issue #1

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issue 01

contents

published Quarterly in 2012

• features •

10 sOuNDWAVe 2012

We interview nine of the best Soundwave acts leading up to this year’s festival, including Lamb of God, Slipknot, Meshuggah, The Dillinger Escape Plan, Cathedral, Lacuna Coil and Zakk Wylde’s Black Label Society.

28 segressiON

Newly reformed Segression are back in full force after a six-year hiatus.

32 Oz uNDergrOuND

HEAVY magazine brings into the spotlight five of Australia’s most prominent underground heavy bands.

priNteD & prODuceD iN AustrAliA

46 chicks thAt rOck Melissa Cross and Crystal Ignite talk to us about being a chick (that rocks!) in the heavy music world.

52 sebAstiAN bAch

Legendary Sebastian Bach – still kicking and still screaming after losing nearly everything in last year’s hurricane.

meshuggah

54 psycrOptic

One of Australia’s biggest metal exports, talk to us about how they do it.

i exist

58 metAl reWiND

Going back in time to 1971 and discovering Australia’s first ever metal band – Buffalo.

72 Ari gOlD

as i lay dying

The weird and wonderful world of air-drumming according to Ari Gold.

78 mAriAchi el brONx It’s what The Bronx do when they’re not being The Bronx.

psycroptic

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culprits

don’t just reAd this mAg

listen to it!

Got a smartphone? by that i mean an iphone or an android? if so, this magazine you’re holding is about to come alive with HEAVY music! but first you’ll need a Qr code reader, and we recommend you download the Free Digimarc Discover app from itunes, or wherever else you can get your hands on it. by simply holding your smartphone about 6-10cm above a Qr code (ie. that lego nightmare looking thing above) you can instantly access songs (and/or videos) on that same band you’ve just been reading about. pretty cool, eh!? it’s a whole new magazine reading experience. enjoy!

editor & publisher Olivia Reppas research manager Steve Murphy art director Craig Fryers publishing consultant Effie Dimitropoulos 186Red Pty Ltd copy editor Sheri Tantawy sub editors Alexis Beadman Christian Doherty Jay Clair editorial assistant Julianne Pimenta distribution Gordon & Gotch printing Whirlwind Print (Printed in Australia) specialist contributors Dito Godwin – Engineering Drew Dedman – Bass Peter Hodgson – Guitar Rob Brens – Drums guest columnist Ari Gold contributors this issue Adam Agius Amanda Mason Angela Allan Anthony Moore Damo Musclecar Jeff Schenck Kimberley Croxford Mark Lennard Matt Haycroft Matt Young Nicole Makin-Doherty Nicole Yakimov Pauline Lionnet photos Adelheide Photography Amped Photography John Hatfield John Raptis Loviisa Photography Lep Beljac ShadowZone Photography Cover photo supplied by Roadrunner Records Aust. advertising enquiries sales@heavymag.com.au +61 (0)402 856 632 heavy music magazine is Published by MLM Media Pty Ltd PO Box 1313 Lalor VIC 3075 ACN 151 654 330 The opinions expressed in this magazine are not necessarily those of Publisher MLM Media Pty Ltd or Editor. All statements made, although based on information believed to be reliable and accurate, cannot be guaranteed and no fault or liability can be accepted for any error or omission. All material published in this magazine are subject to copyright provisions and cannot be reproduced, in part or whole, without the written permission of the Publisher. All rights reserved.

Olivia Reppas phOtO by lep beljac makeup by lanie phelps

welcome to the first issue of heAVY

W

hat an amazing journey it has been getting this beast to you to read and enjoy. We have some top class stuff for you in this issue, including a Soundwave Festival special preview, our Oz Underground section featuring some of Australia’s best underground bands, as well as queen of scream Melissa Cross. If you’re a muso, you will be right into our Industry Insight and Strings & Skins sections.

There are many reasons I needed to embark upon this mission. The most prominent one however was the existing gap in support for heavy Australian underground music. For so many of us, heavy music is more than just entertainment; it’s a way of life, we live and breathe it. We are part of a heavy music ‘brother/ sisterhood’ that’s neck deep in self-belief and camaraderie. So let’s recognise, support and celebrate this music, the musicians and the many different people that keep it going, including of course the ever-so-important punters that attend live gigs across our country week in, week out.

A big thanks to our advertisers and sponsors, both local and international bands and those who represent them.

I’d also like to thank Aida Sales & Marketing, Big Day Out, blueFreya, Century Media, East Brunswick Tattoos, Ferris Davies PRM, Griff Design, KWPR, Mark Oriel, Peta Pledger, Rare Records, Riot Entertainment, Roadrunner Records Australia, Soundworks Touring and especially Soundwave Festival for all the support you’ve all given me.

A huge thanks also to Effie Dimitropoulos of 186Red who consulted, advised and assisted us with all the ‘business’ of publishing this magazine, including Ad rates, specs, design review, printing, distribution, contracts and general business modelling – plus so much more. In particular, the HEAVY team who have done everything in their power to get this magazine off the ground. To you I am FOREVER grateful.

Phew! So, until next time, happy reading!

– Olivia Reppas

because we’re a generous lot here at is this you? heavy we love to give away prizes to our loyal-readers-to-be. so if this is you, or if you know this guy, please do him a favour and tell him to get in touch with us to collect his prize!

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shreds

views, news & reviews

Expressions of Interest Maybe you just like your hair that way, but often the way we present ourselves can have political or social repercussions. Should freedom of expression and permission to harbour own beliefs be considered a human right? And how far should we go? words Kimberley Croxford

T

he recent tragedy in Banda Aceh Indonesia that saw over 60 young punk rockers detained for re-education has shocked around the globe (globalpost.com/dispatches/ globalpost-blogs/weird-wide-web/ indonesia-aceh-police-shave-punksrestore-morals). The punks, guilty of no offence beyond their dress code, were apprehended at a charity gig by authorities, in an effort to force young people to adhere to traditional customs that they claim punk challenges. The incident outraged the punk community throughout the world, stunned all those less ignorant to the lifestyle choice, and has left many of us grateful to live in a country where freedom of speech is fundamental to our constitution. But are our own communities as accommodating as we think? Could this kind of discrimination be happening at our back door? And what are the ramifications of an uninhibited right to express ourselves?

Co-owner of Sydney heavy metal and alternative merchandise boutique Le Cabinet de Curiosities, Suzanne (who would prefer her last name remain confidential) was devastated when her shop was defaced on Thursday December 8, 2011.

“We just came into the shop and someone had textered (sic) graffiti all over the windows – like religious stuff, not just tagging but proper, focused attacks.”

Suzanne believes this kind of intolerance is unnecesunneces sary.

“In our Facebook statement about the graffiti... because we don’t want to be perceived as anti or against any particular religion or group of people, we made sure to thank the people who follow their religion, whatwhat ever that may be, in a law abiding and rational manner.”

“I understand people have political agendas and messages...

[But] they’ve chosen a very poor platform for conveying [their messages] by defacing private property, attacking our business and attacking peoples’ freedom.”

General Secretary of Catholic Bishops Conference Australia was alarmed by the news.

“The church never condones people breaking the law or causing vandalism. Other peaceful ways of protest are always more effective.”

Father Jo, of a reputable Melbourne Church, hopes the vandals’ behaviour will not reflect on wider religious communities.

“Such extremists and their behaviour would not meet with the approval of the mainstream faith groups to which they belong,” Father Jo says, “We live in a democratic country where different points of view over many aspects of society are lived, celebrated and promoted ranging from political, economic, philosophical and religious. Some of these may well be opposed to each other. Dissent and demonstrations are part of the Australian

democratic way of life. [But] defacement of a store sounds like vandalism, and may well be criminal.”

A day later, online metal music promoter, painter and mother Ellie was ejected from Westpoint shopping centre after complaints were lodged concerning her Unholy Vendetta band t-shirt (pictured above). Sporting the contentious slogan “Ave Satana” on the merchandise, Ellie was shocked when she was asked to leave a public space in 21st century Sydney.

“A security guard walked up to me and said ‘we’ve had a complaint about your t-shirt and what’s written on the back... it’s a large group of Christians with some kids and we’ve got to ask you to leave,’” she elaborates.

“Instead of just [going] to another shop and saying, ‘well we don’t want to be around that type of person, let’s just go to another shop,’ which would be the logical thing [to do] in a large shopping centre, they

“We just came into the shop and someone had textered (sic) graffiti all over the WindoWs – like religious stuff, not just tagging but proper, focused attacks.”

Want to Win this t-shirt?

thanks hanks to Missmanagement we have two to give away. We’ve created a discussion board on our website to allow you to express your intelligent views about this topic. the he two entries that we deem to be of the greatest merit will each win a t-shirt. Go to www. heavymag.com.au and share your views.

decided to chuck up a stink... I just left quietly; I didn’t want to make a scene.”

Ellie asserts that the incident impeded on her rights.

“I’m a very creative person... Self expression is part of that creativity, whether it is my makeup, what I’m wearing... or what is blaring out the stereo. I don’t need to repress that. I don’t need to be modest if I don’t want to be. I can do what I like, within the bounds of my own morals.”

Father Jo says while self expression is undeniably important, there are certain considerations to acknowledge in a harmonious society.

“Jesus chose some interesting men to be his apostles... Diversity is therefore not a recent 21st century invention! [However] we do not have absolute liberty to say and do absolutely anything. The principle is surely the common good, not my good first and everyone else second.”

Ellie calls for people to open their minds before judging people for the clothing they choose to don.

“A lot of people... think straight

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away that if you’re an alternate person you must be an alcoholic, a drug addict, a Satanist – whatever – and it’s quite often not the case,” she emphasises.

But confrontations like her experience in Westpoint with certain individuals of a religious sect, has created in Ellie a strong prejudice of her own.

“I don’t believe that all [religious people] are like that, I’d had a friend since I was five; she’s a born again Christian and I wouldn’t part my friendship with her for the world.

Her whole family are the types of people who go to church every Sunday. But they respect the fact that people have choices.”

Regrettably, the actions of a select few individuals campaigning under the veil of a larger group can launch prejudice beliefs towards the collective. It was reported (thejakartaglobe.com/home/anarcho-punksvandalize-indonesian-embassyin-moscow/485667) that Russian Anarcho-punks retaliated against the arrest of punks in Aceh by vandalizing the Indonesian embassy in Moscow. While support for the young punks across the globe is an irrefutably positive movement, the Moscow protestors’ approach could be seen as hypocritical – scrawling “religion is fascism,” on the embassy wall despite fighting against discrimination.

Suzanne (Le Cabinet de Curiosities) agrees that this approach is futile and inhibits progress.

“There’s no point in painting everyone [religious] with the same brush. It’s like painting all metalheads, or all punks with the same brush. There’s no point in branding all religion as fascism. The point is, any blocking of speech or ability to criticise government or religion – that is fascism. And, by wanting to stop or ban religion – that is fascism.”

Suzanne believes freedom of speech is integral to a balanced society.

“We need to be able to speak out constructively, talk about, or criticise government or religion, whether that’s through music, art, speech, writing – as long as it’s within the laws of this country... Because when that breaks down, when someone tries to stamp out a particular group of people, no matter how crazy their message might seem, then that is basically fascism – and history has shown how badly things go when

that happens in a society.”

“People need to be able to hail Satan if they want... they need to be able to be an Atheist... practise Paganism, or be a Christian of whatever denomination they choose,” Suzanne affirms, “I’m glad I live here and I can listen to heavy metal that does criticise religion – and then there’s some heavy metal that is about religion – isn’t that cool?

We can have this music and art that discusses so many different things, from politics, to the ridiculous, to religion.”

As far as minimising prejudice and discrimination within such a diverse society is concerned, Suzanne believes awareness is the first step.

“I don’t think it’ll ever stop... [But] if people can read about things that are happening in society around them in regards to discrimination of all kinds, they can think about it and make their own choices.

Obviously the more educated we are the better choices we make.”

“If politics are too right or too left, we need people with all different ideas and ideologies to put forth and bring into society to keep it even, and at the same time we need tolerance.

“Racial intolerance... that’s talked about a lot, but this kind of intolerance towards people’s freedom of speech... that’s a new issue that people need to think about perhaps.”

Suzanne says acknowledging that these issues exist can help people understand and be aware of the social statements they might be making.

“It is politics... people who might think that politics has nothing to do with them, maybe a young metalhead or young punk... this is a good way to show people that politics affects everyone.”

San Diego’s metalcore giants As I Lay Dying say their status as a Christian band is of no consequence when mixing with other bands in the metal scene with alternate beliefs...

“No one ever cares about anything like that, the whole Christian tag. You know, we’re all normal level-headed guys, and most of the bands we tour with are the same way, so at the end of the day it’s just like ‘hey, do you want to just go grab a beer?’ There’s nothing weird at all about it. It’s just a bunch of guys living on the road together.” H

metal for cancer Metalheads unite to support Australian Cancer Foundation

One day at Blasphemy I was listening to the next dance by Ofsofski, when a friend walked in and immediately recognised the tracks. he was a personal friend of Richard Ofsofski and explained to me that Richard was the founder of the metal For Cancer project, which was bringing many local and international metal musicians together to raise money for cancer research. he also mentioned that the idea behind the metal for Cancer project was forged from Richard’s personal tragedy.

Richard Ofsofski is a talented and highly respected guitarist, vocalist and all round musician based in Brisbane. his work with heavy metal band, sedition, is just one of his many musical pursuits. even though music is a vital part of his life, his musical career was almost lost forever due to the long illness and eventual passing of his wife, Cheryl moana marie Olsen, to liver cancer in 2009. although devastated by this terrible loss to his family, he eventually put his grief into composing music that dealt with his loss. these tracks form part of the album, which feature Christian nativo (Vanishing point) on drums and on keyboards, andre anderson (Royal hunt). the collaboration of others during this time of mourning contributed to his healing process. the idea of metal For Cancer was born when Richard realised that with so many people downloading music that was a way to raise money for cancer research. With the support of many in the australian and international metal communities, the metal For Cancer project was launched. metal For Cancer’s partnership with the australian Cancer Research Foundation (aCRF) ensures that 100% of funds raised go to research, producing real results for cancer patients and their families. artists from australia that responded to this call include: stu marshall (empires of eden, dungeon), In malice’s Wake, sedition and daz of Oz. all artists are welcome to donate tracks to this ever expanding playlist, and international acts such as halcyon Way, lucy seven, eclipse of the hunter and Vinty are already onboard. each track is cheap to download, and punters can also donate more on top of the cost of the track. With ever increasing

downloads and social media as a way for artists to get their work recognised, the idea of fundraising in this way seems so simple. however, politics with record labels, and legal ramifications with copyright and such made the initial vision difficult to execute. It was then that the second weapon in the arsenal was unleashed – mFC dragon slayer. mFC dragon slayer is the all-star cast participating in recording of a new song “lets Unite In Rock”. It has been specially written for metal For Cancer by henrik Flyman (evil masquerade) and mixed by renowned producer Jacob hansen. “lets Unite In Rock” will consist of an all-star cast with some of the world’s finest metal and hard rock musicians coming on board to support the battle against cancer, including: Mats Leven (therion, yngwie malmsteen) apollo Papathanasio (evil masquerade, Firewind, spiritual Beggars) snowy shaw (therion, mercyful Fate dream evil) richard ofsoski (Ofsoski, sedition) henrik Flyman (evil masquerade) thor Jeppesen (evil masquerade) Glen Drover (megadeth, testament, eidolon) stu Marshall (empires Of eden) henrik Flyman (evil masquerade) Peter Wildoer (Jame labrie, darkane, arch enemy) the entire metal For Cancer project is a great initiative; not only as a way for musicians to get behind a really worthy cause that touches everybody’s lives, but also presents a way for australian heavy musicians to share with each other across boarders. and who knows what further collaborations may arise in the future. to support this amazing initiative or find out more go to www.metalforcancer.com.

– Pauline Lionnet

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views, news & reviews

Commercial Radio Quotas versus Aussie Music Maybe EIGHTIES AUSSIE ROCKERS The Sports had it right when they asked, “Who Listens To The Radio?” But when the Melbourne band released that song in 1978, it was a different music landscape. The radio was the place to hear new Australian music, and it seemed that at that time, record labels reined supreme and the radio sector needed codes and quotas in place to protect the fledging broadcasting industry.

Fast forward through the years with the advent of Napster, file sharing, social networking, iTunes and digital radio, and there is a new and somewhat alien sonic palette for music fans.

It seemed that this ever-changing digital media environment prompted Commercial Radio Australia (CRA) to put forward a code in 2010 that was registered by the Australian Communications and Media Authority (ACMA) exempting digital commercial radio stations from local music quotas for three years.

“Commercial radio are saying they have to compete with online streaming radio in the new environment,” says Nick O’Byrne, General Manager of Australian Independent Record Labels Association (AIR). “We know it’s not true, because if you look at how many people listen to online streaming it’s virtually no-one yet. The commercial radio stations in each city are saying about 30% of the population listen to those stations. We believe that argument is rubbish.”

The quotas for commercial radio currently sit at 25% Australian artists, but the exemption for digital radio was to allow broadcasters to toy with the format.

“Their argument was they were still experimenting and that digital radio needs to get listeners and that the quota was impinging on their ability to do so,” says O’Byrne. “As the government was looking at the convergence of digital media on traditional media, commercial radio didn’t want any quotas on anything and our argument is the exemption on digital radio

is a precursor to further exemptions.”

Under the Commercial Radio Codes and Guidelines Broadcasting Services Act 1992, radio stations must play a role in developing and reflecting Australian society and culture, including playing Australian content.

The Free Trade Agreement with the US means that quotas cannot be reduced, but there is a concern that it could be removed all together.

“It has set a worrying precedent, as commercial radio is now using the exemption to argue that all radio quotas should be removed, whereas the opposite should be taking place,” says Patrick Donovan, CEO of Music Victoria.

“Commercial radio is so risk-averse and its surveying is flawed because of the vicious circle it has created. There are so many quality bands in Australia that just can’t get a break on commercial radio.”

ARIA, AIR and other state-based organisations similar to Music Victoria, predict the debate on quotas will heat up in 2012 and gain momentum at a grassroots level, similar to the SLAM rally. Donovan says the quotas need to be modified to include 25% of the quota relating solely to new music, played during peak times of 6am to 6pm.

Regardless of what the decision is with quotas, O’Byrne believes there need to be systems in place to see the benefits passed on to those in the music industry. One such system exists in Canada where they increased their quota to 35% local content, then invested in the music industry to produce quality content.

“The presence of Australian music to mainstream audiences means there are more listeners and more money flowing into the industry which can be invested in more exciting music, more creative music and people who are taking risks. If you take away that commercial level, then people can’t afford to take risks with their music any more.”

– Angela Allan

we empty rooms Melbourne based record label, We Empty Rooms, started back in 2005 out of a necessity to release the founder’s own music. Over the years it’s continued underground and it’s built a passionate and loyal fan base. Run by fellow band members Jem and Jace from DEAD and Fangs Of, they continue to release their own band’s music as well as others they are very passionate about and are, as Jem explains “generally releases that otherwise wouldn’t have happened”.

Though they cover heavier styles across genres like hardcore, sludge, experimental, punk, noise, grindcore and doom, it’s more about intensity rather than genre. We Empty Rooms is a “labour of love” and it comes across in not only the bands they choose to release, but also in the packaging. This is where the term DIY is thrown around to describe the thinking behind the label, “It found me rather than me finding it.” A lot of work goes into each release. The packaging usually consists of hand screened artwork created in their backyard and in numbered limited editions.

Jem continues, “The reason why I started screen-printing was because in my first band it was the cheapest way”. This need organically grew into the label’s ethos and along with the music is one of the reasons collectors continue to follow them closely.

WER’s latest release, Dead’s THUNDAAAAAH! is made from 100% found, reusable or recycled stock. “For me the package has always been important.” The album features a total of eight strikes of the silk-screen per copy which includes the sleeve, inserts and ‘book’, which translates into a hell of a lot of work. That’s 1600 squeegees across the silk screen for a release of 200!

The label’s merchandise is equally unique and they have approached the issue

whilst keeping their own ethics intact. “It’s multilayered if you use op shop shirts; then you don’t have to support a sweat shop, you don’t have to create new materials that weren’t required anyway and it just means that each one’s a bit individual.” Also a great idea, the guys are happy to revamp one of your old favourites. “If people can give us shirts instead well we’re happy to print them for a nominal fee and then that way they get the shirt that they want.”

WER made the wise decision to work really hard to secure releases from legendary Australian punk bands the Hard-Ons and Nunchukka Superfly which includes live performances released on vinyl, completely unique to the label. When Jem saw Nunchukka live for the first time he was impressed and that’s where the label’s name originated. Singer/guitarist Blackie replied with a throw away comment after hearing that their set was so powerful, ‘Yeah I know, we empty rooms’.

Jem likes releasing his own music and keeping the label independent. “Basically for me it means that no one tells me what I can and can’t do. That you’ve got that freedom to do everything how and when you want” What’s coming up next? We Empty Rooms are looking to put out “the kind of release that other labels would generally refuse” from the Hard-Ons as well as something from US noise-punk outfit VAZ. “They really fall into that category of f**k they’re incredible, I need to get this band heard in Australia…”

– Anthony Moore c h e ck e m o u t

www.weemptyrooms.com

ROCK THE BAY 2012 St Kilda is set to explode when the fourth annual ROCK THE BAY Festival hits The Espy on Saturday February 18.

By far the biggest lineup yet, Rock The Bay 2012 features Triple J heavyweights Dead Letter Circus and Floating Me and many more of Australia’s finest live rock acts including Twelve Foot Ninja, Bellusira, Tim McMillan Band, Ten Thousand, Bugdust, New Skinn, Poetikool Justice (SA), Freestate, Ennis Tola, Moroccan Kings, I Am Duckeye, I Said The Sparrow (WA) and many more!

Tickets strictly limited to the Front Bar’s

capacity. $45+BF on sale now via Saltar Hype, oztix.com.au, The Espy, Polyester (City & Fitzroy), Greville Records, Fist 2 Face, The Nash (Geelong) and Karova Lounge (Ballarat). Check out www. rockthebayfestival.com for full lineup and ticketing info.

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soundwave 2012 preview

Lamb of God

Mark Morton is responsible for writing some of Lamb of God’s stand out anthems, Redneck, Walk with Me in Hell and Now You’ve Got Something to Die For. His writing style is unique, utilising a lot of harmonic minor scales, pentatonic scales infused in a groove-laden blues style that is both easily recognisable and distinct. words Peter Hodgson

O

ne might say that Lamb of God’s success relies heavily on Morton’s songwriting mastery. We became so excited when we received a copy of the new release Resolution that we thought we’d send in one of our HEAVY hotshots to geek out over metal, gear and more metal.

Lamb of God’s 2009 album Wrath was a huge highlight for the Virginian quintet. It debuted at No.2 on the Billboard charts in the USA, where it went on to sell over 200,000 copies; it took them around the world with bands like Children Of Bodom, God Forbid, Mastodon and a little band called Metallica; hell, it even snared them no less than two Grammy nominations, for Set To Fail and In Your Words.

Praised by critics and fans alike, it was never going to be an easy one to top. But LoG have an ace up their sleeve: Resolution builds on Wrath’s blend of aggression and progression but it ups the ante with an even more intense rhythm section pummeling, courtesy of Chris Adler and John Campbell, an engaging performance by vocalist Randy Blythe; and a killer one-two guitar punch via Mssrs Mark Morton and Willie Adler.

Resolution has plenty of Wrath-style driving metal anthems, heavy on the groove that

Morton helps bring to the band thanks to his background in blues and classic rock, but there are also moments of out-there left-fieldism – the instrumental Barbarosa, the eclectic Terminally Unique, the punkish Cheated, the grandiose epic of closing track King Me. Although the album itself doesn’t tell a story in a concept album sense, its structure almost feels like a narrative, and it’s one of those rare-these-days albums where it feels like you don’t know the whole story until you’ve heard the last note of the last track fade away. We really paid a lot of attention to pacing, Mark Morton says. “We typically do, but more than ever this record is deliberately not everyone’s favourite song first and everyone’s least favourite song last, in successive order, you know what I mean? It needs to ebb and flow, it needs to push and pull, it needs peaks and valleys. That’s something that we try and maintain an awareness of when we’re sequencing the record. I just think this album in general takes a lot of turns.

To listen to it from start to finish, it really weaves around a lot of different musical themes and styles.”

The primary goal for Lamb of God this time around was pretty much the same one that they’ve set for all of their previous albums: to document the state of the band at that point in time, within a wider goal of always trying to show a different

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From left to right: Willie Adler, Mark Morton, Randy Blythe, John Campbell and Chris Adler… under a bridge, downtown.

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soundwave 2012 preview

Randy Blythe, flying the black flag for Sea Shephard

photo by shadowzone photography

character and a new perspective on the band with each new release. “I think the goal in general was as always to document where we are as a band, which is kind of an ever-changing thing, and hopefully to document that picture as best we could, and make it exciting, with a new and exciting group of stories to tell. In the process we touched on some new musical ideas.” Songwriting began several years before the recording sessions began, with a batch of song ideas gathered while on the road. Producer Josh Wilbur was brought into the fold much earlier for Resolution than he was for Wrath. “That was one of the primary differences, at least in the process of getting it together,” Morton says “I’d say Josh was there from the beginning, but the term ‘beginning’ is subjective. There are songs on there that I’d been working on on my own for several years before I brought them into a band situation.

But Josh was there from the time that the four instrumental players got together and started crafting the songs. In the past Wilbur would pop in from time to time during songwriting and preproduction rehearsals to, in Morton’s words, “kind of get an earful of what was going on,” with the band largely working on their own. This time he was stationed in the trenches throughout the entire process.

Wilbur’s influence can particularly be heard on album closer King Me, one of the most eclectic headf**ks Lamb of God has ever committed to record. “The genesis of the song was a piece that Willie Alder brought in – a very dynamic, up-down, spooky song with a relatively simple structure. The band worked up a version they liked based on the original intention, but during the mixing stage Wilbur started bouncing ideas off everyone – a choir section; an opera section; string arrangements. “We were all open to it and he just went nuts with it,” Morton laughs, “It took a little while for everyone to sign off because there were a few people who were a little apprehensive about it

within the band, but after a few listens and some time to sit with it everyone was really excited by it in the end.”

Over the last few years Morton has begun to embrace modern recording technology for fleshing out his song sketches. “People have been doing it for a long time, but I’d say that in the past three or four years or so I’ve started figuring out simple recording programs that allowed me to document ideas,” he says. “Before, you might use a little dictaphone or something to just get a quick picture of the

“King Me”… one of the most eclectic headf**ks Lamb of God has ever committed to record…

randy’s halloween cameo Creepshow is an annual rock event held each October (at Halloween) at Melbourne’s iconic Esplanade Hotel, aka The Espy. My first Creepshow experience made quite an impression on me, initially because nearly everybody participated in the Halloween dress-up code.

The venue was full of zombies, vampires, skeletons, werewolves, the chick out of The Exorcist, scary clowns, cartoon characters and walking tacos (not sure how the latter fitted in, but there you go, anything goes…)

As usual there were in excess of 30 bands including Contrive, Hatchet Dawn, Five Star Prison Cell, Circles, Witchgrinder, Bronson and headliners, Sydonia. No-one really noticed the tall dude walking around with the skeleton mask on until he crawled onto the main stage nearing the latter part of Sydonia’s set, jumped up, tore off his mask and grabbed a mic as Sydonia launched into a rendition of The Sex Pistols’ Pretty Vacant, and then Sydonia’s crowd favourite Incoming. It was of course, Randy Blythe. I’m not sure how many there actually knew who that wild lookin’ guest vocalist up with Sydonia was, but the crowd went nuts nonetheless. Good on ya Randy, I thought.

Says a lot about the guy.

– Craig Fryers

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lAtest ReleAse

resolution By

lamb of God

RoadRunneR

review Mark Lennard

Mark Morton and his signature Jackson guitar, the Mark Morton Dominion, in action at Rod laver Arena (Melbourne, 2010)

photo by adelheide photography

riff so you didn’t forget it – or just hope you remembered it. Now, just because I knew the possibilities, I figured out very, very simple things I could do to document little song ideas and be able to add to them as I went. Then I could maybe be a little more productive on a day off in a hotel room. There are so many things out there that are available and sometimes you wonder if we weren’t all better off when we just had a little four-track cassette recorder, but in this instance it really helped me to organise my ideas so that when it came time to get together as a band to work on the next record I could be a little more focused.”

Some of those ideas came to Morton while noodling around on an acoustic guitar, something he plays quite a bit when not kicking ass with Lamb of God. In fact, a lot of his non-LoG playing is not particularly heavy at all.

“Most of what I play for recreation and fun – because I am a guitar player and I still enjoy the instrument – is not particularly related to heavy metal at all. I keep a couple of acoustics lying around just to pick up and pick on every now and again.” This is reflected in his signature Jackson guitar, the Mark Morton Dominion, an instrument which has more in common with curvaceous classic rock axes than the pointy, tricked out metal axes of his metal peers.

“This will probably surprise anyone that’s a fan of the band I guess, but I really don’t consider myself a metal guitar player. I’m just in a metal band. But anyone that hangs out with me or that I jam with at home or in a fun situation, if you just hand me a guitar I’m not gonna start playing metal riffs. It’s not really the kind of player I consider myself. I can do that, and I’m not disrespecting the music at all. It’s been a huge part of my life, obviously because somewhere along the line I learned how to do that, right?

But if you asked me what kind of player I thought I was, I wouldn’t respond directly that I was a heavy metal guitar player. And I think this guitar reflects that.”

Morton’s Jackson model has been out for a few years now, and there’s a less expensive model called the D2 for players on a budget, but it’s likely that the stock production model’s spec will soon be tweaked: he’s working with DiMarzio on a pair of custom pickups voiced to his exact specs. “It’s been really slow going,” Morton admits. “We’ve had them together for quite a while, but the business side of things has slowed down a bit. But they’re definitely still coming, and at some point next year they should be available. I worked with DiMarzio’s Steve Blucher on those.

He’s a mad scientist!” Morton describes the pickups as medium-output passive humbuckers with a real creamy, smooth quality to them that’s not brittle or barky at all.

“It’s a real tight, silky gain structure that’s really nice, and works well in different situations,” he says. “Again going for something that’s versatile, that will crunch up really nice for a Lamb of God gig but which I can also plug in and play Cream covers with my buddies with. I don’t understand why everybody uses active pickups. I don’t.

It’s like the guitar playing itself when you use actives. To my ears it should be all about subtleties and nuance and dynamics, and actives just murder all of those!”

As the talk descends deeper into guitar geek territory, Morton says he mainly used his mainstay Mesa Boogie Mark IV amplifiers on the record. But late in the tracking process the band was sent a Mesa Boogie Royal Atlantic, a relatively (for Mesa Boogie) stripped back 100-watt EL34-loaded head. It made quite an impact on the guitarist. “I quite literally fell in love with it, so I’m kind of in the process of retooling my live rig because I think I’m going to start putting those Royals up,” he says. “I really like them. They’re very simple amps but as soon as you plug in they sound perfect. They have a modern quality

to them that was the one thing I felt lacking in the Mark IVs for what we’re doing, at least in the metal picture: not quite enough low-end presence. My problem with amps like Mesa Rectifiers and other amps of that type – high gain modern amps – is that the low end is so saggy to my ears, a little loose. And to me the Royal Atlantic has that big low end presence so it can handle the downtuned stuff and give you a really powerful sound for triplets and galloping and that kind of thing, but it’s not saggy at all. It doesn’t lose structure on the bottom end. It’s just nice and tight. This is the first amp that has a significant amount of low end from the starting point but it’s pleasing to the ear and you don’t have to fight it to execute on the guitar. Instead of working against you it’s working with you.”

Morton uses a couple of pedals to bring out an extra dimension to his sound, but he keeps it pretty simple and flexible. “I use an overdrive for a line boost for leads, but what overdrive that is changes. It used to almost always be an MXR GT-OD but lately I’ve been messing around with the Way Huge Green Rhino Overdrive. I use an MXR Phase 90 sometimes, turned way down, and that adds another little layer to sit on top of everything.” Morton is quick to shoot down persistent online rumours that Jim Dunlop is working with him on a signature wah wah pedal (“I don’t know where that came from! Don’t believe it!”), instead preferring to use “just what’s lying around.

At first it was a Dunlop Zakk Wylde wah, then just the regular original Crybaby. In my rig it’s the custom rackmount Dunlop wah. At home I mainly use the Dunlop Jerry Cantrell wah, and I’ve been really getting used to that. I like the sweep on that. The differences in wah, you can hear when you’re playing each pedal, but in terms of application it’s still wah. It’s all just how wide you want your sweep and how touchy you want it. That’s why the rack wah is really nice, because if I feel like fiddling with it I just have to turn some knobs.” H

LAMB OF GOD HAVE been on a dream ride since 2006’s Sacrament. Touring the world (most notably invited to tour extensively with Metallica), debuting in the top 10 of the US Billboard charts twice with Sacrament (no 8) and 2009’s Wrath (no 2), and systematically destroying wherever they tread the boards. January 2012 unleashes possibly LoG’s most important of all seven releases to date.

Resolution violently kicks in with nail bomb intensity with the intro-like Straight For The Sun; a sludgy, feedback drenched, demonic scream fest of crushing proportions that leads into Desolation, an instant LoG classic with trademark riffing and beats from the ever tight Adler brother/Morton wrecking crew.

Acoustic interlude Barbarosa affords a moment to breathe before Invictus mauls us with vicious intent. Inventive vocals from venom-spitter Randy during Insurrection boasts a chorus underscored by a dark melody, creating an overall huge sound.

The album’s epic closer King Me demonstrates LoG spreading their experimental wings with no less than a female choral voice, spoken lyrics and orchestration used to both open and embellish the track throughout. The epic nature of this album closing beast is truly a master stroke, not only to book end a granite-solid album but expand on what LoG can, and seemingly will go on to achieve.

Resolution is refreshingly littered with nods to earlier LoG albums and as always, is a lesson in well-executed musicianship and songwriting. It is a clenched fist pummeling from the outset, as memorable and admirable as anything they’ve unleashed before, and without a doubt worthy of your raised horns. t h e s tan d o u t

‘Ghost Walking’ @itunes

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soundwave 2012 preview

black label society

Zakk Wylde has never been far away from the spotlight since he became Ozzy Osbourne’s guitar player back in 1987.

words Christian Doherty

Z

akk was just 20 years old at the time and went from playing in local clubs in New Jersey to playing stadiums as Ozzy’s right hand man. Now he fronts his own band, Black Label Society full time, and as one of the biggest and best guitar players in the business, Zakk is in constant demand. Somewhere amongst the beers, the babe (happily married for years) and the bustling whirlwind of his life, Zakk picked up the call from the HEAVY office engaging us in an intimate chat on his new acoustic album, UFC, ‘Pentatonic Hardcore’ and the Zakk Wylde Black Label guitar bible.

Having released Order of the Black in 2010, Black Label Society has been on the road promoting it ever since. ‘Ah yeah, we’ve been out like 16 months now I think. We just wrapped up touring with the mighty Judas Priest, and then we just got done doing some dates with Guns N’ Roses which was awesome. It was great fun man, it’s been killer. When we got back, we recorded a Deep Purple song for a tribute record the other day, and then I was out scouting some locations for the Unblackened DVD that we’re going to put out so we’re looking forward to that as well. You know Black Label is 25/8, 366 days a year, so you know, we’re really looking forward to rolling out and hanging with you guys and the rest of our Australian Black Label family at the end of March.”

With a new acoustic DVD and album in the works, sometimes a band might be forgiven for busting out a few of the softer songs for the crowd, but not with Black Label Society.

“Um, well it depends. If it’s a festival and we’ve

only got like a 45 minute or an hour set usually we just blitz through and don’t do any of the piano stuff. We just don’t have the time. But at our headlining shows we’ll bust out the slower stuff.”

Zakk is certainly not shy in telling it like it is, and he didn’t disappoint when I spoke to him about his sobriety. “Well let me put it this way, I don’t discourage anyone from drinking or anything like that. You know just because I’m not drinking, it means there’s more for the rest of the berzerkers. And people say to me, ‘Hey Zakk, do you wanna talk to kids about the perils of drinking?’ and I say ‘No, because the bottom line is I had a great time’. This is the only thing I can tell you, if it gets in the way and starts to become a pain in the ass and get’s in the way of you ruling the world then you just gotta chill out for a little while. I’m not gonna sit here preaching anything to anybody. The doctor said I had to stop, and I was done. You just gotta take responsibility for what you gotta do.”

Zakk is known for his insane work ethic, and intense practice regime... something that a lot of people assume that by now, he wouldn’t need to do. “Yeah man, I still play all the time. I mean if there’s something I really wanna learn then I’ll sit down and try and learn it. Other than that I’ll be practicing scales and writing.

Plus I play a lot of piano too so I’ll be doing the same on that.”

Being a big fight and pro wrestling fan, I figured Zakk would also be into the biggest thing in sport right now, MMA. UFC is the flagship promotion for MMA and I wasn’t surprised to hear that he was into it. “Oh yeah of course man. Some of my buddies actually train with the fighters. Mixed Martial Arts is amazing and all of those guys are amazing. Anyone who can step into the Octagon or whatever has guts man.”

Seeing as Zakk doesn’t have any tattoos, but had some airbrushed onto his arms when he starred in the 2001 film Rockstar, I was curious as to whether he had been inspired to get the real thing after filming finished. “All the

buddies I roll with have tattoos and stuff. But you know with tatts and stuff like that, even skydiving, you gotta be into it, you know what I mean.”

Dimebag Darrell was one of Zakk’s closest buddies in the world of heavy music and when Dime was gunned down at a gig in 2004 by a crazed ‘fan’, it really hit Zakk hard.

The entire heavy music community was shocked, saddened and in disbelief at what had happened, especially Zakk. “The whole thing was just so senseless, you know. It was just beyond tragic. But you know, I would always say to kids anytime they pick up a guitar and they love Dime, is that Dime is alive every time they pick up a guitar.”

Playing guitar with Ozzy Osbourne for 22 years of his life, you can imagine that no matter what happens or how busy life gets, that they would still take the time to catch up every now and then. “Yeah Ozzy is great man. He’s off doing the Black Sabbath thing right now and you know, more Black Sabbath is a good thing for everybody. But without a doubt, things are great.”

As a guitar player myself I have often wondered when the Wylde-man himself would release an official instructional DVD... I know that fans of his and guitarists everywhere would love to get their hands on the teachings and techniques to use in their own playing. “You know I did do that one in Japan, Pentatonic Hardcore. I did another one with my buddy Dave, but I haven’t done an official one. I am working on the Zakk Wylde Black Label Guitar Bible which I’ve been compiling for a while now, so probably sometime next year or the year after that it should be out.”

With Soundwave 2012 looming just over the horizon and the wrecking machine that is Black Label Society ready to tear up Australia once again, what does Zakk have to say to the adoring Australian fanbase? ‘The rest of our Australian Black Label family, stay strong, keep bleeding black, godbless. We’ll be seeing you guys at the end of March.” H

“i would always say to Kids anytiMe they picK up a guitar and they love diMe, is that diMe is alive every tiMe they picK up a guitar.”

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listen now

‘Overlord’ iTunes.com From Black Label Society’s new album Order Of The Black

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soundwave 2012 preview

slipknot With Slipknot co-headlining Soundwave 2012 and the 10th Anniversary of their sophomore album Iowa just gone by, I had a chat with Sid Wilson or “0” as he is known to the maggots. words Matt Haycroft & Steve Murphy photo John McMurtrie

T

he last time we caught up was in 2008 when Sydonia toured and opened for Slipknot here in Australia and I was lucky enough to be on that tour.

During those shows I got to hangout with Sid who at that time was nursing two broken feet and was transporting himself around with the use of a motorised wheelchair and a walking stick. He’s a very hyperactive character and his lack of mobility would’ve been taking its toll I imagine. Sid is a sweet guy and that hyperactivity was ever present during this interview as you’ll come to notice.

I ignite this interview by reintroducing myself and explaining how we first met which is greeted with an enthusiastic “Oh cool, how’s it goin?”

“I’m fine, just having lunch, are you on tour?”

He pauses then explains that he’s in his studio which is located in Des Moines, Iowa mixing the latest album by rapper King Worm from New York. As most of the members of Slipknot, who in their time away from the band have other interests, Sid has recently started producing artists. He tells me that he “loves hip hop” and that he’s also producing Pinebox Rhythm Revue, a Des Moines band fused with jazz, soul and rockabilly. A clear indication that Slipknot’s sound isn’t Sid’s sole reason for living and that he is open to pretty much anything.

The hyperactivity that Sid displays with frivolity, rears its head when he excitedly tells me that he himself has a new album coming out. “It’s called Sid, just Sid, not DJ Starscream” – the name Sid has previously released albums under. “It’s not heavy shit and not DJ shit, it’s all kinds of other shit. I do main vocals and it’s recorded on analog and digital”. He assures me that it will be released soon.

I want to touch on the 10th Anniversary re-release of Iowa and so I ask Sid how he feels about that album and if he thinks it stills stands up today? Again, I’m directed towards Sid’s remarkable energy.

“That album is brutal man! I can’t believe we named it Iowa. It’s ‘grab your crotch’ man!

It’s Iowa bitch, that album is like ‘f**k you in the face’!”

Sid repeats variations of these expressions in a giggling laconic tone until I’m laughing too.

He stops and apologises for using that sort of language to which I explain that it’s ok, this interview is for a magazine that caters to people who listen to heavy music and he giggles some more.

Continuing with Iowa, I ask him how it feels to play songs off that album live. He replies quickly, “It’s like having a heart attack!

Hahahaha, nah, but it is, there’s some energy on that album! It feels great playing songs off Iowa. They’re so intense!”

Switching the interview into the next phase was going to be difficult. It’s with great caution that I approach Sid about the most sensitive topic in Slipknot’s career – the 2010 passing of co-founder and bassist for Paul Gray.

Sid sighs “It was always a good time with Paul… I think about him every single day, I miss him…”

I add “It’s such a loss…”

Sid moves to a more delicate side of his personality as he quietens, only to slowly gather momentum about how the band is paying tribute.

“But onstage, we have his bass, mask and coveralls hanging up so we always have some of his energy with us, have his spirit on stage and that’s great, having him there with us.”

Given that Paul was the primary songwriter, I ask if the band is writing any new material together.

“Oh everyone is writing all the time, we just haven’t got together to record anything, we haven’t all been together in a long time.”

I enquire, “So no news on Slipknot 5?”

Sid starts laughing, “I don’t f**king know!”

His laughter causes him to start coughing and he goes on to explain that Slipknot weren’t all together at the same time when working on

the last album.

Clashes of diary dates etc made it too difficult for all of them to be in the same place at the same time.

Everyone went into the studio at different times to record their parts. “I hope we can all get together for the next one”. His voice actually sounds quite sad at this revelation.

Whilst we’re engaging in studio speak and since everyone is talking about it, I’m keen to see what he thinks of the new Lou Reed and Metallica collaboration.

“I listened to that the other night…”

“So what did you think?”

There is a slight pause then, “No comment, hehehehe…”

I don’t push for Sid to go into any more detail than that. I move on to learn a little bit about the kind of equipment he uses.

“Technics turntable and mixer, Korg Kaos Pad, and Korg keyboard. Plus my records are glow in the dark so I can see them on a dark stage.”

I remark “That’s a great idea.”

“Yeah I know” he agrees, sounding ever so pleased with himself.

Slipknot has afforded its members to extensively tour the world but there’s one place Sid loves returning to and holds dear to his heart.

“I always love visiting England, I’m 1st generation American and I have family in England, so I love spending time with them”.

I ask him if he’s seen the entire Soundwave 2012 line-up and what he thinks of Australia.

“Australians are f**king crazy! You guys are f**king crazy; you always go nuts at shows!

I mean that in the best way, you know? You’re all f**king crazy!” He lets out the biggest laugh of the interview. “And all your dangerous animals down there, I hope to see some when I come down. All the bands on the show are awesome, I can’t f**king wait to see all you crazy f**kers!” H

“Onstage, we have his (Paul’s) bass, mask & cOveralls hanging uP sO we always have sOme Of his energy with us, have his sPirit Onstage…”

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Slipknot… not to be confused with The Wiggles.

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soundwave 2012 preview

meshuggah Every now and Zen (cheesy pun intended) a band evolves to be a true unique entity that inspires both fans and peers alike. Meshuggah is one of these bands. words Adam Agius

E

very album different, yet unmistakably Meshuggah, full of alien time signatures crushing groove riffs and abrasive vocal approaches. Top that off with intelligent lyrics and you have a band that many younger musicians have found inspiration from or tried their best to copy. Speaking to Marten Hagstrom, I find out that Meshuggah embrace this as a compliment to the fantastic style they have created.

On the horizon and in the midst of touring, Meshuggah are working on a new album. Marten expresses that at this moment, although the band is heavily involved in the writing process and that it’s difficult for them to make any sort of judgment right now, he assures us that they have been concentrating on groove elements and have spent a lot of time on the arrangements. Add to that their use of technology; the tag that has complimented them since the awesome Catch 33 album. The new album will be very dark and f**ked up. Sounds good hey?

Marten goes on to tell me that the use of drum sequencing programs, 8-string guitars and guitar

amp modelling is something they strongly pursue in order to enhance the creative process and to develop a habit of using the best existing tools.

This way, they find new ways of expression that manifest into the remarkable albums that they write for us to enjoy.

Having been around since the late ’80s, we discuss the evolution of the music industry and how it operates. The topic of illegal downloading and whether or not that is considered stealing was highlighted and explored. Perhaps it is no different to the tape trading that used to go on with us ‘oldies’ involved in the scene in the ’80s and ’90s. Marten tells me that it’s impossible to predict what it would be like without downloading today. It’s a doubleedged sword. What does happen in the long run however is simple math; fewer record sales due to downloading equals lower advances for bands. That makes it hard. The old adage that ‘we are just stealing from the evil record companies’ may be one

thing, but in the end it just has a negative effect on the artist. The other side of the sword is that despite the free downloads; if it gets your music to the right people, it can actually enhance your touring career.”

I’m wondering what some of my peers within my age group might have to say about changes in the industry, so we go on to discuss over-promotion, too many of the same sounding bands, too many promoters, too many labels and too many festivals. Mediocrity rules and it gets very old, very quickly. The oversaturated explanation may seem bitter, but Marten agrees that yes, there is too much, but hopefully there will be some sort of recess, where the amount of festivals and bands will reflect actual demand… let’s hope so!

Meshuggah tour far and wide and seem to always be in demand, they have toured all over the Northern Hemisphere and to some exotic places such as India and the Faroe Islands. The band hopes that their journey will take them to more and more new territories but are always keen to go back to places they have played before. That’s great news for us, because the last time we saw them was on their 2008 tour of Australia. If you went to any of those shows you would agree just how kick-arse they were. Fear not, they are back for Soundwave Festival 2012 and they can hardly wait. H

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The dillinger escape plan Mathcore!…“Huh?!” complex and unusual time signatures are found throughout their music, so perhaps the tag is somewhat apt. I was excited to have the opportunity to chat to Ben Weinman, the only remaining original member, about life on the road, the many side projects of the band members and the art of dying! interview Nicole Yakimov

D

o you think Dillinger Escape Plan has changed or has had the musical style affected by the many line-up changes the band has undergone over the years?

I don’t think the member changes have changed the way we write music as much as it has contributed to the continued enthusiasm we have for writing and performing this kind of music.

Sometimes all it takes is a new fresh perspective to remind us how lucky we are to be doing this and that what we are doing is still challenging people and pushing boundaries.

You found Greg (vocals) by placing an instrumental version of one of your songs online so vocalists could basically audition via the World Wide Web. Would you recommend that method to other bands or did you find that there was a lot of crap to sort through?

I definitely recommend taking advantage of technology to find and recruit band members. There are so many people out there and usually the right person isn’t necessarily someone you have met before. Intuition is also really important. Luckily we have had plenty of experience with this kind of thing and sometimes personality and ethic is way more important than musical ability. People with the right attitude will often not only rise to the occasion but also often take things to a new level.

Can you tell me if the band has any new material in the pipeline and if so, what can we expect?

We plan on working on some Dillinger music in the coming months, most likely for a self-released EP. I understand that members of DEP are all pretty busy with their own side projects. How do you find time to write new material for Dillinger?

I love working on music on the road. I usually always have half finished ideas on my laptop at all times. I’m even working on music backstage with Brent from Mastodon as we speak, for a project we are doing.

When music is your career there is no excuse for not making it. Plus we have never conducted ourselves like some major label band that functions based on release schedules or whatever other politics come in to play. We just make music when we feel like it and believe in it enough to deliver it live year after year in a new and fresh way.

How do you think these side projects impact on the evolution of DEP? Well I think it fulfils different things for all of us. For some of the guys it probably gives them an outlet to be more creative on a song writing front since I do the majority of the writing in Dillinger. For me it’s an

opportunity to collaborate with people who are coming from a completely different place without the weight of having to deliver something that sounds like a Dillinger song. Either way it refreshes us to continue doing Dillinger. I have been doing this since about 1996 so it’s only healthy to stray a bit.

Lamb Of God told me that they generally don’t listen to metal when they are at home because they are constantly immersed in it. Is this the same for you? Which bands do you listen to at home?

Every now and again I throw on some Testament, Pantera or something, but generally I don’t listen to a lot of metal, no.

From the start of your current tour, which started at the end of October 2011, (other than a few weeks in January and early February) you are pretty much on tour until early 2012 for Soundwave. How does such an intensive tour schedule affect the band? Are there days where you want to pack it in and go home?

Well some of us are married or in relationships so obviously heavy touring makes things difficult at times. But this is what we do. We really don’t know any other lifestyle. I always say the best thing about touring is having a job that makes you appreciate home. How many people actually don’t take their home lives for granted? Most people live their life for the two weeks off they get a year so they can hop in a car or on a plane and get as far away as possible.

There seemed to be a series of unfortunate events that followed the band, with a number of injuries and illnesses and sudden departures over the years. How did the band deal with it all?

(Fingers crossed they are all behind DEP), but are there any ‘back up’ plans in place in case of another!?

It’s definitely hard continuing this level of physicality year after year. We have all had injuries. Some have been more serious than others. It’s kind of hard to picture performing in this band any other way though. We just take it day by day. Eventually I probably just won’t wake up in the morning after a show and that will be that… (grins). H

How was it working with Mike Patton, and what sort of influence has he had on DEP? I actually just spent some time with him last night and we were talking about the tour we did with his band Mr. Bungle in 1999. I was telling him how the musical influence he has had on most bands is obvious but what I usually talk about is the influence he had on how we handle our band business and how we present ourselves. The guy has always placed more importance on the professionalism of the show instead of rock star bullshit. He always realised that walking the walk and talking the talk was more important than kissing other bands’ asses or driving around in fancy cars or whatever some dumb musicians do with their time.

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soundwave 2012 preview

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The release of Lacuna Coil’s sixth album Dark Adrenaline is out on January 24, 2012.

Frontwoman Cristina Scabbia was able to fit in her very busy schedule a quick chat.

interview Matt Haycroft photo Katja Kuhl

M

y phone burst to life around 12:30AM. “Hello?

Hello, Matthew?” Her voice is angelic. “Where do I know you from?” I explain to her that I’m Sam from Sydonia’s brother and we hung out at the Gigantour at Festival Hall a couple of years ago. She remembered that Sam and I had told the members of Lacuna Coil that the only Megadeth song we knew was The Final Countdown and that we infamously sang the keyboard bit way too loud in their dressing room.

Cristina apologises for ringing late as she is sitting in a Century Media office for her second day of interviews.

“I’ve been sitting in this little office for a couple of days now, doing interview after interview and I have just lost track of time! I love doing interviews, they’re fun!”

The writing and recording for Dark Adrenaline was a pretty straight-forward affair, after being together for so long, it comes naturally, but they wanted to branch out so they weren’t stuck in a rut artistically.

“We wanted to make an album that was a little different to our previous ones, something more obscure. Something a bit heavier too. I love all the tracks on our new album, but the first single Trip The Darkness, I think sounds really strange compared to our other songs, it’s a really good representation of what the new album is going to sound like.” She assures me it is their most obscure and diverse yet.

The album title is also about something new.

“We sat around and talked about an idea for the new album, there is a link between all the tracks. The themes revolve around the idea of ‘Dark Adrenaline’, a weird black liquid ooze that inhabits you, making you feel strong and invincible.

I enquire, “You mean, like Jaegermeister?”

She bursts out laughing, “NO!” There’s a rather strange cover on the album too.

“Yeah Losing My Religion. I never really liked the original music, but the lyrics are brilliant. We talked about covering it about a year ago and when Marco (Bass) re-wrote the music, it sounded completely different to

REM, I couldn’t wait to sing it!”

Cristina shares vocal duties with powerful male singer Andrea Ferro. Some fans pose the question if there is any animosity in sharing the limelight.

“Not at all, we work together and work for the good of the song, there are no egos. Sometimes I’ll write a vocal line or melody and he’ll sing it or he’ll write one and I’ll sing it, we work very well as a duo.”

Lacuna Coil have played the circuit for many years, was there a time when you finally thought, ‘We’ve made it’?

“It’s amazing for us to be where we are. What we look and sound like and to come from Italy, we had so much going against us. It was probably Ozzfest 2004 that I felt like we had finally made it, playing in front of so many people in America, singing our songs and hanging out with the bands that we listened to and admired. It felt like the hard work was paying off.”

It’s no secret that Cristina has been in a relationship with Jim Root (Slipknot/Stone Sour) for a few years now.

Although she wants to keep her personal life personal, she was willing to open up a little about the passing of Slipknot bassist and founder, Paul Gray. I mention that if she doesn’t want to talk about it we’ll move on, as it’s very sad.

“Sad? It f**king sucks! He was a great guy, so much fun and the most surprising thing was that he was in such a happy time in his life. He had a beautiful new wife and baby on the way, the tours were going well and… it was just such a shock. Everyone was devastated.” After a brief pause of contemplation she adds, “But this happens in life and we have to stay strong and move on.”

Lacuna Coil are playing Soundwave for the second time in 2012 and Cristina can’t wait.

“I love Australia, it is so beautiful. When we were down there for the last Soundwave (2009) I had so much fun spending time with the other bands, getting onto planes together, playing the amazing festivals. There are so many great bands on the tour this time; I’m really looking forward to it. Most of all, I really want to get back to that Koala Sanctuary in Brisbane and hug a koala again, they’re so cute!” H

laTeST releaSe

lacuna coil

Dark aDrenaline by

lacuna Coil

Century Media

review Mark Lennard Dark Adrenaline opener Trip The Darkness sets the mood, and it’s no wonder that it’s the first single release. Cinematic and brooding, it creeps along in almost Tool-like fashion, the chorus being a huge focal and vocal point with Andrea’s male vocals mixing well with those of Cristina Scabbia. The track Upside Down is a mid-paced affair, which doesn’t stray far from earlier LC outings, Scabbia’s voice the highlight before the more sedate, and undoubtedly second single, End Of Time’s AOR tones filter through. Scabbia devotees will live and breathe this track.

I Don’t Believe In Tomorrow treads the down-tuned heavy path and is a clear highlight track for me. Surprisingly REM’s Losing My Religion gets the Coil treatment and while they’ve definitely succeeded in making it their own, it would be a mountainous task to re-work a classic knowing purists would remain defiantly unimpressed. Fire is a rockier number than what we’ve heard already (think Skunk Anansie) that gives way to closing track My Spirit, an atmospheric journey into oblivion. Complete with echoed spoken word, the longest track on the album eventually disappears along with Dark Adrenaline into the dark world from where it came.

Overall it’s a strong album with first class production and arrangements that utilise the full scope of Lacuna Coil’s talents. t h e s tan d o u t

“we wanteD tO make an album that was a little Different tO Our PreviOus Ones, sOmething mOre Obscure. sOmething a bit heavier tOO. i lOve all the tracks On Our new album…”

‘I Don’t believe In Tomorrow’ @iTunes

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soundwave 2012 preview

BLACK VEIL BRIDES T

Glammed-out shock rock is nothing new, but it feels pretty safe in the hands of Black Veil Brides.

interview Peter Hodgson photo Chad Michael Ward

hey display all the 80s-glam-via-Tim-Burton-goth style you might expect of the genre, but unlike some of the bands who came before them (including, let’s not kid ourselves, Mötley Crüe, who have always ladled on the attitude but not always hit their cues musically), all of BVB can play like monsters. Singer Andrew Biersack – who is sometimes given the nickname ‘Andy Sixx’ although he prefers that you don’t use it thankyou-very-much – is an energetic, engaging performer who understands the fine art of the lead singer and all the onstage extravagance such a job description demands. Yet in person he comes across as a polite, driven and downright considerate chap, far at odds with the band’s freak-your-dad-out

image. The band’s current album, Set The World On Fire, debuted at No.17 on the Billboard charts, and it’s full of melodic heavy metal with a punk attitude and a guitar store’s worth of cool licks.

A lot of artists like Motley Crue and Sebastian Bach have really taken Black Veil Brides under their wing.

What’s that like?

I recently sang onstage with one of my best friends, Sebastian Bach, with Steel Panther. That was a whole lot of fun. It’s actually kinda cool – Alice Cooper has recently said a lot of really nice things about us in the press, about us being the band that’s sort of bringing back what he loves about rock’n’roll music. So for us, in terms of coming up and having the support of our heroes and stuff, it’s amazing.

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Steel Panther are so much fun. Everyone has to go see them at the House of Blues on the Sunset Strip at least once in their life right!?

Oh totally. It was a complete honour to be on stage with them. And obviously, one of my heroes that I’ve become close to like I said is Sebastian from Skid Row, to be able to go on stage and to do Youth Gone Wild with Steel Panther was a lot of fun.

Sweet. It must be a total trip to go from Ohio to being so accepted in the LA scene, touring the world…?

Yeah! I think that as a kid, all I ever really dreamed of was to do what I’m doing right now. It’s really cool to reflect on it. We sort of take it in our stride, but cool things happen to us and we try not to think about it in that regard too much because I think that once you become too complacent and aren’t excited by what’s going on any more, you can get to the point where you stop reaching for that next step or trying to push forward. So it’s very cool but we want to keep our eyes on the prize and keep working.

Well, one of my favourite quotes was when Metallica were out here a year ago. A reporter asked James Hetfield what he would have said 30 years ago if someone asked him if he thought he’d be headlining arenas on the other side of the world three decades later. He said “I would have said, ‘You bet. You bet I am.’ That was it. I was gonna do it. There was no holding back. There was another option, but it had to be music.”

That’s the thing people forget: rock stars and people in bands are not shit from the sky, they’re not some sort of divine beings that were just placed on earth. They’re just people that had a dream and worked very hard. So I’ve always subscribed to the idea that if you work very hard and put your mind to something, anything is possible. For us, we’re proof-positive in the way that we’re growing. We’re just kids from small towns who moved to Los Angeles with a dream. It’s all very exciting but it’s all part of working your ass off and getting what you want out of your dream.

How did that process start? Obviously you didn’t have 20 years to write this album, so where did these songs come from?

We started getting courted by major labels around this time last year and we had a few major labels coming after us but few really understood what the band was. There were a few that wanted to draw comparisons and say “Oh you’re like My Chemical Romance crossed with Avenged Sevenfold,” which are all cool bands that we adore, and we understand the influence they’ve had on music, but for us we just wanted to be Black Veil Brides. It wasn’t until we met the people at Universal that we talked to someone who wanted us to make our own kind of record, and weren’t going to have some kind of A&R guy in the studio with us every day. After that process it became very clear that we were comfortable to just start making a record. So we started meeting with producers that the label had contacted, and it was in the first producers’ meeting that we met with Josh Abrahams (Korn, Velvet Revolver), and we sort of started making the record by accident, so to speak. We wrote the song Set The World On Fire and tracked the demo for it in the first day of being in his studio. We couldn’t have been happier, so we decided from then on out to just make the record.

Set The World On Fire has been out for a few months now – does it make up much of your live set?

Currently most of the set is made up of new songs. We’re doing two or three old songs. On the Vans Warped tour in the United States we tested out new material, road testing different songs in the set.

How do you manage to balance the dark image with a positive message? It’s a really fine line to do that without sounding corny. How do you get away with it?

I think the dark imagery and the theatricality, you look at a lot of pop culture or comic books and you have these heroes that are seemingly a character who, like Batman, is very dark in nature but has a silver lining of hope. And you also tie in stuff like the religious imagery we use. We’re not a religious band but it’s a pretty good indicator of a dark idea with a more hopeful message behind it. It’s sort of a culmination of all those things. But when you look at the image that we have – the dirt on our arms and all those things – it’s meant to make us look as outcast as possible. It’s always been our idea to be the ultimate outcasts and to take on the hatred of the people who would be detractors to our audience. We want to stand up on stage and say “Anybody that gives you shit in your life, we’ll be there for you.” I always wanted that in my life, and whether you appreciate it or understand it or not, that is what we believe we are and what we want to be in our lives. Hopefully we’re successful in that, but even if we aren’t we’re going to try like hell to be those people for our audience.”

Cool. The album sounds really punchy and powerful compared to the first one. They seem like songs that would d go down especially well live.

We look at Set The World On Fire as being our first record, as such. Going into our first record we were on a very small label and we didn’t even have distribution in your country!

We didn’t really have the opportunity to make a real album.

It was just a collection of songs we had written over the first twenty years of our lives. Going into the second record we made a real concerted effort to make a real album. We were given the opportunity to work with a real producer, a nice budget to make our dream album. We’re very proud of it and we want to get out there and play as many of the new songs as possible.

I think it’s really important that no matter which band member you look at, you all look like a member of Black Veil Brides. The audience feels like they’re a part of something by having that.

I think in rock’n’roll, something you can replicate as an audience member is something you can rally behind. Everyone in their lives deals with day-to-day drudgeries and things, and those things suck! There’s a lot you deal with in life, whether at work or school or what have you, and the idea of having an identifying image that people can get behind is something I’ve always enjoyed. You look at the KISS Army or any of these other things that I was certainly a member of growing up and it was fun to dress up and escape the shitty part of my life and just have fun! H

“that’s the thing PeOPle fOrget: rOck stars anD PeOPle in banDs are nOt shit frOm the sky, they’re nOt sOme sOrt Of Divine beings that were just PlaceD On earth…”

sOunDwave a brief histOry Of heaDliners MMvII

Unwritten Law, Parkway Drive, Deftones, Hatebreed

MMvIII

The Offspring, Incubus, Killswitch Engage, Alexisonfire

MMIX

Nine Inch Nails, Alice In Chains, Bloodhound Gang, Lamb Of God

MMX

Faith No More, Jimmy Eat World, Jane’s Addiction, Placebo, Paramore

MMXI

Iron Maiden, Queens of the Stone Age, Slayer, Rob Zombie, Primus

MMXII

System Of A Down, Slipknot, Limp Bizkit, Marilyn Manson, Lamb of God live photos courtesy of amped photography

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soundwave 2012 preview

cathedral words Christian Doherty

I

n February 2011, UK Doom/heavy Rock band Cathedral announced their departure from the live spectrum. It was decided that their last show would take place December 3rd, 2011 shortly followed by their last studio album The Last Spire. Enter a phone call from the fine folk at Soundwave, Australia’s biggest heavy music festival and suddenly a change of heart is on the cards.

HEAVY’s Christian Doherty got wind of the unreal news and was on legendary drummer Brian Dixon’s trail in no time.

It looks like Australia is the lucky home of the official Cathedral finale, no doubt you have many, many fans who are ecstatic to see the band play for the first time on our sunburnt shores. You couldn’t refuse, could you?

“It was literally a case of booking that last show in, then a day after we announced it we got an email asking us to come to Australia. We couldn’t refuse such a great offer to get to Australia for the first time in 13 years and give the fans a special treat.”

I asked him how the last show went and was met with an enthusiastic response. ‘The show was amazing. The venue was pretty well full and it was such a great way to go out. Just jamming through what you

would call, a greatest hits set I guess, just showed how many great songs Lee and Gary have written over the years’.

Brian joined Cathedral in 1995 just in time to record the hugely popular The Carnival Bizarre.

Seeing as the band had already carved out a reputation as doom metal masters, I assumed it would have been daunting for Brian to join the well-established band. “You know it’s funny but I wasn’t even really aware of them at that time. I mean I knew of them but I wasn’t a fan and I certainly didn’t get the magnitude of how big the band was at that time, so I didn’t get nervous or have any pre-conceived ideas about the band or anything like that. I just went in there and did my thing and it worked well. But then it was off for the tours and that was a bit of a shock for me.

I was all of a sudden thrust into the lifestyle and it took a bit to get used to’.

As for the actual drumming side of it, putting his own stamp on things was more important than

Brian Dixon explains how Soundwave reignited Cathedral’s candles… playing things exactly as drummers before Brian had. “It had been a bit of a revolving door of drummers before me so there were many different styles already injected into Cathedral. So when I came along I just tried to use my power and hit hard, but do it slow at the same time. Solidity is everything.

That’s the key for me I think and something I’m always working on perfecting. Getting that balance of power and finesse and remaining solid.”

So with the guys’ last few shows ever about to unfold as part of Soundwave 2012, what do they expect? “A lot of fun basically. Even though we aren’t exactly the same style as most of the other bands, it’s always good to mix it up a bit. We’re looking forward to getting out there and giving the fans a special treat, and getting to check out some of the other bands.”

Cathedral will be releasing their final album in 2012 The Last Spire and will be playing Soundwave 2012, so be sure to check them out. H

“we cOulDn’t refuse such a great Offer tO get tO australia fOr the first time in 13 years anD give the fans a sPecial treat…”

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keep updated at

www.heavymag.com.au

chimaira

Chimaira return to Australia with their latest album, a new lineup and an affinity for bad-ass plants… interview Amanda Mason

T

he Age of Hell is, without doubt, an amazing album. I had it on repeat for ages because every time I listened to it I liked it more and more. So that said, I didn’t want to bore Chimaira vocalist Mark Hunter with questions about the band’s strings of lineup changes, instead I thought I’d try a different tack…

It was a good day for metal when the Mythbusters discovered that plants actually grew better when they were played heavy metal. How did it feel knowing that the song was yours and that you have some sort of Mother Nature-esque power over plants?

I considered it magical. Here Mother Nature grants us plants that speak to us, and we create music that they desire. Whoa… way to hippie… it was bad-ass!

In 2005 Kerry King said that you were his favourite new band and that you were above and beyond anybody else. Now that Chimaira has achieved the impressive feat of sticking at it for 14 years, releasing a heap of albums that

never got boring, I think it’s your turn to be the metal veterans and tell us who your favourite new band is.

It’s hard for me to get into metal these days. The last couple of bands that truly impressed me were Gojira and Whitechapel. Even though neither band is new, they are the newest that I enjoy.

Did Emil’s nickname Emil Warts or Emil Beads, referred to in The Age of Hell DVD, actually stick?

No, haha.

There are always rumours about record companies phasing out physical albums and this can be a fiery point of contention for some artists.

How do you feel about the demise of physical albums?

I couldn’t care less. There will always be a product and method for the artist to get their music to the listener.

I recently learned, through reading Steven Adler’s book, that it’s common practice for the headliner to prank the support act at the end

of the tour. Have you ever pulled a prank on the support act or been pranked as a support?

Both. Once we ‘floured’ another band, not a good idea as it f**ks up gear. We’ve had all sorts of shit pulled from voice modulators when talking to the crowd, to streaking, to having the drums dismantled.

You’re currently in the middle of a gruelling tour of the US and will soon be touring Australia, the UK and Europe during which you will play Soundwave 2012, which we’re all very excited about. Who are you most looking forward to sharing the bill with at Soundwave?

There are so many great bands. If I have to pick one, I’ll go with Machine Head.

You’re a band that really seems to be for the fans and about the fans. There’s the Chimaira Willy competition, the free CD with Metal Hammer, the DVDs and even Mark suggesting that people stream The Age of Hell on You Tube if they can’t afford to buy it plus you actually reply to fans tweets on Twitter. Do you think that people respond to the personal approach and do you think that this is one of the reasons you have such a loyal fan base?

Fans love the personal connection. Because of Twitter when I walk into a town, there is something to talk about. It’s not awkward or nerve wracking for the fan. They feel like they know me in a way. I love to be able to meet the fans and hear their stories.

If you could only listen to one album for the rest of your life, what album would you choose?

Nine Inch Nails, The Fragile. H

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heavyfeature

Segression There was a time in Australian metal when it seemed you couldn’t attend a gig by a big international touring act without seeing Segression as the support act.

Guitarist Mick Katselos, and with his beloved Krank Amplifier (below).

interview Peter Hodgson photos Courtesy of Riot Entertainment

T

hey nabbed prime support slots for acts like Ozzy Osbourne, Fear Factory, Strapping Young Lad, not to mention headlining the inaugural and muchmissed Metal For The Brain festival.

Segression did it all. Their blend of heavy riffage, powerful rhythms and impressively liquid guitar solos was far ahead of its time.

In 2003, the band went into mothballs, staying out of the public eye until a return show in 2009.

And in 2011 they returned in full force with Never Dead (Riot! Entertainment), an impressively energetic album that finds the lads picking up where they left off, with a few new twists and turns.

Bassist/vocalist Chris Rand took some time to tell HEAVY all about it.

I guess the big question is, why now, and why the wait?

I honestly didn’t know we’d been off the market for so long! I’d thought about honing my songwriting skills and not doing that in Segression:

From left: Mick Katselos, Adrian ‘Red’ Herbert, Chris Rand and Shane Partridge.

working on my hooks and stuff like that on a more pure basis, so that when I did come back to the Segression fold, I’d come back with a bigger array of tools at my disposal. I never released it because I don’t consider myself a pop artist and I really wouldn’t want to do anything detrimental to Segression. It was purely a learning exercise doing that. When you do something like that, you’ve got a little family, you start learning how to record things and building studios and a million other things, you suddenly go “hang on a minute… how long has it actually been?” We honestly didn’t realise. We didn’t think “Now’s the right time to market ourselves.” None of that came into it. It was just “Let’s start jamming now.”

We didn’t lose touch with each other, we were still hanging out and playing and doing stuff, but not as Segression.

So how did you go about writing this stuff?

Well as soon as the boys put me in charge of production of the album I thought about making the songwriting as interesting and as spontaneous as possible, rather than what we used to do with Segression, which was to go in, jam out ideas and go “That is cool, let’s put this with it.” We did that with a couple of songs – I’d tell the drummer to go in and play five minutes of whatever he’d like to play drum-wise, I’d listen to what he did and then say ‘Play that beat for so long, that beat for so long, and put it together like a song.’ Then we’d sit down, me and Shane (Partridge, guitar), he’d have the guitar in his hand and we’d write a song that way. We’d come back another time and there might be some drums we’d worked on in the

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listen now

‘Blood Lace, Black Day’ @YouTube From Segression’s latest album New Dead or visit www.riotact.com.au studio together and we’d have a couple of glasses of red wine and I’d say “Shane, just jam out over the top of this.” Or I’d come over with a bass and put a vocal down. Every way I could think of to make it interesting and spontaneous, I tried.

So for the next one we’re going to have to try even more different things!

noisy. Then with the guitars, I’m not a shredding guitar player but I do like to play guitar. I’ve got a Gretsch White Falcon that I like twanging around on, then we’ve got a Fender baritone. And I’ve got a nice little gift from Ibanez, an RG made to celebrate the 25th anniversary of Ibanez working with Australis in Australia. I’ve got lucky number seven. It has a southern cross on the fretboard.

They’re really cool. I’ve also got a white Ibanez Universe 7-string signed by Dino Cazares and Steve Vai. And we’ve got the original swirl as well, the pasticine-looking one.

Well that’s what’s cool about songwriting: each song has its own birth and its own life.

That’s exactly the way I work with songwriting.

I try all these different ideas to try to get it to come into fruition. And because I was producing it was easier because I could mould the songs so that they weren’t all a million different styles of metal, that it was still cohesive. Each song is individual but it’s still part of the cohesive whole that the Never Dead album is.

One thing that’s particularly interesting about you guys is that in a way you beat bands like Meshuggah to the punch in terms of extended range instruments like 7-string guitars playing rhythm-based songs around a single chord.

Yeah, we were playing 7-string guitars and tuneddown 6-strings way before a lot of that became popular. So what we did with this one, and nobody seems to notice, is we’re playing on 6-string Gibson Les Pauls, and some of the guitars are in standard tuning, but because what we’re trying to do is to get what Segression is all about with minimal fuss. We may go back to playing the 7-strings and everything but we’re trying to make the songs more about what we’re playing from the heart rather than what we’re playing from a physical instrument.

As a 7-string geek myself I was surprised when I saw you supporting Fozzy, and I was looking forward to checking out those 7-strings.

When they weren’t there I was like, “Wait a minute…”

Haha. And it was kind of difficult because we’ve tried to cater to the fans who have seen us a lot by still playing some of the old songs, but we just play them a little bit differently so that they still sound heavy and still sound like us.

Chris Rand live on stage this guy came up and started jamming with me.

I was just playing away on this Hohner thing. We were talking afterwards and it turned out he was a session guy who played with Eric Clapton and all these really, really famous guitar players. To this day I can’t remember his name but I bought the bass just because of the experience of playing with him in this music shop! I’ve also got this custom-made 5-string that I really dig but there’s a bit of a problem with the wiring – it’s a little bit

So tell us about your new guitarist, Mike Katselos.

I’ve known Mick for probably 20, 25 years.

We came back as a 3-piece originally because Chris Sellin just didn’t want to do it, and then we decided to get someone else in. Mick was just a natural choice. He’d played with our drummer before and we were looking for a really, really good player and somebody who feels like we do.

We didn’t want anyone to come into the band with a big ego. Mick fitted like an absolute glove. He’s just so laid back. We like surrounding ourselves with that kind of energy.

Also the fact that he’s played with Fozzy means he understands the kind of professionalism you would demand.

Mick has always conducted himself professionally, even before he went over to play with Fozzy.

We just clicked. If we were going to get someone else in to replace Chris Sellin, Mick would be the one to do it! H

“we were looking for a really, really good player and somebody who feels like we do. we didn’t want anyone to come into the band with a big ego. mick fitted like an absolute glove.”

Mick on stage with WWE Superstar and lead singer of Fozzy, Chris Jericho.

What basses do you use?

At the moment I’ve got an absolutely phenomenal collection of instruments that I’m proud to have amassed over the last 25 years. What I’m playing at the moment is just really bog-standard.

I don’t know if I’m mellowing as I get older but I’ve got Fender P-basses, through Krank and Ampeg amps. I do have some other really wicked things out there. I’ve got a Palladino upright electric bass. I’ve still got all my carbon fiber/graphite Status basses. I’ve got all the Ibanezes we had when we were endorsed with them. I’ve got two Washburns, a Yamaha, a headless Hohner which was the original Steinberger rip-off that came out… that was one of my early basses actually.

When I picked that bass up I didn’t want it at the time but I was in a little music shop in Cardiff, Wales, when I was about 17 or 18 and I started playing all the different ones in the shop and

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heavyfeature

as i lay dying

They say being a punk’s not just for Christmas, and it seems a career in a metalcore band is more than scoring a spot on Warped Tour. Having just celebrated ten years as a band, Phil Sgrosso of As I Lay Dying tells HEAVY how being a musician is a long-term commitment. words Kimberley Croxford promo photo Ryan Russell live photo Matthias Bauer (www.mattness.net)

A

rmed with guitar prowess, relatable lyrics and a combination of caustic screams and soaring melodies, San Diego’s As I Lay Dying have been assaulting the heavy music scene with their amalgamation of metalcore and thrash for a decade. To acknowledge the milestone they’ve released the compilation Decas, and are now preparing their sixth studio album. Guitarist Phil Sgrosso says there’s more to making it in the music industry than producing quality material.

“I think honestly making smart business decisions is one thing. A lot of amazing bands don’t last because they don’t make the best business decisions... I think you just have to be smart with the way you handle everything, not just your music.”

Sgrosso asserts that hard work is an integral part of the deal on the road to success.

“There are a lot of great musicians that have come and gone [who] just couldn’t get into the idea of what it’s like being in a band and that [as a musician] you’re kind of just at the mercy of your fans.

You have to go play to your fans. If you’ve got to go over to Europe for six weeks in the winter, that’s what you’ve got to do. You can complain – there are plenty of things you can complain about in Europe in the winter (laughs) – but at the end of the day you’re not flipping burgers or anything – it’s making music for a living – you need to be grateful about that.”

A band’s tumultuous touring lifestyle can make time seem to pass not so much in years as in album cycles.

“We’re always on the road. Every two years we’re putting out albums so time flies by pretty fast. I’ve been in the band for just over eight years now, and

I’ve probably only been at home four of those years,” Sgrosso muses.

When the band eventually call it quits, they’re bound to be left with a massive case of jetlag – but Sgrosso can’t imagine an alternative.

“I don’t know if I could headbang as long as I do now when I’m fifty,” he laughs, “but I think making music and touring as long as we can is definitely the goal... I couldn’t think of [doing] anything outside of music.”

In addition to dedicated touring and a business savvy approach to the industry, the band’s consistency throughout their career has enabled As I Lay Dying’s longevity. Unlike other bands who’ve attempted a dramatic deviation from their original sound, or the notoriously risky concept album, As I Lay Dying have achieved a balance between diversity and continuity that has ensued their fan’s loyalty.

“You make new fans with newer and fresh ideas

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latest release

decAs by

as I lay Dying

Metal Blade

– but not too far off the deep end... It has to be cohesive. If we were to put together a greatest hits album in, who knows, ten years, you’d want to have all the songs on it to generally sound like your band.”

The band have also generally stayed true to their original songwriting process with each member playing their own role.

“Nick’s [Hipa, lead guitar] specialty is in the guitar shredding realm – solos and stuff. I’ll usually get a song together start to finish and then Jordan [Mancino, drums] will put together certain drum stuff he wants to do to spice up the song. Since Josh entered the band, he’s contributed more to the songwriting and also the melodic singing, and then Tim’s main focus is lyrics and screaming his head off.”

Sgrosso’s practise routine has also remained constant since early days.

“I don’t really ‘practise’ that much... I can’t pick up a guitar and go over guitar sweeps for an hour.

Usually I’m just trying to write something cool, that also challenges me too, like ‘man I’ve got to speed this up, I’ve got to make this more technical.’”

“The main thing that helped mould me into the kind of guitar player I am was picking apart other band’s songs that I liked, just trying to figure out what they’re doing. Nick is definitely the practise dude in the band, always meticulously shredding. He’s definitely got a guitar in his hand most the day.”

Sgrosso’s method of improving his own technique by observing others is one reason why the band chose to do songs on Decas.

“Picking apart what [other] guitar players are doing and how their songwriting works is definitely influential, especially older musicians that kind of started Heavy Metal.”

As I Lay Dying made the decision to include covers on the anniversary release when approached by a video game company and acquiring the rights to Slayers’ War Ensemble, then chose songs by metal veterans Judas Priest and punk legends the Descendants’ Coffee Mug.

“We’d never done covers before, and it sounded like a fun idea. I remember hearing Coffee Mug on the Punkorama 2 compilation. Any sort of punk beat that is heard on our albums is because I listened to punk growing up.”

The band also worked with a number of other musicians to remix older tracks, a rare, possibly contentious decision for a band used to pleasing older fans.

“A lot of people aren’t going to be into the remixes, but we wanted to mix it up. When Inner Party System approached us to do a song, we gave them a more obscure song that had tonnes of different things going on. Same with Ben from Dillinger [Escape Plan], that song is just insanely chaotic.”

Despite their satisfaction with Decas, Sgrosso says the band will experience the pressure of releasing a new full length in 2012 in today’s declining industry. As far as what to expect from the new record, Sgrosso admits it’s too early to tell which direction the band will take.

“Everyone’s got somewhat of a vision, but for me I think [the new release] could be still just as intense, but also have bigger, more open sound.

Touring with a band like Disturbed this past year was just a huge thing, to see how well their music translated in an arena setting. If you want to play arenas you’ve got to have a big arena sound, not that we need to conform to that completely, but that’s just a little inspiration I got from touring with a band like them.” H

CeleBRating ten yeaRs as a band, metalcore stalwarts as i lay Dying have dropped Decas, showcasing three new tracks, cover efforts, and remixes of previous hits. Paralysed, is a solid track that just missed the cut for the Powerless Rise (2010), while From shapeless to Breakable fails to represent as i lay Dying’s ordinarily impeccable standards.

Covers by metal legends slayer (War ensemble) and Judas Priest (Hellion, electric eye) are well executed, and an appropriation of the foot-to-the-floor, forty second Coffee Mug by punk legends to the Descendants is bundles of fun. Collaborating with artists such as Ben Weinmann (Dillinger escape Plan), Big Chocolate and innerpartysystem, remixed older favourites such as elegy and Confined are chaotic, creative sonic experiments with the potential to excite and offend older fans. Decas is a bit of fun at best; an appetiser to tide you over before 2012’s new full length, which is sure to be delicious. ch e ck i t o u t

album preview @youtube

“A lot of AmAzing bAnds don’t lAst becAuse they don’t mAke the best business decisions... i think you just hAve to be smArt with the wAy you hAndle everything, not just your music.”

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listen now

‘Judgment Awaits You’ @iTunes From Toxic Holocausts’s new album Conjure And Command

Toxic Holocaust Joel Grind and his one-man thrash onslaught gives us the lowdown on his latest album, this time with full band in tow. interview Christian Doherty

T

oxic Holocaust are a major player in the thrash resurgence currently on display. Since being formed by Joel Grind in 1999, the band has been a one-man show, with Joel doing everything and using session guys for tours. But on the new album Conjure And Command, Joel enlisted the services of a full band for the first time with amazing results. I caught up with Joel ahead of their Australian tour in January 2012 for some insight into the process of the new album, which bands are currently exciting him in the current thrash movement and what to expect when the guys tour Australia in January 2012.

So you released your new album Conjure And Command a few months ago. How has it been received so far?

Ah it’s going great man. The response seems to be going really well and even the tours we have been doing for the record have been really good with a lot of people showing up, so you know, it’s a good sign.

A lot of people are digging the new album.

How was it recording with a full band this time instead of doing everything solo?

Um, a lot easier (laughs). In the past I was kind of under the gun, under pressure to try to just go into the studio and get it finished. I didn’t really get a lot of time to concentrate on the creativity aspect. I was just trying to fit it all in and get the songs down.

But this time we didn’t really spend any longer in the studio. Having other people play who know their instruments so well, I got to kind of take a step back and just focus on the songs. You know, make sure the sounds that we were getting were what we wanted to hear.

You have done a lot of split CDs over the years but one I’m particularly interested in is the split with Inepsy. How did that one come about?

That one went very well man, although they just broke up. They were one of my favourite active bands actually and they were fans of ours so we both had the same idea to do each others’ songs.

It was fun man.

So you were here in Australia a few years ago, how was Toxic Holocaust received when you were here then? Were the shows crazy?

Yeah the shows were wild man. We can’t wait to come back down. But I expect this time to be even crazier because more people know us now. And we’re touring with the band Kromosom so they should bring out the old punk rockers so the shows should be pretty wild.

With thrash being so popular again at the moment, and so many new thrash bands coming out, who are some of your favourites?

I think from the scene going on right now Municipal Waste, Warbringer and a band called Midnight.

They are actually my favourites right now. Those are the ones who stick out in my mind.

Do you have any favourite bands to tour with where the shows are just always one big party?

Ah, the Municipal Waste guys are always fun.

We’ve been out with them a few times and it’s always a good time. And actually the tour we are on right now with the band Kvelertak has been amazing. We didn’t know any of these guys before, but we’re really hitting it off and it’s pretty much been one big party. We’re looking forward to doing some more with them soon if possible.

What do you expect from this upcoming tour of Australia?

I hope it opens up the opportunity to make it a regular stop. You know I really love it down there and the last time we were there was six years ago.

Even beyond the shows, just the people are all really nice… the girls are nice (laughs) and the beer.

It’s like a vacation for us.

Any last words for anyone thinking of seeing Toxic Holocaust next month in Australia?

Yeah, basically anyone who is thinking of coming to see us or who is already coming we appreciate the support. And just expect a raw heavy metal show where you can bang your head and get wasted (laughs).

Thanks again Joel, see you guys next month!

Thanks man, see you soon. H

Joel Grind has found some friends for this year’s Australian tour.

Was the writing process any different for this album knowing you had other members to write for?

Yeah. When I wrote the songs this time around I did a little bit more with the arrangements and the ideas for drum parts and stuff. I could go a little crazier with the parts because I knew I wouldn’t be able to play them but these guys could (laughs).

I noticed some doom aspects on this album and some slower sections like in I Am Disease and Red Winter. What made you decide to include these styles into the new stuff?

Well in reality I could see how it could be considered doom, but really it was more crust punk inspired and even old school death metal rather than anything doom based.

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latest release

Se Bon Ki Ra

words Mark Lennard main photo Will Freeland (www.willfreeland.com) live photo Benon Koebsch (www.bjwok.com)

one thousand ways to be by

se bon Ki ra

independent

SE BON KI RA thrash, groove and spit venom across the five tracks on their debut EP. Drawing from a range of personal influences, but most noticeably include Lamb Of God, Pantera and Machine Head, the songs are well constructed and equally well executed. Guitarists Mike and Shane trade riffs and solos with precision while the backbone of bassist Ben and drummer Sven keep things steamrolling on. Imposing metal monolith Chad fronts SBKR with a roar that matches his stature, firing off lyrics that draw from a well of both positivity and frustration.

One Thousand Ways To Be is a just a taste of what SBKR are capable of and the perfect place to discover yet another hidden treasure of Oz metal talent. c h ec k em out

www.sebonkira.com

Thrash Metal / Groove Metal Adelaide, SA www.sebonkira.com GettinG noticed in any of australia’s fine statebased metal scenes is a task that has broken many wellintentioned metallers over the years. adelaide’s scene is no exception with the struggles of ‘metal friendly’ venues closing, and a small population from which to build a fan base. one band which has seemed to relish the challenges posed are adelaide based Se Bon Ki Ra (pronounced seh-bon-kih-ruh) and ever since their first live aural assaults in 2007, the band has proved themselves to be a force in the South australian metal scene. Within the space of four years the band has chalked up an impressive list of supports including Static X, the amenta, alchemist, dreadnaught, Psycroptic, Mortal Sin, Lord and Blood duster as well as local mainstays truth corroded and double dragon; released a well received five track e.P. and secured a slot on the 2010 adelaide Big day out line up. 2009’s One Thousand Ways To Be eP garnered high praise from triple J’s (master of all things metal) andrew Haug; who lifted the title track from JJJ’s Unearthed website to be “track of the Week” on the Racket, likening vocalist chad cosgrove’s delivery to that of Machine Head’s Robb flynn.

While the band itself is relatively new to the oz metal landscape, the five members of Se Bon Ki Ra (front man chad, Mike and Shane on guitars, Sven on drums and Benny on bass) draw from a wealth of experience in the adelaide scene, having been individually involved in local acts truth corroded (which saw Sven touring australia and Singapore), Hammad, Sector iii, chakkra and obdurate Seduction. this experience is most evident in their mature approach to song dynamics and their live show that draws the crowd in to revel in the mayhem, rather than succumb to the negative attitudes that can suck the life from what should be a celebration of crushing riffs & pummelling grooves. a healthy mix of old-school and newer elements touches base with many in the mosh pit, with thrash, traditional and the extreme colliding to form the widely influenced basis of the Se Bon Ki Ra sound.

With a name derived from an old Haitian proverb meaning ‘good is rare’, traditionally used as a warning against complacent attitudes to life’s experiences and interactions, it’s no surprise to find a subtle sense of spirituality amid the metal crunch. We’re not talking death roars preaching Sunday school lessons in christian values here, but lyrics that focus in on real life challenges, striking a chord with those who like to look beneath the surface. title track one thousand Ways to Be explores the choices that shape our existence and the important process of getting

to know oneself, and opener Lesser than seeks a shared equality that challenges the place of competition in modern relationships. deconstruction therapy and Shades of Hate draw us back in with new takes on tried’n’tested metal fury, looking at both destructive and constructive uses of anger. the themes continue through the eP’s artwork, an ominous sky overhangs a dark pond of lotus flowers floating uncomfortably in the foreground. eye catching in its use of what has become the trademark Se Bon Ki Ra orange and black combination, the spiritual symbology is evident and assisted by the inner sleeve referencing of the chinese philosophy of detachment and rising out of the murky depths of suffering. Se Bon Ki Ra have gone to much effort to provide their vision and impressive balance of head, heart and spirit, delivered amid the blistering riffs and general metal mayhem. not satisfied with merely searching within to better the world around them, Se Bon Ki Ra’s live history reveals an admirable record of charity work. the band headlined the second Metal for a cure show in adelaide, raising funds for the Save the children foundation alongside organisers and fellow metallers, arcadia. they were also on board when adelaide metal’s finest came together to create the Queensland flood Relief show. at the time that Se Bon Ki Ra played the 2010 Big day out, the devastating earthquakes in Haiti had just hit. the band contacted festival organisers to negotiate promoting the donation of part proceeds from merchandise sales to Medecines Sans frontieres (doctors Without Borders). they were able to contribute to the mountainous relief effort undertaken.

Having kicked off 2010 with the Big day out and wrapping up the year with an east coast tour with Melbourne metal legends dreadnaught, Se Bon Ki Ra have been in the bunker for much of 2011 preparing for the battles ahead.

Writing songs for their upcoming full-length release and oiling the marketing machine has kept these guys busy of late. the band’s new website recently went live and contains a decent collection of photos, video footage and media releases from their short but active history. With an obvious desire to stand out from the crowd, the band have embraced what technology can do for band promotion by releasing a free iPhone app that was also then made available for competitors android. in fact the band has a healthy online presence also having youtube and twitter covered and a noticeable level of facebook activity making it easy for their legions of fans to keep up with all the current Se Bon Ki Ra news.

So what can we expect from Se Bon Ki Ra in the coming months? currently the band is in songwriting mode in the lead up to recording a full length album in early 2012 and if we are to believe the online propaganda updates, then the new material is brutal, tuneful, as energetic as the australian metal masses have come to expect and again explores real issues throughout its lyrical content. Keen to build their australian profile, the band’s plan of attack includes backing up the new album with extensive touring and getting on board with interstate festivals; meaning we are bound to see and hear a lot more of these guys in 2012 and beyond. H

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laTesT release

Scar The Surface words Jay Clair photo Amped Photography

The Traveller has Come bY

scar The surface

Metal Core Melbourne, VIC www.facebook.com/scarthesurface

independent

On the bACk Of releasing their take Your fight to the Sun, Scar the Surface didn’t want to leave their fans in the lurch and released their new single the traveller has Come early in 2011. this showed the progression the band had made including the influence of new members to the band. With a verse section that absolutely kicks your front teeth out with brute strength, it also plays a great balancing act of melody through the chorus section. With an upcoming full-length album already on the way, this gives everyone great confidence that this release will be nothing but exceptional. th e s ta nd out

‘The Traveller Has Come’ @YouTube

Scar the Surface have been bouncing around the local scene since 2006. Over this time the band has slowly but surely gained a solid and loyal following within Melbourne and across australia. they may well be the best metal band this land has to offer and are probably australian metal’s sleeping giant. If you have never heard these guys, sometimes they can be labeled under genre’s such as metalcore, but if we speak to lead vocalist Daniel, he will let you know his distaste for such labels. to them they don’t make music that sits in any sub-genres, but it is clear they produce killer heavy tunes, which blend most elements of modern day heavy music.

Like many bands that have been around for a while, they have had their fair share of line up changes, but the core of the band has remained true. front man Dan and elliot on bass, being at the helm since their inception. together these two guys have melded StS to who they are today. every great band has an engine; in this case it’s elliot. he is also probably the nicest guy you will ever meet. coupled with the angst and the brilliance of frontman Dan, they have come together to bring the StS

machine to where it is today. the line up has settled down over the past couple of years with Daryl and Spags on Guitars, and adman on drums. having released their debut eP Take Your Fight To The Sun early 2010, definitely gave the band good positive momentum. this eP also saw the release of their first video clip supporting the track ‘victory When Misery fails’. clearly being recognised for their abilities, the guys have landed supports for local heavyweights such as Psycroptic and confession over recent times, but the highlight of the band’s career; probably supporting Swedish metallers the haunted in early 2011.

Over the past few months the band has been giving their fans a taste of their new tracks and are in the process of working on a full-length release. Whilst the band has not announced any solid dates, it is bound to be sometime this year. If you haven’t done so yet, do yourself a favour and check out these guys live, their sound is huge. the amount of times I have seen them live, I have never been disappointed (It’s no secret, I have a man crush on this band).

With the growing stock of great heavy bands, these guys are truly achieving great things. With enough exposure to the masses they will no doubt break the shackles of the underground. to witness a band that is at the top of their game, check out Scar the Surface, because in my opinion these guys may well be at the top of the crop when it comes to metal in this land. H

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words Jay Clair

Heavy Alternative Gold Coast, QLD www.ghostatthehelm.com I was introduced to Helm just over two years ago when a good friend of mine suggested I might enjoy these guys. Well, enjoy clearly wasn’t the word. I was absolutely blown away. Totally captivated by the combination of heaviness, atmosphere and beauty, I knew a music love affair was surely on its way.

Lucas Stone, vocalist and guitarist, who is definitely not an amateur to the music game, has been around the local underground scene writing and recording songs for about 21 years. His most notable previous effort was with Tension, which also featured Marc Whitworth of Five Star Prison Cell on drums.

To date, Helm has had three major releases, Vol 1: Keelhaul, Vol 2: The Winter March and most recently the Great Southern Land EP. Stone notes that the continuous hard work of the band as one of their major achievements. It has taken close to ten years for many other local bands to release as much as they have in only three.

Not to mention the 100+ live shows they have played in that same period which is testament to the dedication of this band and to their music.

Helm is a band that clearly respects the art of telling a

latest release

Helm

“they can please many a heavy music fan, with their unique yet wide array of arrangements and styles.” story. You hear the years of musicianship between each and individual song. They come across as intelligent and thoughtful musos. Whilst being amazed by eloquent songs like ‘Release the Eagles’ to all out energy in tracks such as Collapse, it seems that they can please many a heavy music fan, with their unique yet wide array of arrangements and styles. Despite their lengthy songs, there’s never a dull moment.

Whilst gaining a solid underground following, the next step for the band will likely be their national support of The Butterfly Effect. This will coincide with the release of their latest offering Home, including new single Bullet that features Lucius Borich (Cog) on drums.

If you ever get a chance, check these guys out live, I guarantee a jaw dropping experience. You will, without doubt be satisfied by the enormity of their sound. Every Australian heavy music fan should experience the back end of the track ‘Salt’, it exemplifies all that the word HEAVY means. They pull off heavy without being extreme and heavy just for the f**k of it, which is not an easy feat to achieve. H

home by

Helm

independent

In preparation for the release of Volume 3, the band has released their new single, Home.

One noticeable difference in this track, compared to previous releases is Stone’s emphasis on clean vocals. In previous efforts there are usually some elements of dirty vocals, which have been totally abandoned for this track.

Not a bad thing that’s for sure.

Whilst this track is definitely on the softer side of their repertoire, it is still a beautifully put together piece of music that will keep old fans happy and definitely attract a wider range of new fans. ch e ck e m o u t

‘Home’ @YouTube

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laTesT release

I Exist

words Adam Agius photo John hatfield

The Broken passage bY

I exist

Resist RecoRds

Canberra’s I exist are really pushing forward with their latest disc The Broken Passage. the album takes you on a brutal journey and uncovers one of Australia’s hot new hardcore Metal bands. Plenty of twists and turns through ear splitting hardcore, Metal, Stoner and a touch of bluesy coolness.

As this issue of heAVY goes to print the I exist lads are hard at it on the road touring this great country, definitely a must to check out when they’re in your neck of the woods. c h ec k em out

‘Mammoth Falls’ @Myspace

hardcore / Metal / Stoner Canberra, ACt www.facebook.com/iexistband It’S a cOLD WInter’S nIGht In canberra, and it’s a Monday no less! I am driving to the anu to see Doomriders and wondering how dismal the turn out and vibe will be in this unforgiving and uninspiring season?

You see, canberra has a terrible habit of becoming sterile and slow in the colder months, but what is keeping me en-route is the fact that a great local band I exist are supporting the americans tonight.

I first saw I exist a few weeks earlier after a buck’s night no less. as you can imagine I had already consumed a few beers that night and was actually wondering if I would stay awake long enough to catch the band I had heard so much about. Well there was no problem there; as soon as they hit the stage I was bombarded by the three-guitar attack, it was as if I was completely sober. nonetheless I thought it important to catch the band again soon to confirm my feelings.

I arrived at the show and was both surprised and impressed by the turnout. about two hundred people there before any bands had played, on a school night no less. I grabbed myself a beer and went and checked out 4 Dead who I like, but have seen many times before. I was anticipating the return to the stage of I exist, not merely to confirm that they actually impressed me a few weeks

earlier, but the fact there were a whole lot of fans waiting to see them hit the stage. the show was fantastic, a barrage of super heavy catchy riffs, solid rhythm section and some nasty aggro vocals to boot. I felt compelled to speak to someone in the band, so I organised to catch up with Josh nixon, one of the bands three guitarists. On the subject of three guitarists I tell Josh how impressed I am with how well it works. the parts seem to be built up in steps, and although three guitars seems excessive, they certainly don’t get ahead of themselves.

Josh tells me that main songwriter aaron does most of the heavy lifting as far as songwriting is concerned, with the other musicians adding their thing, such as drummer Murph’s structural suggestions and changes. I exist’s latest album The Broken Passage is a great place to start if you want to hear what I’m talking about. the band’s sound is not that easy to qualify. a little hardcore, some aggressive thrashy sounds, and even a bit of sludgy stoner thrown in. My description sounds as if they sound like a musical mongrel, but you really have to hear it to know that it works so well. they almost need to create a new sub-genre to describe them.

The Broken Passage was recorded in february/March 2011 in reservoir victoria at Goatsound Studios, proprietor Jason Pc. (blood Duster). the album was produced and partially engineered by billy anderson who was flown out to australia as a part of I exist’s album budget increase, following their graduation from common bond to resist records. Something they are very grateful for.

I exist are making waves; with albums, mega amount of tours and support slots. they are one of australia’s true rising forces. H

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words Adam Agius

extreme Metal bowral, the Southern highlands of nSW www.facebook.com/norse.official bOWraL’S nOt the SOrt Of tOWn you would associate with ferocious technical metal, but a mate on facebook has just popped a track on my profile.

Pleasantly, it’s not one of those irritating invitations of ‘look at me’ or ‘listen to this’ that turns out to be garbage. Immediately I am blown away with the relentless aggression and precision that these rural new South Welshman deliver, the track is hellstorm from their 2010 album of the same title. after a couple of listens I just had to investigate this blackened death extravaganza. venues are the first thing I question and just how many problems even the bigger cities face when trying to accommodate bands, especially heavy bands. chatting with treelo the bands guitarist and vocalist, I can report that although there is a great lack of venues in the Southern highlands, there are a lot of people interested in live music, be it metal or not, and that the local golf club occasionally puts on shows. Like all bands wanting to expose their music; touring is a must, and norse are aware of this. although they are in the studio recording at the time of this editorial, they will perform a few one

laTesT release

Norse

off shows before embarking on a national tour.

Listening to Hellstorm is not a difficult thing to do, especially if you like to hear musicians really hitting their paces. the music is ferocious, technical and catchy; but not without harmony and balance. It is evident that these fellas have written music as true composers, and by that I don’t mean they have sat down and contrived a certain style just to please their peers, but rather it’s a flowing, building storm that fits naturally together on the disc.

Hellstorm is a very organic album evolving naturally in the norse rehearsal room over the years since 2006.

Originally norse had a more thrashy sound as is heard on their 2006 debut The Unrelenting, but Hellstorm have a more extreme edge now. according to the band members, it was a lot of fun to write. two albums worth of material was written to eventually whittle it down to one full on slab of aussie extreme metal. bowral is a very unique area of nSW and its beautiful natural scenery and forests have given inspiration to a fantastic band, although the intense sound that norse brings forth is almost an opposing contrast to the landscape. Listening to it can conjure up images of bleak dark forests almost akin to some nordic black metal. It’s a strange mix of beautiful scenery, dark atmospheres and powerful motifs. norse will hit the road in 2012 so be sure to check them out at a venue in your hometown. In the meantime, scan over the Qr code here (right) with your smart phone to hear their music. better yet visit their website and order yourself a copy of the awesome Hellstorm. H

hellsTorm bY

Norse

independent

review Olivia reppas After 15 months of ‘studio hibernation’ this extreme metal duo (with the help of session musicians) released their first full-length album in february 2010; recorded and mixed with erik Miehs (the Amenta), and mastered by reece tunbridge at benchmark Mastering (birds of tokyo, Cold Chisel) with the band themselves.

With lyrics often integrating norse mythology and Viking themes, combined with sounds of opulence, this album is a fantastic display of perfectly played, ferociously aggressive extreme metal. ch e ck e m o u t

‘Hellstorm’ @Myspace

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heavy surveillance

Dawn Heist words Mark Lennard

So I’m watching this heavy metal based video clip show on pay TV and a band called Dawn Heist’s video for a song called Nine Worlds comes on. I was impressed with the visuals, the big sound that incorporated electronic elements and the solid, ‘melodic yet brutal’ songwriting. What I didn’t know at the time was Dawn Heist are from the prolific NSW metal scene, they’ve only been around since 2010 and Heavy wanted me to interview them! For a band that hasn’t seen more than a few years of history, they’ve checked more boxes than most fledgling metallers.

In a short year or so the band has written and recently released a well received EP and played support slots for legends The Haunted and Terror (US), the latter including a tour of Indonesia, Singapore and Malaysia… something that bands many years their senior only dream of.

The South East Asian tour is where I started with head growler Pat. For a relatively ‘new’ band, Dawn Heist have already ticked a number of boxes. In March 2011 they toured in South East Asia. I asked them how the tour eventuated and how they found their audiences. Pat explains that South East Asia was

always on the radar because of the amazing culture of heavy music and fans of the genre emerging there, and as a relatively new band, they saw it as the perfect time to capitalise. “The crowds in Asia are insane and really devoted to the scene.

We found out the hard way; punters being crowd surfed to the front and thrown at band members.”

The debut EP Time Wave Zero boasts a big sound and solid songwriting. The key or formula to the songwriting process is based on rhythmic patterns, the building block of every Dawn Heist song to date. The electronic aspect of the band is

used as a tool to create a wider spectrum of sound and fill out the overall mix of the tracks. They are a later addition to every song as the vocals and programming are usually written together to compliment each other and give a different aspect to vocal melodies. Band members are quite big fans of different electronic genres, so it seemed quite natural for them to bring it in to the writing process.

The guys have just finished the video for the single Nine Worlds; something a young band could only wish for in the past. Things have changed now

King Parrot words Christian Doherty

Victoria is renowned for some killer heavy bands, The Red Shore, Five Star Prison Cell, Blood Duster and many more. Come along five scruffy looking dudes with a bludgeoning EP under their belts and a sound more metal than your mamma’s kettle and you’ve got yourself some of the most blistering violent riffage and chuggs packed into a menacing package known as King Parrott.

Spinning this 6-track destroyer of all eardrums in the HEAVY office made for many happy Monday mornings, so we asked Christian Doherty to find out just what these fine gents are all about.

King Parrot is fairly new to the heavy music scene but is certainly making a big impact. Hailing from Melbourne, Victoria and with a cracking EP under their belts, the members and former members of some of Australia’s biggest bands certainly know a thing or two about their craft.

The Stench of Hardcore Pub Trash was released across Australia through Impedance Records and was launched to the masses as King Parrot demolished audiences Australia wide with extensive touring. Their EP is a short, sharp and nonstop

onslaught of some of the most intense tunes to ever be put to tape. Clocking in at less than 15 minutes, this thing is a monster. Amazingly well put together, this is not your typical thrashing, grinding, metal band. They blend complex arrangements with stunning songwriting ability and major hooks; with the result being six catchy as hell tunes that will get you amped and thrashing around your living room. Ari White is a riff

machine and a tone master who knows how to use incredible dynamics in his songwriting. There is even a hint of Dimebag Darrell in his riffing. He is perfectly complemented by the harmonies and melodies of Eddie. The rhythm section is as tight as it gets and fits well together, with Slatts and Rizzo slamming their way through the songs with ease. The drumming on display is as good as I’ve heard in any release ever. Such great accents, fills

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find more new bands at

www.heavymag.com.au of course with access to digital cameras and software. And what was the film clip making experience like? “It was an enjoyable process, the only set back was playing the song over and over and going crazy to it for nine hours straight, I don’t think anyone could walk the next day haha!” Pat says.

“And David from Her Name Is Murder Productions is an amazing artist who just understood exactly what we wanted and how we wanted it to be achieved. It makes the biggest difference when everyone is on the same level creatively”.

The 2012 game plan for Dawn Heist is shaping up to be a huge year of touring as they continue cutting their teeth on the live circuit in Australia and abroad. They’re also aiming for a full-length album in the later half of 2012. “Writing has begun and it is shaping up to be something really special, so we will no doubt be sneaking a few in to our live set as it progresses”.

If you like your metal heavy as f**k but with a sense of melody and atmosphere, keep your dollars in Oz and pick up the Time Wave Zero EP currently available on iTunes and on catalogue order in all good CD stores in Australia, as well as all Dawn Heist live shows. I have no doubt Dawn Heist will be seeing most corners of Australia and beyond during 2012 and I shouldn’t have to tell you… get out and support Australian metal! H c h ec k em out

‘Loki’ @iTunes

and feel which at times are more memorable than the guitar riffs which is difficult to do. And Youngy screams and screeches his way through the violent songs with a ridiculous energy and fierceness which definitely comes across in their live show. Some great topics and lyrics are delivered and even some crowd-friendly and catchy choruses which isn’t usually typical with a band like this.

The guys have stopped at nothing to deliver a brutal, violent and energetic stage show to as many punters as possible around the country and don’t look like slowing any time soon. Since their inception they have gone from strength to strength, getting their live chops up thanks to a ton of shows. They recently released a video to their first song off the EP, Epileptic Butcher, which showcases what the band is all about.

With a new guitarist in tow, as Squiz replaces Eddie, the guys certainly have a bright future ahead of them. Do yourself a favour when King Parrot passes through your town and go and witness the devastating live show and huge, catchy grinding metal machine that these lads are. You will not be disappointed. H

c heck em out

‘Epileptic Butcher’ @YouTube

Nothing Sacred

c h ec k em o u t

‘Deathwish’ @iTunes

words Olivia Reppas

Rising from the developing Melbourne metal underground in 1983, Nothing Sacred were one of the mainstays of the Australian metal scene during the mid-’80s. With a sound that blended the speed of bands like Anthrax with the melody and twin leads of bands like Thin Lizzy and Iron Maiden, Nothing Sacred brought a powerful live presence to the stage. With countless gigs throughout Melbourne’s network of metal venues, multiple tours of Adelaide and Sydney, appearances at the legendary Metal For Melbourne shows in ’83 and ’84, and a headlining performance at Metal For Melbourne ’85, the band cemented its reputation as a hard working, high energy live act.

The core of Nothing Sacred was the trio consisting of vocalist Mick Burnham, bassist Karl Lean and drummer Sham Hughes. Guitarists Mark Woolley and Buddy Snape formed the initial lineup, with Snape replaced in 1986 by George Larin, followed

by Terry Campbell and Richard Bubica replacing Woolley and Larin in ’87.

In 1985, the band released its debut recording, the four-track Deathwish EP featuring the tracks Deathwish and No Rest, iconic songs from the band’s live repertoire.

In 1988, the 12-track album Let Us Prey was released. The album featured cover art by Danish Artist Joe Petagno, the man behind Motorhead’s album covers.

In 1989, the band was booked to open for

Megadeth on the Melbourne leg of their Australian tour, but the gig was cancelled when Megadeth abandoned the tour.

In 1993, the band returned for a tenth anniversary performance, headlining the Metal Foundry gig.

After a 17-year hiatus, Nothing Sacred returned to the stage in 2010 to play a short set. With the Deathwish EP now available digitally for the first time, and with Let Us Prey and Nemesis due for digital release in 2012, there are reliable rumours that the band is set to return to the stage again this year. So keep a look out on our website to avoid missing out on a killer show! H

recommendation

HEAVY STAFFER

WHERE TO FIND THEM

White Cell

Amanda Mason

facebook.com/whitecell

The Creptter Children Julianne Pimenta

facebook.com/#!/thecreptterchildren

Exerthur

Mark Lennard

reverbnation.com/Exerthur

Desecrator

Olivia Reppas

facebook.com/pages/Desecrator/135497793127671

Deprivation

Jeff Schenck

deprivationmetal.bandcamp.com

Crash and Burn

Drew Dedman

myspace.com/crashandburnband

THE CARRIER

Damo Musclecar

myspace.com/thecarrierhc

Scar the Surface

Nicole Makin-Doherty

myspace.com/scarthesurface

The Omega Experiment Peter Hodgson

theomegaexperiment.bandcamp.com/album/karma-ep

Red Sky Burial

Steve Murphy

facebook.com/pages/Red-Sky-Burial/145723188830145

Dirty Elvis

Jay Clair

facebook.com/pages/Dirty-Elvis/116563968385789?ref=ts

The Levitation Hex

Adam Agius

soundcloud.com/levitationhex/scratch-a-life-find-a-thief

House of Thumbs

Rob Brens

facebook.com/#!/houseofthumbs

zyphoyd

Olivia Reppas

facebook.com/pages/Zyphoyd/165991443475850

akaname

Craig Fryers

facebook.com/pages/Akaname/52360874580

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Mark Morton

Photo by Heidi Takla, Adelheide Photography

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see more now

www.mrfrumpy.com.com

Mr Frumpy Goes Old School

Silk screen prints are re-emerging stronger than ever within the live music scene. Like vinyl to cds, the old school style is becoming more popular with music fans and collectors who are after something rare and unique to remember their gig going experience. words Anthony Moore prints Rhys Cooper, Rad & Lex Waterreus

I

t’s been evident at venues a lot more people are carrying around prints instead of ‘tour’ shirts. Bands that would historically have shirts with dates on the back seem to have increased their stock of standard styles that are also available after touring. Is this impacting on the resurgence of the prints? Is it that there are more artists and bands having them made?

Whatever the reasoning behind it, collectors are obsessively picking up prints wherever and whenever they can.

Some follow the artist and some the technique, but more often than not, you will see a line as soon as you walk into a gig at the merch table with punters asking how many were made and if there is a colour variant.

Artist Rhys Cooper who has them made both by hand and machine screens believes they are certainly making a comeback. “Nothing beats going to see a great show and getting to walk away with a piece of art that captures that band and the memories you have from the show.”

He gets his inspiration from the bands and looks forward to working with those he loves. “You already have that emotional connection and just need to represent it visually. It might be an album or a certain lyric that triggers an idea but it should relate to the band.” This is what

fans are connecting with, the artist’s love for the music, the thought behind it and the personal touch.

Lex from Mr Frumpy also believes that the exclusivity is what’s making punters hungrier for more. “I think people just want something the band can sign and put on their wall. The biggest mistake a band makes is not having a great unique shirt for their tour. That is what makes people want to get a poster. It won’t be available after the show.” Their prints are only done in runs of usually 80-100.

This guarantees that those who are there to support the band are also rewarded with getting their hands on the limited piece of art before anyone else. A lot of the time they’re sold out even before the tour ends.

Both work with silk screen and limited rather than open editions, the former being rarer as they are signed by the artist and a numbered limited run. Rhys, who has been designing since 2003, prefers to use machine based screening for work where he can achieve some very detailed line work. However, there are benefits to using the older fashioned hand screens. “It’s easier to use specialty inks like glow in the dark and custom or coloured papers when done by hand; [it] also allows you to print on other materials like wood or even metal.”

Lex likes to get in there and get his hands dirty. When Mr Frumpy started around ten years ago by brothers Rad and Lex Waterreus, they shared a love for doing everything themselves. Sometimes it’s the little imperfections that accidently happen that can make the end result even rarer. “Silkscreen is hands in ink. You can change on the fly, alter the colours as you go, print onto mediums that are interesting. You can easily screw up a run of posters but that said you also learn cool stuff from the mistakes.

I guess I like the prints you get where there’s a bit of ink on the back or a thumbprint.”

Next time you’re at a gig take note of what people are carrying in their hands. If it’s a limited edition print, please be really careful with your drink. Even though those little imperfections may double the price, beer spilled all over them doesn’t. H

“You already have that emotional connection and just need to represent it visually. It might be an album or a certain lyric that triggers an idea but it should relate to the band.”

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melissa’s a-graders LaMb of God Randy Blythe sLipKnot Corey Taylor shadows faLL Brian Fair EvEry tiME i diE Keith Buckley God forbid Byron Davis arCh EnEMy Angela Gossow

Melissa Cross

Melissa Cross is to modern rock and heavy metal what Gloria Bennett was to Axl Rose. Defined as New York City’s most forward thinking vocal coach, Melissa focuses on fusing personal experience into her innovative technique in heavy metal vocals.

UnEarth Trevor Phipps aLL that rEMains Philip Labonte distUrbEd David Draiman

siCK of it aLL Lou Koller God forbid Byron Davis brinG ME thE horiZon Oliver Sykes ChiMaira Mark Hunter

words Olivia Reppas photo courtesy of Melissa Cross

S

ince developing a solution to correct rock vocal technique Melissa is responsible for elites, Angela Gossaw (Arch Enemy), Keith Buckley (Everytime I Die), Randy Blythe (Lamb of God) and countless more. Olivia Reppas was lucky enough to get the drop on the mother of all kings and queens of scream.

randy Blythe was teacher’s pet

Originally classically trained, you are now vocal coach to many of the industries top frontmen and women. How has heavy metal influenced your musical style?

All music has been an influence for me since I was a small child. However it wasn’t until the angst of my adolescence where heavy metal actually seemed a saving grace. It started out with The Beatles, Beethoven, Maurice Ravel, The Who, Janice Joplin, Led Zeppelin, DEVO, then Elvis Costello, The Clash, Souisixe and the Banshees (the whole new wave thing in London, New York and California). Then Nirvana, Soundgarden, Le Mystere des Voix Bulgares, Talk Talk, The Dillinger Escape Plan, Lamb Of God, Kashmir, and a million more. I could go on and on.

You are a prominent female figure among musicians worldwide, growing up, were there any empowering women that stood out in your mind?

When I was young I lip-synced constantly to Janice Joplin, however it wasn’t until Joni Mitchell when I actually learned to play guitar and sing and write songs. She was complete and sincere, no holding back, a pedal to the metal expression of her feelings, feelings that I had and longed to express.

“I put cameras down my throat at the doctor’s offIce and took notes as I saw my cords execute certaIn thIngs…”

photo by John Raptis

UndEroath Spencer Chamberlain

How do you describe your work to people who are not familiar with heavy metal ‘extreme growling and screaming’ vocals?

I use a classically based technique to help people create a sound that has formerly been considered blasphemy. I teach them how to do it without hurting themselves, so that they can go on and make a living without compromising their raw power and style.

You have a strong background in traditional opera, describe your transition to the dark side.

I knew from avery early age that I was destined to be a performer and I strived to excellence in all the training that I received.

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“I use a classIcally based technIque to help people create a sound that has formerly been consIdered blasphemy.”

The only thing available at the time I was searching was classical music training. Although I love the opera, I was a rock girl from age seven. However, I thought that’s what you did for fun, I associated classical training as hard work, and therefore more towards achieving a goal. Rock was too easy and too much fun to ever dream of making a living at it.

So when I joined my first punk band in 1979, none of that training had any relevance whatsoever. One time, I blew my voice out at CBGB’s, had to shut up for six months.

During that time I discovered the key that unlocked classical training and made it relevant to more extreme vocal expression. Having that ‘key’ delivered to me by whomever/whatever, is the gift that I transmit to all my clients.

Really, I am just a messenger. A messenger with a lot of study, hard work, and enthusiasm for the mechanics of voice production that makes me who I am and what I do.

What drove that change in focus?

The speech therapy that I underwent and the academic pursuit of knowledge that not only helped me fix a vocal injury without surgery, but also allowed me to see the relevance of classical training to rock, via the speaking voice as opposed to the singing voice. Adding classical resonance to speech was the beginning of my studies towards more complicated mechanisms such as that for screaming. I put cameras down my throat at the Doctor’s office and took notes as I saw my cords execute certain things. One day, an old friend brought in a client he was producing in his basement. I heard the sound and I took the challenge of how to recreate the sound without damage. That client was the first singer for Killswitch Engage, Jesse Leach, before they were signed. As the genre grew so did my teaching experience and my knowledge.

What were people’s reactions to you transitioning from traditional opera, to growling and screaming vocals? Going from something that is very feminine to a very masculine/aggressive delivery of vocals?

When I made this transformation, I was living in New York. Nobody gives a shit about anything in New York.

Everybody thinks they are a star, so this it’s a case of anything goes in New York. Perhaps this might have been an issue if in a more remote place. I was never doing opera publicly in New York. It was all performing to me. I was doing Janice in the clubs, perhaps it was a little more butch at the time, but I have always been tough, and a loner and I have never been a ‘girly girl’ except maybe when I was playing with Barbie dolls at six.

Did you always know you’d be working in this capacity in ‘some’ way? Was it something you just ‘knew’?

As the phenomena began to unfold, I became distinctly aware of being in the right place at the right time to deliver a much-needed solution. In hindsight, I see how the universe was cultivating me for the job from very early on.

(Laughter) I must admit there are two things that gave me the thumbs up that I always desired. One of them was having a baby, having my son. The other was The Zen Of Screaming. As Lady GaGa put it recently in an interview “I’m Lady GaGa, deal with it, Bitch!” I don’t put up with as much shit as I used to and therefore, less shit comes up.

We know you’re responsible for some of the biggest names in heavy music, can you give us the lowdown on how they came to call upon your services?

The metal community is tight. Because of that, word of mouth is very powerful. Not to mention, the fact that a solution was needed and I was one of the few that was willing to figure it out and pass it on.

As we know, many vocalists who front successful metal bands across the globe are men, however I have also noticed a healthy increase in women growlers and screamers in the past few years.

Do you think is it becoming more widely accepted?

It is because there are women like you who are out there and can help other women reach their potential?

Is it because there are more women fronting brutal metal bands (eg. Arch Enemy) that gives other women the confidence to give it a go?

Widely accepted is not something I would ever describe metal as. Already the genre steps outside the box in itself.

Your DVDs the Zen of screaming 1 & 2 are considered bibles! How does that make you feel, as a woman, to be the one person the ‘big boys’ of metal vocals come to for training?

above: Queen of scream, melissa Cross. if you’re a metal/hard rock singer/screamer – of either sex – then you really ought to hear what this women has to say. Your vocal cords will thank you in years to come.

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“musIc has always pulled me through any challenge. musIc Is a box I lIve In; whatever challenge I have, fIndIng the InspIratIon In a good record always puts It In perspectIve…” Have you had an increase in women vocalists contacting you?

Yes, most definitely. However, I would say its still one in ten. That would probably be because this shit is hard to do! It takes a stamina that women are definitely capable of, however they’re not prone to it because they don’t have to be. It’s much easier to have the tab picked up by some dude with a gold card, if you get what I mean.

The younger metal kids are far more accepting of women in metal. From my point of view prejudice against women in music was highly prevalent in the ’80s and ’90s but something is turning around with not only music related gender bigotry, but in general. I think that because more women have entered the workforce in its entirety that closed-mindedness is obsolete. However in some of the more extreme death metal bands, particularly in countries that are still prone to misogyny in Europe, there will be an element of that by virtue of the way the boys were brought up, and all it takes is a toughness aka Angela Gossow, and a genuinely great performance equal to that of the male counterpart which blows it out of the water.

I know Angela puts up with a lot less shit than she used to, hence “I’m Angela Gossow, deal with it Bitch”. Krysta Cameron from I Wrestled a Bear Once has one of the most exciting voices I have ever heard. She is very young and seems oblivious to any kind of gender bashing. She doesn’t appear to be overly masculine, but when she opens her mouth it is something for any male or female to contend with. Maria Brink, from In This Moment also delivers a brutality, however she wears lace and ruffles on purpose to perhaps accentuate the unspoken irony.

Candace form Walls Of Jericho rips across the stage like some Olympic champion wrestler in defiance of the unspoken irony. Sometimes that works and sometimes it doesn’t. I would say just being the best performer you can be is the best medicine. Being the best musician that you can be is not buying your look or your sound from Hot Topic or any other preconceived social misunderstanding. I say “I’m so and so, deal with it, Bitch”, is enough to carry one through.

melissa Cross with Bring me the horizon vocalist, oli sykes.

What can women (who are not based in the US) do to get some vocal training from you?

They can call or email my office and set up a lesson via Skype. I have regular clients in Australia. We can work it out; it’s not a problem.

Have you faced any challenges as a woman in the extreme music world?

The only challenges I experience are those that I put upon myself. Because I offer a service, people come to me for that service and not to challenge me. They come to me for help.

Were your abilities ever questioned? Or did you have great support and encouragement?

My abilities were never questioned except for perhaps by deadbeat bloggers who have nothing better to do but tear things apart for no reason (you know the type). Because it was clear that I was genuinely there to help and learn at the same time. My clients become my partners in discovery.

We learn together.

How did you overcome them if there were any challenges? What kept you going? Your love for music? To prove that you could do it…?

Music has always pulled me through any challenge. Music is a box I live in; whatever challenge I have, finding the inspiration in a good record always puts it in perspective.

What advice would you give to young women who dream of working in the heavy metal world (either behind the scenes or as a performer) but do not know where to start?

The advice I would give is to make a very educated vision of how you would be most useful in the genre. Behave as though that vision were already a reality. For instance, if a woman feels that her best contribution would be as a lead singer then she should embark upon an agenda with realistic pictures attached with short and long-term goals. The short-term goals would be contingent on the location of the woman who obviously, living in Melbourne might be a little easier than say the middle of the desert. Keeping your eye on a vision and behaving as though that vision is a reality and being grateful for it is the way to go.

the zen of sCreaming

My self-consciousness was thrown out the door when I attempted to follow Melissa Cross’ instructions from The Zen of Screaming 1 & 2. An old housemate and I would put on the DVD almost daily and give it a bash, realising that this is not something for the faint-hearted (to deliver or even listen to if you were a neighbour). Imitating Randy Blythe and Angela Gossow was our apex. So even if you are not a musician or vocalist (which I am neither) it really helps you understand and appreciate the whole process of how NOT to annihilate your vocal cords, but instead make them as hard as f**k.

The DVDs are full of helpful hints, detailed instructions and solutions to problems that screamers face in achieving their brutal dreams. The benefits of her skills are reinforced by the myriad of top-notch performers throughout the DVD. If you are at all serious about your career as an extreme vocalist (and want to last the distance), you really need this DVD… and get ready to pull some weird-arse facial expressions in the process!

Who is your favourite woman singer in metal today, and why?

There are actually two. One would be Angela Gossow for her discipline, her business savvy, her tenacity, her openmindedness and willingness to learn is unprecedented.

Secondly, Krysta Cameron for bringing in her entire being and all of her sounds, singing and screaming in such a beautiful way. H

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photo by Amped photogrAphy hAir & mAkeup by Sue Frey

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Crystal Ignite

A raven-haired lass with porcelain skin and lips so red they’d set your soul on fire. But beneath Crystal Ignite’s pretty veneer is a fiery passion of a strong willed and independent woman who has seen her share of darkness.

words Sheri Tantawy & Olivia Reppas

photo by ShAdowzone pgotogrAphy

I

t’s 9:30am on a Tuesday afternoon; I politely thank Crystal for the opportunity to meet with me so early in the day. Her dark eyes fixate on mine, and the corner of her mouth curls into a soft smile. “It’s my absolute pleasure.” She responds with self-assured confidence.

When asked to describe the music of Bellusira, Crystal coins the term powerful, melodic rock.

“In essence, it is so much more. It’s an emotive fusion of heart wrenching melodies and strong dominant rhythm sections. We sit down as a band and bring together the ideas that define our sound, sometimes it’s a guitar part, or something Mark (bass) and I have come up with on acoustic guitar, sometimes the songs come from vocal parts I have written and we just jam it out together. We have recently had Vinny our new guitarist join the band and have found that we have a very strong connection to him with writing – he just get’s it. Once I have written the vocal melody I write the lyrics.

It’s the music that inspires what I choose for the lyrics, as lyrics are there to translate the music into language”.

Unlike many rock bands within the genre, Bellusira’s style is defined by the positive nature of the music’s lyrical content, to which Crystal is accountable for.

“Our themes convey real emotions and provoke thoughts deeper than the lollipop lyrics you hear on commercial radio.”

“So, you write lyrics to empower listeners?”

I muse.

“I write lyrics for change. I don’t want our listeners to wallow in sadness, these lyrics are of hope and positivity,” Crystal replies earnestly, “We all know how dire the global situation is at the moment but I would rather focus on what we can do about it as opposed to commenting on it’s futility.”

Yet there was a time when Crystal’s outlook was not so positive, she recalls a time in her childhood when circumstances were rough, “Something inside of me told me I needed to be part of the change.

I have always believed that one person can change the world and I knew that I had the strength to overcome the trials and tribulations.”

“Did you always know you’d be working in the music industry as a performer?”

“I have always wanted to become a role model for women. I needed to write music to inspire others to plough through the obstacles and win the challenge without losing hope. I also want to show women that they don’t need to dress cheap to get attention, that you can be strong and powerful without selling yourself short.”

Crystal recalls a time in her life when she had nothing, not even freedom, “It’s something so

many of us take for granted, yet we forget just how privileged we are. That word freedom, is our right but it is also a luxury,” she takes a moment and glances out the glass doors of the media room we are sitting in as a passerby catches her peripheral vision, “But… I always had my voice and when I sing it is a release for my soul. It does something to my body and is better than any drug. I knew then what I needed to do, and I have sacrificed everything to follow this dream.”

Although heavy metal music was not her sole influence, the band itself is influenced by different genres and doesn’t succumb to one specific style or trend. When drawing inspiration from the abundance of musical sources, metal is one of them.

From Michael Jackson to Karnivool to Rage Against the Machine, her focus is always upon incredible front people and stage performers with unique vocal abilities and passionate opinions.

Growing up she sought the ingenuity of female artists like Annie Lennox, Tina Turner, Chrissy Amphlett and Cyndi Lauper. Their strong powerful voices are what drew her to them. “My partner introduced me to Tarrie B, but most of my influences in heavy music have always been men and let’s face it, there are not nearly enough female fronted outfits out there to be influenced by. It’s a real shame. We need to start asking ourselves, why is that?”

Crystal claims that the game is male dominated.

Starting out she has experienced the ‘show me what you’ve got’ attitude from the wider audience many times when taking the stage, “I’ve been heckled a few times but it only drives me to perform harder.

There is nothing I dislike more than sexism so

I love going against the grain and going against stereotypes.”

When the band first took shape, Crystal told her band mates that they would be disadvantaged with a female front, and they were.

“We had to work ten times harder than every other band just to get half as far as they. We wrote to the bigger Melbourne bands to ask for supports but they wouldn’t give us the time of day. In the long run it was always going to be our biggest virtue – finally, it is.”

It’s hard to believe that the industry she refers to exists in the 21st century, yet sexism is real and it is just as alive in the music industry as anywhere else. The sexualisation of recording artists, namely women, to sell records is the focus of any musical enterprise involving female artists. Yet despite the growing number of talentless T’n’A showcases that infiltrate the industry, one only needs to look to artists like Tarrie B, Otep and Angela Gossow who are renowned for their talent first, strong opinions second and sexuality last. More and more females are jumping to the forefront in the Americas, Asia, UK and Europe; perhaps it’s our own sunburnt country that needs to catch up.

“Don’t get me wrong, more and more young women are getting involved and making themselves heard. I just want to see more Australian women showcasing their talents above all, image is always important but your performance has to have substance. The industry should not be about ego, it should always be about your passionate intent and musical integrity. If I could give one piece of advice it would be to follow your heart.”

The definition of success often lies with what society deems successful. Wealth and material possessions are synonymous with the term, but for Bellusira success lies within their passion, stepping on stage and giving it their all to sold out audiences.

“I want our band to be one of the top musical outfits in the world, and I whole-heartedly believe our music could be the change the world needs.”

Determined not to be silenced and to not back down, Crystal’s grasp on her drive and ambition to become a leading voice in the Australian industry remains firm, and it’s the love of the punters that picks her up in her darkest hours, “The feedback I get from fans is amazing, I hope they all know their words inspire me everyday. I can’t live without music; it’s what kept me alive when I had nothing.

No one could ever take away my voice.” H

“I can’t lIve wIthout musIc, It’s what kept me alIve when I had nothIng.” 51

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3/1/12 6:19:53 PM

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3/1/12 6:20:54 PM

sebastian bach For over 20 years, since the rambunctious days of Skid Row, Sebastian Bach’s name has been synonymous with the great vocalists of heavy music.

words Damo Musclecar & Christian Doherty photos Clay Patrick McBride

S

ince fronting ’80s rockers Skid Row, appearing on the Gilmore Girls, tearing up Broadway and fronting his own solo band which delivered us the amazing Angel Down in 2007, Bach’s songwriting has improved in leaps and bounds. Now, four years later, he is back, kicking and screaming through his finest hour yet.

HEAVY’s own Damo Musclecar was surprised to hear Bach was in high spirits so soon after losing everything when his house and belongings were destroyed by Hurricane Irene.

“Yeah, I’m in New Jersey right now dealing with a bunch of garbage from this hurricane. I know you guys in Australia know all about floods and fires and natural disasters, you never think it could happen to you and then it does. That’s what I’m dealing with right now but I’ve also got a brand new record coming out and I’m very happy about that.”

“All I’ve ever done my whole career is make CDs and songs and music that I personally like. I could not be happier with this record. It’s like the classic sound of my voice but with a modern day production.”

Bach leads a busy life so you have to wonder where he gets time to fit everything in. Sometimes when you are strapped for time you may need to enlist the help of some friends to help get you started with a new project.

‘The first song I put together for the album was Tunnel Vision that John 5 (Rob Zombie) sent me the music for. John 5 is a big fan and he said “Sebastian, I’d love to write a song to get your voice back on the radio”, I don’t know if it will get on the radio but I love the song, it’s very cool with great riffs.”

Since Bach started writing songs for his band he has been through a few different lineups, as do most bands. But the newest partnership with guitarist Nick Sterling seems to have fired him up like never before.

“When Nick Sterling joined the band, he brought so much music that it was astonishing. He brought all of the riffs that he ever wrote and I’m very lucky to have him in the band. He’s very prolific and I love writing songs with him and I really feel I have found the best guitar player I have ever worked with in Nick Sterling. I’m very happy to have him in the band.”

Something that Bach had not done in a long time was release an album on vinyl.

“Yes, this album is coming out on vinyl and that’s incredible in this day and age for me to design a gatefold sleeve. It’s the first vinyl album I’ve put out since 1990. I wanna see the album cover all blown up big and colourful.

It’s gonna be great.”

With so much going on in Bach’s life and having to deal with a hurricane, he could be forgiven for rushing the record to get it out there. But this wasn’t the case at all…

“We actually spent a long time. We entered the studio in mid-February 2011 and we finished on my birthday, April 3rd.

Then we came back and mastered in late May or early June.

We spent over a month just recording. I’ve been competing with the Skid Row records that you guys have been listening to, the whole world has been listening to, for over 20 years so any record I do, I’m trying to make a record that conceivably you could be listening to decades from now because I know you’ll be listening to 18 & Life decades from now as well.

I don’t wanna release anything that’s not up to that quality and I really believe this record stands up.”

How does someone keep going and remain so positive even though they have just had their house destroyed by a hurricane?

“I guess the age-old saying that ‘music is my life and will always pull me through’ would really be tested at a time like this. I’m living in a temporary house here and it’s not what I’m used to. My house was amazing. But at the same time, it’s just things that you lose and you just have to keep going; nobody was hurt, everybody made it out so what can you do? Rock’n’roll is supposed to be like an escape from the shit that gets you down, and believe me I’m escaping into it. And I can’t believe some of the lyrics; one of the songs is called As Long As I Got The Music… Nothing Bothers Me and I was listening to that yesterday and I was like ‘well okay, now you gotta put that theory to the test’. So I got the music and that’s pretty much all I got right now. It’s all I need, really, that’s the way it feels… definitely.” H

latest release

heavy legend

kicking & screaming by

sebastian bach

frontiers records / riot!

review Damo Musclecar After signing with Italian label, Frontiers Records in 2001, Sebastian Bach quickly headed into the studio to bang out his latest opus. Kicking & Screaming was produced by Bob Marlette (Black Sabbath, Atreyu) and, alongside Bach, features the guitar talents of Nick Sterling and drummer Bobby Jarzombek. The result is a heavy rock album packed full of metal riffs and Bach’s powerful vocals.

Think of the missing gap between Skid Row’s Slave To The Grind and his previous solo album from 2007, Angel Down.

By no means a step back, Kicking & Screaming is a huge leap forward and showcases Bach at his utmost best.

Whether he’s unleashing his unmistakable scream or serenading you with a ballad, this album stands tall. Standout tracks: Kicking & Screaming, My Own Worst Enemy, As Long As I Got The Music, Dirty Power and Wishin’. t h e s tan d o u t

‘Kicking & screaming’ @itunes

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3/1/12 6:20:56 PM

heavyfeature

Psycroptic With a catalogue showcasing some of Australia’s finest technical death metal, and touring with some of the biggest names in the genre, Psycroptic has become a metal household name.

Well, we are always learning how to do things better – what to do, what not to do, and so on… but, from the start we had the belief that if you want something done, do it yourself. It’s simple – you want people to hear your music – book gigs anywhere you can, promote your band to as many people as possible and so on, using as many different mediums as possible. Put yourself in the shoes of the fan and ask “how do I get my music out to someone like me?”

interview Rob Brens photo Brady at Stygian Design

What are some of the biggest hurdles the band has had to overcome since its formation?

Being able to find the time to work and tour… we don’t make a living out of the band and touring is very expensive, so it can put a lot of strain on many areas of your life. Getting that balance right can be tough. Also, the isolation we have being from Tasmania has been difficult to overcome – it’s a financial stress. We worked out that we could probably quite easily live off the music if we were from the US or Europe. Coming from Tasmania is a different story. We have to spend up to $30-$40,000 each year in airfares alone. But, in saying that, the band wouldn’t relocate.

P

sycroptic is a band that needs little introduction these days. Although the boys are local and home-grown it’s almost impossible to catch them on a break from writing and touring. We knew that drumming extraordinaire and businessman Dave Haley wouldn’t resist the chance to talk metal 101 with our own drumming prodigy Rob Brens.

Looking back in your early days, did you imagine the band would be where it is now?

We didn’t really have any expectations as to where we would be or what we would be doing. We just did things one step at a time. There wasn’t (and still isn’t) any grand plan. We just play music, do cool tours when we get offered them and so on.

So no, we didn’t have any idea we would still be doing it.

After four albums, a live DVD and a nice collection of tours under your belt, how would you describe Psycroptic’s current situation?

Yeah it’s all good. We are just about to release our new album, which I think is our best work yet.

Things are cool, and we are just figuring out what tours we can do and when. We all work, Peppo has a family so we have to work around ‘real life’ stuff with touring, etc. As a band we are happy with what we are doing and proud of what we have achieved.

Aside from the music itself, what other aspects would you attribute to the band’s current successes?

I like to think we put on a good show, which makes people want to come back and check us out.

Dunno… we definitely aren’t a ‘cool’ band, or aligned with any scenes or anything like that which often makes bands popular. We just do what we do.

In terms of the administrative side of things with the band, did you guys have an idea of how to approach business (gigs, promo etc)?

Or was there a lot of trial and error? What were some things you picked up along the way that you could pass on to younger bands trying to find their feet?

Other than the music itself, what are other considerations that go into your live show in regards to mixing, lighting, etc? Is that something you guys have a hand in or do you leave that in the capable hands of your crew?

Crew? What’s that? Haha. We have our ever-faithful sound man Michael Summerton who comes with

Are there many bands you guys listen to that aren’t metal? If so, do they influence the band’s sound in any way? How so?

Tonnes! Heaps of stuff! Everyone in the band listens to a wide range of music, and yes it does have an influence. It probably influences song structure and the melodic aspects of our music most. Joe, who is our main songwriter, doesn’t listen to much metal at all these days.

As you listen to each album, you can really hear your own unique voice as a band developing. What do you think has helped shape that?

Our varied, constant changing tastes in music.

Doing the same album over and over again doesn’t make any sense to us…so I guess that is really the driving force behind it all. We love to create new music and challenge ourselves, so by evolving musically we satisfy that need.

The style of music that Psycroptic plays demands a really tight performance. Other than just running through the songs, are there any particular methods you guys employ in rehearsal to help tighten things up?

No, not really. We all try to practice our instruments outside of jamming/rehearsal…but we just run through the songs before we go on tour and that’s about it. Instead of practicing once a week, every week…we practice for about a week solid before touring to get things up to speed. When we haven’t got gigs booked, we don’t rehearse.

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3/1/12 6:21:55 PM

listen now

‘Carriers of the Plague’ @SoundCloud From Psycroptic’s upcoming album The Inherited Repression out Feb 2012 through Nuclear Blast Records us whenever we tour, but we don’t have any crew so to speak. We just use who is there on the night for lights haha. We put up the banners ourselves before the doors open, and set up all our own equipment.

How did the idea for the live DVD come about?

Was there much of a learning curve in terms of how it was produced?

We just thought it was about time we did one…we spoke to Will Gaffney (the producer) and he was into doing it, so we made it happen. Will and Mick took care of everything on the day of the show, and Will looked after piecing it all together from the footage we had given him. We just said “make it entertaining to watch, for people who might not be into the band”…which he did. The results are pretty cool!

What are some current metal bands that you really feel are leading the charge at the moment?

Anyone who is doing something creatively different and staying true to artistic merit. There aren’t many bands that I’m into at present as I’m not a big fan of the super pro-tooled and compressed death metal sound that’s happening at the moment. I really like the new albums from bands like Kvelertak and Lockup…but I seem to be going through a bit of an old school phase at the moment. It changes all the time…

Are there things, whether it’s in recording, business, touring, writing etc. that you’ll be approaching differently in the future?

Yes, for sure, each one of those elements… it always changes. When we learn stuff as a band or as an individual, it always affects every other element in your musical pursuits… or just life in general. So it’s very hard to pinpoint just one element. You have to always change and adjust your game depending on the cards you get dealt.

Musically, what can people expect from the next Psycroptic offering?

It’s a very diverse, heavy and catchy album. It’s a progression from our last album [Observant], but I think we have pushed the groove aspect a lot more. It’s a little darker as well. It’s a very unique sounding album and we’re very proud of it. H

“EvEryonE in thE band listEns to a widE rangE of music, and yEs it doEs havE an influEncE. it probably influEncEs song structurE and thE mElodic aspEcts of our music most…”

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3/1/12 6:21:59 PM

heavyfeature

Children of Bo d HEAVY speaks with Children Of Bodom keyboardist, Janne Wirman, about life in a Finnish death metal band and his love for Britney Spears… words Nicole Yakimov live photo Julianne Pimenta

I

n 1993 in a city called Espoo, Finland, a young Alexi Laiho and his long time friend Jaska Raatikainen embarked on a journey that would see them win countless awards and tour the world as the Finnish death metal band we know today as Children Of Bodom.

Beginning life as ‘Inearthed’, they signed to Shiver Records, a small Belgian Label intending to release their debut album Something Wild.

Interest from a larger label, Spinefarm Records, had ‘Inearthed’ eager to jump ship but their band name was held in a contractual agreement with Shiver, forcing them to find a new name.

And what better place to search than the local

phone book which brought to their attention; Lake Bodom, where three teens were brutally murdered in 1960. The stigma attached to the name Bodom, resonated with the teenage band members who compiled a list of potential band names that incorporated ‘Bodom’, eventually spawning the name.

Recently I was fortunate enough to chat with COB keyboardist Janne Wirman, about almost everything, from his musical roots to the evolution of COB. I’m interested to know about the path you have taken to find yourself as the keyboardist

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3/1/12 10:37:31 PM

listen now

o dom in a metal band? Tell me about your musical background and what inspired you down the metal path.

I started playing piano when I was five. I studied at the Helsinki Pop & Jazz Conservatory for six years, obtaining degrees in music theory. Near the end of my studies, Jaska, the drummer asked me if I would like to try out for a heavy metal band.

I was like “sure, I’ll try that!” I was only meant to play on the first album and they’d find someone else. I got stuck and got more into heavy metal music. I started to check out bands that had proper keyboard players. Some bands who really inspired me were early Yngwie Malmsteen, Jens Johansson from Stratovarious, early Ozzy – he always had the best guitar players like Jake E. Lee. I listened to lots of Alice Cooper back in the day and all kinds of weird stuff!

So after sending you to piano lessons and to the Pop and Jazz Conservatory, how do your parents feel about the style of music you chose to pursue?

My parents are really proud of me and everything the band has achieved, of being a sorry arsed, Finnish punk metal band (laughs). To be doing this for a living and touring the world. Both my parents are really into music and are always very supportive.

You mentioned that you weren’t meant to be a permanent fixture in the band, was that hard? Did you feel like you had to prove yourself or was it comfortable from the start?

I didn’t feel a part of the band immediately, but around the time of the second album we all realised that it would be a good thing if I just stayed!

You would later find yourself doing session work with German power metal band; ‘Masterplan’ who offered you a full time position which you turned down. Why? A lot of reasons really, COB are such a tight family. We’ve had the same line up except for one member change since 2007. We are on tour so much that the guys are pretty much my only and best friends, there’s little chance of meeting anyone being on tour all the time! It was pretty obvious that I had to stay with COB.

‘Are You Dead Yet?’ @iTunes From Children Of Bodom’s latest album Are You Dead Yet?

“When we started, we were kids and didn’t understand shit about shit…” phase? Was there extra pressure to sustain this success or did making such a mark bring you some sort of relaxed comfort?

I agree that the credentials were a breaking point and I think that album was the one that really defined our style. A lot of the previous albums had neo-classical elements that we got tired of.

In that sense, I think Hate Crew Deathroll was a really important album. When starting a new album there is always pressure to produce the best you can, but I don’t think that particular album created extra pressure, it really got things happening for us.

2003 also saw COB embark on their first world tour which I imagine would have been both physically and emotionally draining. How did Alexander’s mid-tour departure affect the band?

It was really unfortunate and yeah it happened mid-tour, so we freaked out about what we were going to do. Luckily we found Roope – he actually offered us his services. He said he could fill in while we looked for someone else but pretty soon we realised we weren’t going to find anyone else more suitable or capable than Roope so it kind of worked out well.

And it felt natural?

It was actually very natural, we were friends with Roope, and we all knew him. What’s really funny is that he was like a legend; he is older than us and played in a legendary Finnish band. We all looked up to him and figured it would be really cool if he joined us and saved us from that situation.

more time on the writing process and had to postpone studio sessions, which caused the release date to be pushed back about four months. I’m glad we did, because it came out great.

You brought in producer Matt Hyde for this album. How was it working with him and how did having his input vary from recording previous albums?

We were pretty much anti-producer until we worked with Matt. We have always recorded the songs in the studio ourselves and felt we didn’t need a producer, but working with him was really easy. He is a super nice guy and he managed to push out the very best performances from all of us. We worked really hard – there wasn’t drinking and partying like it usually is with us. We actually worked hard in the studio this time!

Knowing what you know now and looking back over the life of COB, is there anything you would have done differently?

I’m sure there are a couple of things but there are no regrets. When we started, we were kids and didn’t understand shit about shit. Now we are grown up and we know something about music, life and the world. There are a couple of things but all pretty minor. But there’s nothing major I would change in what we’ve done. H

Are COB big fans of Britney Spears?!

I am! For sure! I think I am probably the biggest Britney fan in the band and I will take all the blame and credit for the Britney Spears cover [I Did It Again]. It was my idea! (laughs)

Well I had never heard of Masterplan....so, good choice! (laughs)

The 2005 release of Are You Dead Yet gathered mixed reviews. Was it a conscious decision to introduce something new?

Yeah a little bit... I think we tried to force it; it was maybe a little too conscious. With previous albums, we didn’t think about it too much and the music came naturally and I think it shows.

You can hear it. We were trying to do something different and it kind of didn’t work out 100%, but in saying that, some of our best live songs are off that album.

2003 was a rollercoaster year for COB, you released Hate Crew Deathroll, which gained gold album status and were awarded Finnish Band of the Year at the Finnish Metal Music Awards. What sort of effect did these accolades have on taking the band into the next

What can you tell me about the writing and recording process for Relentless, Reckless, Forever?

We took a bit more time than we would usually because we wanted to write a killer album, so it took longer to get the songs together. We spent

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3/1/12 10:37:34 PM

metalrewind

Buffalo Chances are you’re too young to know who Dave Tice is.

Let HEAVY give you an Aussie rock history lesson as we introduce you to Australia’s first heavy metal band. interview Jay Clair photos Aztec Music

T

his segment of HEAVY is dedicated to looking back into the Australian metal underground scene which, although hard to believe, is celebrating its 40th anniversary this year.

So looking way back to the early Seventies when it all started, the most common name being thrown around as the first metal band in Australia was Buffalo, a band originating out of Sydney.

The band, originally called ‘Head’ changed the name because their first agent told them he couldn’t work with a band with that name; apparently all the bad connotations were too much for him to bear. So he suggested the formula for a great band at the time, was a name beginning with ‘B’; eg. (The) Beatles, (The) Beach Boys. Out came the map of Australia and a game of pin the tail on the donkey ensued with the name closest to the pin beginning with B to be the new name. That town’s name happened to be Buffalo.

As Dave Tice (Vocals and Guitar) explains, ‘it seemed to suit our music, so that was it’. I caught up with Dave to better understand what the underground scene was like forty years ago.

I’ve read in numerous places that Buffalo may well have been the first exponents of heavy metal in Australia; do you feel this is true and who did you consider your peers to be around that time in the local heavy music scene?

I don’t really believe it’s the place of the artist to make those judgments, that’s the job of the critic, the reviewer and most definitely the audience. I know that many people have told me that we were the first; I guess I have to take their word for it. I suppose that we were a product of the Australian scene at the time.

There were quite a few bands that were loud and aggressive and plenty of competition between those bands to be the loudest, baddest etc. For example, Lobby Lloyd’s Coloured Balls, Billy Thorpe and the Aztecs, Band of Light and Blackfeather. Buffalo was among that crowd too, but generally those other bands tended to play more traditional rock. Buffalo concentrated on strong riffs and hardly ever played a 12 bar progression.

What were Buffalo’s main influences?

Our influences were quite varied; Pete Wells and I were blues fans and had originally gone to Sydney with ‘Head’ which was a blues band. John Baxter was into rock and Jimi Economou was into soul/R&B. We all listened to Grand Funk Railroad, Quicksilver Messenger Company and of course Jimi Hendrix, Free and Eric Clapton. At the same time we were influenced by the social and cultural changes going on around us during the late ’60s/early ’70s; and we discovered pot. Lyrically, I based a lot of stuff on books I was reading, I tried to relate that to what I saw going on around me, things that made me angry

Buffalo Only Want You For Your Body (1974) was Buffalo’s fourth release and was controversial enough for some record chains refuse to stock their albums. Ouch!

or sad and the things all young men are interested in; sex, party, sex, party!

I can’t imagine that playing heavy music ‘back in the day’ was an easy feat; even today’s exponents face many challenges. Were many people open to it?

I think it was probably easier back then now actually, because there weren’t so many preconceived ideas of what was acceptable. So many of the labels we put on music these days hadn’t been invented. It helped that we were not much older than the kids we were playing to and they were open to new things, anyone in a band was seen as a bit glamorous and dangerous so we had our groupies too. The great pity is the way corporate music has created all these boxes that hem in acts; like heavy rock, punk, stoner rock, metal, grunge, etc. we didn’t feel so constrained by labels, we did what we felt like.

What would you single out as the bands main achievements? What do you attribute to these?

I think there are a few, we opened the door for other bands like ourselves, and we recorded five albums without ever having a radio hit (I don’t know if any other Australian band made that many albums).

We wrote the majority of our songs ourselves and it would appear that our music still has an audience almost 40 years after it was recorded. Today I’m constantly meeting musicians who claim Buffalo as a big influence. I think I’d attribute this to our honest, no bullshit approach, lots of live gigging, a strong focus on what we were trying to do and a sound and style that seems to resonate with a certain section of the population.

Did you face the common theme we see in today’s Australian heavy music scene, in that being ‘Australian Made’ can be perceived by the general punter as inferior quality to our English, European and American counterparts?

I think that’s always been a problem but I think it’s more due to the business side of Australian music, not the general punter. There’s always been a reluctance on the part of the local major labels to invest in local acts and they certainly aren’t very enthusiastic about trying to export our local talent. Unfortunately, what tends to happen is that the bands that get regular gigs are more likely to be cover bands which stunts the emergence of original artists, so you end up with clones of American or British bands; maybe the internet will change this for some of the new acts.

So what happened to the band? What have you guys gone on to do since breaking up? More specifically what are you doing now musically?

Like all bands, we split up. There were many reasons for this and you’ve heard them all from other bands,

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3/1/12 10:44:44 PM

Unveiling The Wicked

They’ve got the look; the platform shoes, the ultra-tight flares… hey honey, it’s the Seventies. but in truth it had run its course and there wasn’t much point in ‘going through the motions’. Pete Wells of course, formed Rose Tattoo, John Baxter played in a few other bands before moving into semi retirement in Tasmania. I went to England and joined The Count Bishops with whom I recorded three albums and had a top 40 single in the UK, did Top of the Pops and toured the UK and Europe. After our guitarist died in a car accident and the band split, I played around the UK with a loose blues collective called The Cobras then returned to Australia and formed the Headhunters with Mick Cocks and Mark Evans. We toured with Phil Emanuel and Mal Eastick, recorded a solo album Lay Down With Dogs and contributed vocals on an award winning blues album by JR & The Bar Kings. Nowadays I perform with Mark Evans in our acoustic blues duo, Tice & Evans, and we officially released our new CD Brothers in Arms last October and are touring to promote it.

Sometime back in ’88, i diScovered this movie called Trick Or Treat. it’s a horrible b-movie about this heavy metal kid named eddy (Skippy from the tv show Family ties) who is bullied by the jocks at school. He gets given this record by Gene Simmons who works as a radio dJ and when eddy turns the record backwards, he summons up the dead singer, Sammi curr. it sounds horrible and it is, but that is why it’s awesome. ozzy osbourne even makes a guest appearance as a preacher that wants to put a stop to vulgar lyrics and offensive onstage theatrics. i love the irony. anYWaY, there’s this scene when eddy’s mum goes into his room to put away his laundry and amongst the filthy clothes, the skulls, and the posters of anthrax on the wall, she picks up a handful of records. as she looks at each LP’s sleeve, she is disgusted by the likes of megadeth’s Killing Is My Business, impaler’s Rise Of The Mutants, and this hot little number, exciter’s Unveiling The Wicked. i picked this record up on one of my visits to Japan for a whole 300 Yen (about aUS$3.76) and i can honestly say, it’s worth every cent. once you get past the in-yourface cover art, which strangely enough strikes a resemblance to the ’80s sci-fi tv show, ‘V’, and you stick the needle on side Heavy (there’s no a and b on this record… just Heavy and metal… how innovative!), you are greeted with a blasting drum fill before we hit ’80s thrash in the tune break down the Walls. Guitar shredder brian mcPhee delivers a poor man’s eruption in the second tune, brainstorm before we are thrown full force into die in the night; a song with a hot guitar lick and thought provoking lyrics like “a villain of the night,

he’s ruling with his might, take by force, well of course.” i assure you that you too will be chanting the song’s chorus in a drunken stupor at 4am. How the song (i Hate) School rules wasn’t as famous as Pink Floyd’s another brick in the Wall astounds me. Side Heavy finishes with Shout it Loud. a song that has me thinking vocalist and drummer dan beehlar wasn’t shouting for too much longer if this is how his singing was throughout his career. the man sounds like he needs an endless supply of strepsils.

Side metal doesn’t let you down as you dive head first into invasion / Waiting in the dark. beehlar’s vocals really get a thrashing and i swear the dude must have barfed up a lung during the recording. the band slow things down with Living evil and quickly bored me to tears with possibly the most generic riff in metal history, while exciter’s ode to motorbikes, Live Fast, die Young, besides having a clichéd song title, probably should have been recorded by manowar. the album finishes with the mediocre mission destroy which has a riff i am sure i heard in the eight songs prior to it. regardless, while exciter were possibly a hot commodity in the metal world back in ’86, in 2011 this album no doubt fell on deaf ears. Why? i don’t know. i mean, sure, they don’t look as hip or as cool as today’s bands but give it time, my friends. they say everything goes in circles and i think it’s about time that red spandex with a double belt look came back in a big way. not many people can rock a skintight black shirt with random zips all over it but this poses no problem for the mighty metal warriors of exciter. i’m jealous. You’d probably have to pay me about $87 not to own this album.

– Damo Musclecar

It’s now 40 years on, the dynamics of the heavy music scene has seen many waves of sub-genres.

Do you feel that heavy music has become diluted and lost its true reason for being?

No, I don’t think sub-genres are particularly important, it’s all evolution. This music all stems from the blues and over the last century, people have been bringing new ideas and influences to it. New technologies have allowed new sounds to be used, bigger amplifiers allow it to be louder, and different approaches keep it fresh. As long as people have a reason to be angry or need to escape from the cares of the real world for a while or blow off some steam, this music will never lose its reason for being.

If you were to give a message to aspiring heavy metal musicians, what would it be? What advice would you pass on to the new generation?

Practice, practice, practice! H

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3/1/12 10:44:48 PM

metalluminati with Jeff Schenck

Jeff scHenck Jeff is a musician, contributor, musician rights advocate, sales director, and the founder of The Metalluminati, a global organization for helping musicians utilise the latest technologies and cutting edge marketing to become more independent in the global market.

Venues & Touring

With major changes going on in the music industry – internet radio, social media, file sharing, the demise of the record store, etc – one of the last pure things left in music is the live performance. As we all know, the only financial way to make it in the industry used to be via the corporate empires with a lot of financial backing. But today offers new opportunities for hard-working bands.

A Brief History

Before I get into venues and touring, I just want to give a brief history on how we got to where we are now, and explain what I mean by the outdated business model (I call it the ‘dinosaur mentality’). In the late ’70s and even early ’80s, rock had transformed into an actual mainstream product, and it was even considered ‘pop’. I am sure a lot of you can remember, or have still seen, the ‘rock/pop’ category.

During this time, there was a renaissance, if you will, of rock and even a bit of what we now call metal.

The music industry, much as it is now, had control of everything, but the money was so fruitful that everyone got a good piece of the pie. The thought of being independent was impossible to do. The record companies controlled where you recorded, what producer you worked with, and had connections with all the radio stations. They controlled everything, and owned or were partnered with every conceivable way to ‘make it’ in

music. The difference was that artists still had some good pull and rights, and could dictate some of the conditions of the contract. The labels were making so much money that they didn’t care to give a little during the ’70s and early ’80s.

During the late ’80s and ’90s, two things happened (other things as well, but mainly these), downloading digital files were being shared online, and record labels were beginning to create contracts that took more and more money away from artists (taking away more money and power from the artist) to make up for the loss of revenue from CD sales and concert attendance. These factors started the demise of rock and metal.

Having toured and done the gambit of it in the late ’80s and ’90s, to me, seeing the stadium or larger club shows was not what I was about.

I played metal… it was against all that bullshit. I mean it was cool to see some infamous shows in their ‘hey day’, but it was on its way out. To this day, I would rather see a show in

a nice small club or some unknown band play in some dive bar that is just slaying it, but, each to their own. My point is, a lot of artists see the large stage as the destination, but that is very rare in metal these days except a festival, or one of the rare bands that can draw those types of number; i.e.

Slayer, Metallica, or Megadeth.

So what happened during this time? As more albums were being

downloaded instead of purchased, more individual songs being sold (yes, if you wanted a song, and the rest of the album sucked, you had to buy the whole thing or pay $4 for a single), and this was and is the mark of success for a band… how many CDs they sell in the record label world. The record labels and the artist started to lose more and more income. Yet, the labels still needed

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e m a i l m e ta l l u m i n at i n o w

jeff@metalluminati.com

to profit in their typical large way.

So what happened? It got taken from the artists. The record labels instituted more and more 360 deals.

This gave the record labels complete control over EVERYTHING the artist did. Also, more artists were in debt the minute they signed the contract.

So now let’s get into touring.

“Peter Grant (ManaGer for Led ZePPeLin) was Like a hawk everywhere the band went. he Made sure aLL the coPyriGhts, royaLties, and Merch saLes went straiGht to the band…”

LAte 20tH century touring

It feels funny to even say that the ’70s-’90s is considered the late 20th Century, but alas it is… There was this great blog written by Helienne Lindvall, where she was comparing the days of the ’70s to the present climate of touring. She talked about how Peter Grant (Manager for Led Zeppelin) was like a hawk everywhere the band went. He made sure all the copyrights, royalties, and merch sales went straight to the band. Peter never let any promoter or venue screw with Led Zeppelin. In the ’70s, the bands had so much more power, and could sign contracts that benefitted them so much more. Not only that, but if a promoter or venue screwed them over, they would hurt them by never playing there again. Promoters and venues could be screwed by artists telling fellow artists how much they got screwed, and kill a promoter or venue.

These bands would headline Giants Stadium, Wembley Stadium, etc. The bands reaped not only these huge royalties, ownership of masters, but a huge portion of the venue/merch.

Helienne asked the question, “What would he do in today’s market?”

In the ’80s, the pool of talent got divided as the hair bands, thrash, poprock, and others scattered the focus of concert goers. Then what would happen is you would have big rock bands, and up and comers playing. I can remember seeing Aerosmith with Skid Row, Van Halen with Alice in Chains, Pantera with Sepultura, Ozzy with Metallica, etc. These would be great shows, not only was the opening band great, but you got to see legends as well. So to keep the flow of

income going, this was how they did it. The promoters for these concerts were usually big venue people with serious industry ties like in the ’70s.

The headliner would bring in 70-80% of the revenue while the lower band would get the rest. But this was still a good deal even for the smaller bands, as this was a stadium draw.

In the ’90s, this changed yet again.

Now you would start to have shows with three, maybe four bands, and they would not play the huge stadiums, but smaller venues (5000 or so seats). The promoters here changed from the industry people to more localised venues, with some promoters seeing the change and working the big venues with the major companies, and then doing some local promotions of local venues. The amount of money that once was large and all parties would benefit… was now becoming scarce. Now record labels were taking huge percentages and promoters were pulling more. Also, booking agents were emerging and starting to pull a larger percentage, usually there were no completely separate booking agents… most of them would be all in one.

By 2000, the industry was so fractured, so many labels were basically owned by the larger companies, that it was just a whole bunch of smoke and mirrors that just used up artists on tours and killed them before they even began. The draw from this fractured industry in rock, hard rock, and metal were so small now that the venues started to need guarantees (so they would say) to have bands play. And as the shit got worse, the artist would

pay. Pay to play became not just some small percentage of touring, but the f**king norm! A band would either have to pay the promoter or venue to play, or they would have to buy a set amount of tickets to sell to get their money back. At least in the later, the band had a chance to break even.

todAy

Having discussed this topic with club owners, independent label owners, musicians, and promoters, it is amazing the transformation that is now the modern metal tour. Now you have the bigger acts feeding on the lower acts, the venues wanting merch percentages or a booth set up fee.

Here are bands that just want to play, they bust their ass to promote, fight for money to pay for an EP or album to record (and give out), front money to pay for merchandise, and try to get their foot in the door to play… only to have venues or bigger bands feeding on them!

I have seen mid range level bands sending out emails to small bands to pay to play on tour, and I have witnessed venues asking to take percentages of merch sales. I had thought about it before, and witnessed it, but it really hit me about four years ago at a concert. My brother and a bunch of friends took me to this tour for my birthday. Now dig the line-up: Hatebreed, Trivium, Cannibal Corpse, UnEarth, Winds of Plague, and five other bands. The venue was at the Warfield in San Francisco, California.

There were probably only 2500 people there, and the tickets were $23 each.

Tell me… after the venue, the booking agent, the tour managers (plural), labels, headlining act, and promoters are done taking a share… who is f**king making any money? I mean think about that… do they want this industry to fail? It is the one of the reasons we started The Metalluminati, and we are doing what we are doing to help artists succeed.

soLution

The reality is that there are still some good venues and record companies out there, and I have talked to some great owners that simply love having good music playing (regardless of genre). Some that give the door to the artist and they just care about the alcohol sales. The key here is to start playing more at these clubs and using these promoters more. One thing we did was build a venue listing within our site with a comment section so that we could let artists know, across the globe, the feedback these venues are getting, so they can make informed decisions.

The reality is, good or bad, the industry has changed so much. The good news is that we have come full circle in the ability for artists to be more independent. The stranglehold that the industry once held is now crumbling. We are all about teaching artists about the technology that is out there, using the networking and community that exists (which we built), and teaching artists to market themselves in this new music industry… like their own multimedia company. H

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industry insight

email dito godwin now

dito@heavymag.com.au

engineering

Dito Godwin

RegulaR expeRT columniST What’s the difference between a plate mic and a beta 52? Why do some vocalists prefer Senheisser over Shure? How do you choose an effects unit to achieve a certain sound and what can you do to ensure that you achieve a distinct sound to set you apart from the rest of the hum-drum?

Multi-platinum award winning record producer and musician, Dito Godwin, lays the drop on all of your umming and aahing over studio practice with his invaluable knowledge on production techniques.

At the age of 15, Dito Godwin had already opened for major artists in New York City and played in clubs when he wasn’t even old enough to be allowed in. At 19 he was signed to RCA Records and opened for Black Sabbath, Alice Cooper, The New York Dolls, and Kiss (who he later went on to produce and do session work for).

His career flourished and he found himself in Los Angeles producing and promoting some of the biggest acts in music including: Ace Frehley, Peter Criss, Great White, Jani Lane of Warrant, Tim Bogert (Beck, Bogert & Appice), bassist Dave Spitz (White Lion, Black Sabbath) Drummer Kevin Valentine (Kiss, Cinderella), Mike Stone (Queensryche, Speed X) Rolan Bolan (son of rock legend Marc Bolan of T Rex), and the North American promotion of Mötley Crüe’s Too Fast For Love.

Dito will be a regular contributor here at HEAVY, sharing his experience and knowledge in sound engineering, including helpful hints and information for HEAVY readers, so be sure to take notes!

A

s a producer who has been responsible for the sales of millions of records worldwide, I have had the privilege of working with some of the best engineers around. This article is not intended to be a directory of ‘pro tools’ or even a technical explanation; instead a fundamental lesson on what makes sense in the real world of recording.

To start with, great sound in the studio does not have to be rocket science. There is so much more to capturing great sound from an artist then being a technical wiz.

It does of course require technical ability, but also great ears, knowledge of music, unrelenting patience, and the ability to communicate with a very wide range of personalities. So let’s start with the basics…

Sound through the ears of an engineer…

guiTaRS

They’re in their own world as are guitar players!! In rock I love a kick ass old Marshall or vintage fender amp. I try to find the sweet speaker in the cabinet and close mic it with (in most cases) a plain old 57. If you want an ambient sound as well there are a number of mics that will do the job. I like a shotgun mic at hip level about seven to ten feet away. When an engineer records a single coil guitar there will be feed back, so you can have the guitar player turn very slowly until the feedback dissipates or you can try and rig a ground wire from the bridge of the guitar to the player that sometimes magically helps.

moving To baSS guiTaR

Most engineers feel the bass players rig is not needed in the studio because the direct sound through a tube pre-amp or a direct box will give a killer sound. If the bass rig is exceptional the engineer may choose to use all the above and create one bad-ass sound.

The Room (STudio)

Most of the rooms I have worked in have been designed by acoustic sound design engineers. They pick out the wood and design a room inside a room, also known as a ‘floating room’. This is for sound isolation when you’re building a studio in a pre-existing structure. A floating floor helps keep sound (mainly bass frequency) from traveling between rooms.

WhaT makeS a gReaT dRum Sound?

To start with, great drums that are properly tuned! (and a great drummer). Without this combination, no studio or engineer will make any difference.

micS

There are so many different opinions on drum mics you really need to find the right fit for the right kit. Because there are a number of mics on a drum set, you must always check for phasing problems which will give the drums a very hollow sound.

mic pRe-ampS

Okay now that’s out of the way, let’s move to mic pres which give the drums their spirit in the sonic sense, Neves (designed by Rupert Neve), and APIs are at the top of most engineers list. The Neve tends to give a warm and lush sound while APIs are more pointed with great attack.

“Don’t mix when you’re tireD, Don’t mix with your eyes, Don’t have a bunch of musicians stanDing over you asking you to turn their parts up or Down, Don’t mix by a large glass wall/winDow…”

eaSy keyS

Keys are easy because they are recorded directly. Recording in midi allows you to change the sound of whatever keyboard you want after the performance in completed.

vocalS

This is the key to making the song sound great. Not so much how you record, but how the artist feels during the recording. Most engineers will put up a number of mics giving the producer and artist a chance to choose, choose wisely!

Singers have their own sound, so the singer mic match is really important. When you find the right match, write it down. Keeping track of every mic, pre, outboard gear selection etc. must be kept for the next time you record that artist or somebody else does, what a time saver!

mixing

The importance of the mix is overwhelming. At the beginning of the recording session, the producer and engineer are planning the mix as they go (or they should be). The tracks should be recorded with as little EQ, compression, and effects as possible. You’re going to add all of that in the mix, so why do it twice?

Here are a few don’ts when mixing: Don’t mix when you’re tired, don’t mix with your eyes, mix with your ears, don’t have a bunch of musicians standing over you asking you to turn their parts up or down, don’t mix loud, don’t mix by a large glass wall or window, if you don’t feel confident about mixing what you just recorded, get a mixing engineer, don’t have a recording engineer master your recording, go to mastering studio with a mastering ENGINEER! Let me know how it sounds…

- Dito Godwin

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industry insight guitar tech

Andy Townsend

Guitar techs are among the most crucial yet under-appreciated legends of rock. For the casual fan, they’re the dudes who step out on stage to chug out on a few riffs before the band comes on. For the guitar geek, these guys are saints.

What’s a typical day like in the life of a guitar tech?

A typical day would consist of load-in at venue, backline the gear on stage, sound check everything, then maintenance on guitars and basses before the set. Then running the in-ear console for the set, tear down, pack, hang out then sleep.

Repeat.

interview Peter Hodgson

T

homas Nordegg, Andy Brauer, Matt Bruck, Buddy Blaze, Grady Champion, Adam Day – each have their own fans who hold them in the same high regard as the dudes they have worked for (such as Frank Zappa, Al Di Meola, Eddie Van Halen, Steve Vai, Dimebag Darrell and Slash, respectively).

Andy Townsend is the man responsible for maintaining the guitars of acts like Between The Buried And Me and Devin Townsend.

He’s been teching since 1997 when he attended a Luthier school in Atlanta, Georgia. Hitting the road with his own band, The Kickass, taught him crucial lessons about life on tour.

Most guitar techs I’ve met have been monster players as well.

When did you start playing? Who inspired you?

I started playing classical piano at age four, then guitar at ten. Guitar always revolved around the theory of piano, making it less intimidating. My brother had a Peavey guitar bought from Sears in the mid ’80s, and of course I had to be like my big bro and play guitar! Style-wise, I play mostly progressive metal/ rock. Recently, I’ve been into the jazzier side of shredding. I play an ESP Custom Shop Horizon from the mid-90s that I bought new at 16 years old. I’m now 33 and still playing it exclusively.

I understand you attended Luthier school. I imagine that’s come in very handy! Do you ever have to call on those skills in the heat of battle? Examples?

Going to Luthier school helped tremendously with teching, as you could imagine. Most bands have decent guitars, so maintenance is

What sucks about being on the road?

Things that suck about being out on the road... Missing your family and friends, especially if they could use your help. Of course being away from your significant other is never easy, but it gets better every time.

And getting sick or hurt is never a good combo. I’m a pro at both.

Andy Townsend, guitar tech extraordinaire for the likes of Between The Buried And Me and Devin Townsend. normally minimal. However, fret dressing, neck and saddle adjustments, electronics, and nut work are always needed. For example, Paul from BTBAM wears down the G string nut slot faster than I’ve ever seen anyone do, so every tour I’m shaping a new graphite nut for his PRS’s. Also I did a fret dress in 15 minutes during a set that was needed for the last song. Talk about pressure!

What guitar care products do you consider essential?

Nut files, soldering iron, mini screwdrivers, replacement electronic parts, batteries, fast fret, polish, lem oil, WD40, needle nose plyers, crowning file and sandpaper, electronic screwdriver (for string winding AND drumheads), and polish cloths are the most used tools in my experience. It all depends on who the group that you’re working for is.

What are the specific challenges of maintaining the axes of BTBAM and Devin Townsend?

BTBAM’s PRS guitars are great.

They don’t need a lot of care. Just string changes, neck adjustments, and one good setup. The occasional hardware malfunction here and there. Devin’s Peavey guitars are huge! Good hardware and electronics, but the necks have seen a lot of changes from travelling, so usually I try and set them as good as they will let me.

What trends do you see in gear at the moment, compared to when you started teching? Lots of players seem to be into the Fractal Audio Systems Axe-FX processor, for example.

Everyone’s using the Axe-FX now, including me. It’s just so handy and sounds so killer. Also the Line 6 wireless units are popular.

Sennheiser wireless for in-ears are as well. Carrying tube amps around now days is becoming more and more rare. Takes up more room and requires more maintenence. H

Band Etiquette: Do’s & Dont’s Ever wonder why your band hasn’t ‘made it’? You have great tunes, pro gear, killer stage presence, and amazing production.

Yet the opportunities are few and far between?

Maybe you need to have a look at your band etiquette. This is a very important part of setting what you stand for. The industry is very small, especially the heavy scene, you don’t want to get a poor reputation amongst those who can help your career blossom. Here are a few tips, do’s and don’ts that will help you take the next step and gain a positive reputation within the industry.

1. Check your rock star attitude at the door: No demanding the promoter/ venue provides you with only red and yellow M&Ms. Be thankful for the opportunity to perform your music.

2. Be the first to load in and the last to load out: There’s nothing worse than a band that loads in, plays their set and boots off! Do your best to support the other bands that are playing on the night, it’s only fair. I guarantee you that people will notice this and you don’t want to be the band with that reputation. And get ya gear off stage as quickly as possible. No stage loitering!

3. Treat your crew with respect: Whether it’s your girlfriend, best mate, a fan or manager, people notice and talk about how bands deal with their crew members. Be respectful of those who are helping you achieve your goals and be thankful for the help you have!

4. Support your local scene: Do you expect every man and his dog to come and see your band? There has been a growing trend of diminishing crowds at live music venues, whether it is too much competition or the poor weather, just think what are you doing about it? Do your part and support local music.

5. Make the fan part of the clan: Never snob off those who have taken the time to check out your band. Whilst it’s hard to get around to everyone, do your best to be polite, friendly and thank those who approach you. Fans are your lifeblood, so do your best to keep them coming back.

6. Don’t expect a guaranteed payment unless you can guarantee payers through the door: So your band is beginning to enjoy some success and is starting to see a solid and loyal following at your shows. Don’t think this is your chance to start charging $500 a show, because guess what? The next big thing is coming right up behind you and is willing to play guarantee-free and bring a crowd!

We all know too well that musicians are underpaid, as is everyone else involved, but that’s the curse of the industry.

Remember we’re all in it for the same reason, for the love of the music!

– Nicole Makin-Doherty

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strings & skins guitar

The School of Metal

A Beginner’s guide to MetAl guitAr with peter hodgson

M

etal is one of the most difficult and rewarding guitar styles to play in. It can be either as hard or as easy as you wish to make it, and everyone plays it a little differently. This lesson is for those who have figured out how to tune the guitar and who know how to press down on the string well enough to sound a firm note, but no other playing knowledge is assumed, so whether you’re just beginning to dabble or you’ve been playing for a while but have yet to dip your toe into the molten world of metal, this one’s for you.

REading taBlatuRE

If you’re not familiar with tablature, it’s pretty simple. There are six lines, one representing each guitar string.

The lowest line represents the thickest, deepest-sounding guitar string.

The highest line represents the thinnest, highest-sounding string.

The numbers represent where to put your fingers. If you see a ‘0’ on any particular string, you just play the string itself without fretting a note.

If you see a number, that’s the fret to play.

thE poWER ChoRd

The most fundamental element of metal guitar is the power chord. It’s pretty simple to play and to move around the neck, which means you can make some pretty listenable music very soon after learning it.

The power chord – nah, y’know what? It’s important enough that I’m going to write it with capitals.

The POWER CHORD is typically played with its lowest note on either the bottom string (E) or the next one up from that (A). It’s an easy shape to remember too. Observe.

The only exception is if you play a power chord that contains an open (unfretted) string as its lowest note.

Then you only need to fret the higher note.

Before we go any further, a quick music theory lesson. Figure 1 is the name of all the notes on the lowest

string, and Figure 2 is the major scale. In this case we’ll learn the scale in the key of A because it’s easier to play there, but you can move this shape anywhere on the neck and whichever note is the lowest, that’s the key you’re playing in. Start the pattern at the third fret and you’re playing in the key of G. Start at the 10th and you’re in D. It’s that easy.

Now, chords are named according to their relationship to the first note of the major scale. The power chord consists of the root note and the fifth note. Therefore we call it a root-fifth chord, or simply a fifth.

Example: a power chord starting on the G note is a G5. Starting on E it’s an E5. Starting on C# it’s a C#5.

poWER ChoRd RiFFagE

Okay. Figure 3 is a simple power chord riff designed to sound suitably metal. It uses both open and fully-fretted power chords starting on both the E and A strings. It’s quite easy to play, since each chord is the same exact shape, just played at a different point on the neck. The chord names (A5, C5, F5, D5) are included so you can see how they relate to the notes from Figure 1.

palM Muting

Now that we know what to play, let’s look at how to play it. One reason that metal sounds so punchy and heavy is the palm mute. This is where you use the edge of your palm to partially deaden the note, cutting off its decay while simultaneously putting more impact on its attack. Figure 4 is a riff which combines power chords and palm-muted low notes.

Evil intERvals

There are certain intervals (relationships between two notes) that just sound more metal than others.

Here are some of them. The major scale is going to come in handy here too in remembering what the notes are called. Once again, let’s do

this in the key of A. These are all collected in the one example (Figure 5) but try playing each one repeatedly like its own riff.

MinoR sECond

Play the first and second notes of the major scale. Sounds pretty happy, right? Well let’s drop that second note back one fret. This is called the minor second (because it’s taking the second note – or degree – of the major scale but shifting it down one note). Sound evil now? Hell yeah!

MinoR thiRd

Now we’ll play the root and third notes of the major scale. Again, sounds pretty happy. You might even say majorly happy. But flatten that major third into a minor third and it starts to sound pretty imposing.

Flat FiFth

(aka tri-tone, aka Diabolus In Musica)

Now this is where it gets really good.

In the Middle Ages this particular interval (one note lower than the Fifth that we’ve already learned about from the power chord) was considered so evil that it could actually summon Satan himself (or herself, as some may suspect…)

The flat fifth was therefore labelled Diabolus in Musica, and comprehensively banned from church music.

It’s the building block of such classically creepy riffs as Black Sabbath’s Black Sabbath and Sepultura’s Dead Embryonic Cells, and is the title of Slayer’s 1998 album.

thE sEvEnth

The seventh is a very dramaticsounding interval which works great in breakdowns prior to an all-out chorus or something. It’s sort of like the Diabolus In Musica but less ominous, more alarming.

MEtal sCalEs

Here are some handy scales to use as the blueprint for writing metal riffs and solos. Some scales sound intrinsically happy. Some sound downright evil. Learn as many of them as you can. Learning a new scale can unlock a whole world of musical exploration, and as long as you stick within the scale you can usually randomly play a few different notes and find a way to make them all fit together. Each of these scales is presented in the key of A, and although there are plenty more, these are the most brutal and metalworthy. The most important thing to remember is that scales aren’t just some lame practice thing to be rehearsed up and down. They’re particular families of notes that work well together and create their own moods. I highly recommend recording yourself playing one repeating chord in the key of A and playing each scale over it, sometimes up and down and sometimes randomly selecting notes from that scale. You’ll soon get a feel for the unique character of each one, and this will help in your songwriting and soloing.

MEtal guitaR tonEs

The tones you use help to define what kind of metal era you’re going for. Here are some examples of different tones to try out. I highly recommend a modern digital

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the school of metal

modelling amp or software to try this stuff out, and if you find something you really like, upgrade to the real-world amp.

A Beginnner’s Guide to Metal Guitar

By Peter Hodgson

ClassiC MEtal

This tone is warm, percussive and bright. Think Judas Priest’s The Ripper.

It’s more about the impact of the note than the level of distortion, so use a Marshall-type amp and keep your distortion levels at lot to moderate. Let the sound breathe a little.

thRash

The main feature of this sound is that scooped midrange, tight tone perfected on Metallica’s Master of Puppets album. Try an EMG active humbucker pickup, turn down your midrange and crank up the distortion, but not so much that you get weird ‘ksssh’ sounds in between palmmuted chugs. You still need some clarity and definition along with the bite and sizzle. The technique is just as important as the gear for a classic thrash sound, so don’t be shy to pile on the palm muting, and pepper your playing with lots of little grace notes, slides, percussive chugs, and other fun and demonic stuff like that.

pRogREssivE MEtal

Prog’s basic tone is similar to thrash, but with more midrange and, typically, passive humbucking pickups instead of active ones. You’ll need a slightly warmer sound that is able to work with notes all over the fretboard because you’ll probably be playing long single note lines that take you from the low strings to the high ones within a microsecond or two, so shave off a little of the treble.

Also look for a sound that has good note definition within chords – you’ll need it once you start stacking those 9ths and 11ths on top of your 7ths.

MEtalCoRE

The metalcore sound also has some similarities with the thrash tones – specifically very high output pickups and plenty of amp or pedal distortion.

The Peavey 6505 is a very popular metalcore amp but other models by Rivera, Hughes & Kettner, EVH and Mesa Boogie seem pretty popular too.

Aim for an aggressive tone with lots of upper midrange, perhaps emphasised by an overdrive pedal such as the Ibanez Tube Screamer. But the secret is to keep the overdrive’s actual distortion level low, while cranking its volume. Because of the way amps

work, this won’t make your amp sound any louder but it will make it sound much thicker.

djEnt

The term itself is an onomatopoeic representation of what it sounds like: a heavily distorted electric guitar (often downtuned or extended range)

rocking a heavily palm-muted octave power chord. Djent Djent Djent.

While Djent’s origins are with bands like Meshuggah, the current hero of Djent is Misha ‘Bulb’ Mansoor of Periphery. There’s a whole online community dedicated to the perfect djent, and the general consensus is that you need to use a graphic EQ

to cut the bass below 200Hk, boost 800hz for the body of the note, and increase 1.6kHz to really bring out the pick attack. Again the sound is helped along on its way with a Tube Screamer type overdrive, but make sure you’re using a pretty tight noise supressor to cut out any non-djent artifacts. H

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strings & skins bass

The Aces of Bass

A short BAss history lesson with drew dedMAnn

S

pinal Tap bassist Derek Smalls once said “I feel my role in the band is to be somewhere in the middle... Kind of like lukewarm water.” Even though Spinal Tap was a parody on early ’80s metal, this comical philosophy seems to sum up the role of a bass player in a hard rock/ metal band. As the singers and lead guitarists fight for the spotlight, whilst dreaming of grandeur and a successful solo album. Bass players will generally be standing in their comfort zone knocking out 5-5-5-5-0-0-0-0-3-3-3-3, smiling at the drummer and wondering how their next experimental side project gig is going to go. Although this is a generalisation, bassists don’t tend to be specific ‘genre’ type players.

Perhaps it’s because of the way we approach learning the instrument, slap, tap, strum, pluck, pick, whack, hit, etc. We dabble in funk, we cross over into big fat hip hop grooves, we riff tightly with the guitar, we go high and play melodically to support vocal lines, and of course we happily go 5-5-5-5-5-5-5-5-0-0-00-3-3-3-3 when we are required. All this for the sole purpose of shaking the ground and moving the crowd with fat subsonic frequencies.

Now a brief history lesson, not intended to be a concise history of heavy music or a ‘top list’, but more as a reference of influential bassists, albums, styles and bands throughout the years.

thE sWinging sixtiEs

After graduating from ‘fat kid at the back of the band’ during the mid-’60s, bassists really found their place during the early years of heavy music. This was mainly due to technology and versatility. Louder amps and better quality bass guitars allowed the bass to be heard clearly, bass tones became brighter with mid and top end frequencies taking over from the muffled sub sound of early electric bass. The popularity of the three piece lineup also gave the bass players a larger role to fill.

With no rhythm supporting guitar

1960s aCEs oF Bass

1970s aCEs oF Bass

1980s aCEs oF Bass

lEd ZEppElin John Paul Jones Self-titled (1969)

BlaCK saBBath Geezer Butler Self-titled (1970)

iRon MaidEn Steve Harris Live After Death (1984)

thE jiMi hEndRix ExpERiEnCE Noel Redding Are You Experienced (1967)

Rush Geddy Lee Self-titled (1974)

MEtalliCa Cliff Burton Master Of Puppets (1986)

CREaM Jack Bruce Disraeli Gears (1967)

Kiss Gene Simmons Love Gun (1977)

Faith no MoRE Billy Gould The Real Thing (1989)

Although these albums are blues-based heavy music and not metal, the bass players above are considered pioneers of heavy bass playing. solos, bassists experimented with chords and arpeggiated lines to fill out the mix.

thE pRogREssivE sEvEntiEs

The ’70s were an extremely exciting time in music. The decade began with ‘flower children’ and ended with ‘disco duck’. This created a perfect environment for loud, heavy music to emerge from the underground. Black Sabbath (Geezer Butler) released their first album in 1970. It was heavy, it was raw, it was a new sound. The early ’70s also introduced progressive rock.

Rush (Geddy Lee) and Yes (Chris Squire) were two bands that merged heavy sounds with technicality and technology. In 1974, Chaim Weitz, dressed as a demon, breathing fire and wielding an axe-shaped bass, taught us to “Rock’n’Roll All Night And Party Everyday”. The legend of Gene Simmons was born and for

the first time in history a heavy rock bassist became a household name.

thE ElECtRoniC EightiEs

The ’80s was owned by stadium rock, the second wave of glam rock and the emergence of thrash metal. Iron Maiden (Steve Harris), Metallica (Cliff Burton & Jason Newstead), Anthrax (Frank Bello) and Megadeth (Dave Ellfson) were the big four brands pushing black t-shirt sales at this time. A second tier of heavy bands also had their fair share of influence in Slayer (Tom Araya) and Kreator (Rob Fioretti) – these are all great examples of riff-based bass playing. The top 40 was inundated with hard rock, Guns N’ Roses (Duff McKagan), Mötley Crüe (Nikki Sixx), Bon Jovi (Alec John Such) and Def Leppard (Rick Savage) had a great run of hits and inspired an entire generation of new musicians (and hairstyles). The end of the decade crossover styles began to emerge, bass lines became more melodic and funk influenced. Faith No More (Billy Gould) rewrote the rule book on heavy ‘commercial’

music, combining funk influenced bass lines, rap vocals and heavy riffs to form a string of hits from their album The Real Thing.

thE nu-agE ninEtiEs

The ’90s brought about great change for bass players, this was ‘our time’ thanks to a combination of Flea (RHCP) and Les Claypool (Primus) making bass the coolest instrument to play. The death of the traditional guitar solo in songs also brought about the need for more interesting bass parts. Grunge being the focal point of commercial/alternative at this time, meant that the heavy bands just had to get heavier.

The hard-rock glam ship sailed off into oblivion once Guns N’ Roses’ Use Your Illusion I and II ran their respective courses and Metallica, although releasing the massively successful Black Album in 1992, seemed to have lost their way, sound and look during the Load/Reload era. New exciting bands and bassists emerged Pantera (Rex Brown), Meshuggah (Peter Nordin & Gustaf Hielm) and Tool (Paul D’Amour & Justin Chancellor). By the end of

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were quite possibly one of the most influential heavy bands of all time.

The bassist, Fieldy, inspired an entire new generation of extended range bass players with super-low tuning, percussive slap style, and fat (err, phat) hip-hop style bass lines.

thE CyBER ERa 1990s aCEs oF Bass KoRn Reginald ‘Fieldy’ Arvizu Follow The Leader (1998) pantERa Rex Brown Vulgar Display of Power (1992) MEshuggah Peter Nordin Destroy, Erase, Improve (1995) the ’90s, thrash and hard rock went well underground again and a ‘Nu’ crossover style emerged. Enter Korn and nu-metal, love it or hate it, they

The first few years of the new millennium were big for a revitalised heavy music scene. Heavy bands were starting to get commercial interest. Linkin Park (Dave ‘Phoenix’ Farrell), System of A Down (Shavo Odadjian), Mudvayne (Ryan Martinie) and Rammstein (Oliver Riedel) were all bands that would have been underground five years earlier and were now suddenly in the charts. The culture of crossover music hit an all time high and merged into one big ‘X’ genre. The influence of social media on the music industry was enormous, allowing every band and musician in the world to represent themselves evenly for the first time. This melting pot of ‘Band Spaces’ raised the

general professionalism and musicianship of bands to new levels.

It also simultaneously made popular every band that was ever popular (or not) comeback for a retro tour/ album/dvd etc. Hence diluting the ‘new’ scene to some extent, but that’s the price we pay for the sum of ‘basskind’s’ knowledge. For the modern bass player these days it’s important to always be open to all styles, tones and techniques. If there’s anything that can be learnt from the bass guitar’s history, it’s the influence it has, particularly in crossover styles.

Learn how to tap, how to solo, how to play with fingers, pick and thumb.

The bass and basslines have played a big part in shaping heavy music and will no doubt continue to do so.

A solid bass is a solid base to build a band from, therefore never want for fire or ice, just happily be the lukewarm water… 5-5-5-5-5-5-5-5-5-5 (and repeat) H

2000s aCEs oF Bass systEM oF a doWn Shavo Odadjian Toxicity (2001) distuRBEd John Moyer Ten Thousand Fists (2005) MaChinaE supREMaCy Johan ‘Poe’ Palovaara Redeemer (2006)

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strings & skins drums

Rattlin’ the Cage the BeAt of the druM with roB Brens

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f you own a hair straightener but not a metronome, I’d recommend you keep reading…

I’ve always described playing metal as running a marathon, whilst attempting to play a game of chess, and it’s never been more accurate than in today’s tech heavy climate. While technical playing isn’t a must when playing metal, the level of skill required for great execution is nothing short of virtuosic.

We’re talking about a style of music that is so intense, in rhythm, tempo and power (assuming we’re not talking doom metal). You’re job is to make everyone else’s job easier, so it leaves little room for inconsistency!

But here’s the kicker, we’re not aiming for machine like precision.

Groove is found in imperfection, and putting all your focus on perfect playing is just going to rob your show of energy. So where’s the balance? What are we aiming for? A level of facility where your mind and body can execute things with minimal effort, so you can put everything else into listening to the band as a whole, and really giving your audience an experience, and not displaying your grimace from oxygen deprivation and lactic acid burn.

This being the first article, I’d rather just lay out some points for consideration. There are plenty of exercises out there for speed, power and endurance, but if things aren’t taken care of at a foundation level, you might not only be developing bad habits, but doing damage. So before any of that, I just want to go over these things when approaching your routine (assuming you have one!) In fact, that’s a good place to start.

Before going any further it’s worth noting that technique is just a means to an end. Getting those ideas that are in your head into your hands and feet. Dedicate whatever time you deem necessary to technique, but ensure you balance it out with free time whether it’s wood

shedding or playing along to your favourite tracks. Remember why you’re doing this in the first place!

While consistent practice on any instrument in any genre is almost a no brainer, metal is one where you can almost not get away with it. You’re using just about every muscle in your body, not just arms and legs, but your core muscles for balance, and your upper and middle back cop one hell of a beating too.

Ever heard of an Olympic athlete that only trains one day per week?

Everyone’s life style is different in terms of scheduling, but what I recommend is having a minimum one-hour of maintenance practice, where you’re working all the different aspects of your technique. Work through a range of tempos so that you cover all the different muscle groups, as your body will switch to smaller groups as you get faster.

Let’s look at feet first. One such thing you can do is playing constant single strokes for a minute, then resting for 30 seconds, increase tempo and repeat. Simple right?

Remember when we’re building speed and endurance, all we’re doing is building muscle. We don’t have to do anything that’s a brain strain. This way we can focus on monitoring how our body is reacting, which I’ll discuss later. Always do this to a metronome. Start this exercise at the slowest most relaxed tempo you have, and increase by 5bpm every time you do a run. This way you’ll cover the whole gamut of mechanics your legs go through when changing tempos. It’s interesting to see how many players can operate at gears 1,2 and 5, but can’t quite hold it together at gears three and fur.

While doing these runs, you might want to start by doing some simple hand patterns to make it more like a groove, practice some fills or even soloing. Once the tempos get higher however I’d recommend sticking to something simple, just so that you can focus on keeping your feet steady. Once you start hitting your maximum, hold

for as long as you can, but don’t stress if you don’t make it to the end of the minute.

Now for hands. Rudiments.

It’s about as meat and potatoes as it gets. But very quickly for anyone who is unfamiliar, here’s a crash course. Three sticking patterns played as a constant roll at any tempo. Single stroke roll: RLRLRLRL, Double stroke roll: RRLLRRLL and the Paradiddle: RLRRLRLL. The best way to get started is to practice each for a minute straight, then start again starting on the left hand (LRLR, LLRR etc). That alone will not only build speed and endurance, but a great deal of control. But what is more important than what you practice, is how. Take this exercise right back to an unbearably slow tempo. Note here how you’re actually hitting. How closed is your grip? Try and view the way you’re hitting the drum as bouncing a basketball. Focus only on the down movement, and let physics take care of the rest! The function of the up motion should only be to follow the stick back up, not lift it up again.

This should be the method at all tempos. If you’ve been locking your hands all this time, congratulations!

You’ve just halved your workload.

Also note how much nicer your drums sound (along with how much money you’ve saved from not going through drum skins like toilet paper).

Now that we’re talking about pushing ourselves, here are some things to bear in mind while putting your body through its paces.

Breathing. Sounds like common sense, but how much do you pay attention to it? A common habit is holding breath during fills, or shorter breaths during extended double bass passages. Inconsistent/ no breathing at all is going to deprive those muscles of oxygen, which is going to make relaxing, well, stressful to say the least, not to mention making you susceptible to cramping and fatigue.

Next time you’re playing something that has a rather extended passage of blasting/double kick, trying taking deeper breaths and see how much easier it is to get through.

This also affects the next topic.

Posture. Another one that tends to fall by the way side when shit is hitting the musical fan. Slouching or any general bad posture is going to squash the abdomen and diaphragm, which will further constrict breathing, and also affect balance, which is vital when keeping double bass steady. A quick note on stool height. Set your stool so your knees are pointing slightly down towards the ground. This will give more freedom to your ankle movements, and take pressure off your lower back.

Muscle tension. A tense muscle can’t move quickly. Pure and simple. Try it right now. Clench all the muscles in your arm and try to curl your bicep back and forth as quickly as you can. Now release and try the same thing. When working on speed and endurance, there’s nothing wrong with feeling a burn from tiring out, but try and make sure you’re tension free for as long as possible. Just be sure when you’re releasing tension you haven’t just moved it to another part of your body such as your shoulders, neck and upper back, which can be just as constricting if not more.

I hope all these tips help! You are the most important part of your drum kit. Work with your body and not against it, regardless of what you’re doing. You’ll be surprised how much further you can take your playing without having to overhaul your entire practice routine. Come next issue, hopefully you’ve ironed out as many of your wrinkles as possible and we can really get down to business! H

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photo by zo damage

Featuring past members of Blood Duster, Dreadnaught and Stiff Meat

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the man behind the power Ari Gold is a very busy man.

When he isn’t writing, acting or directing, you can expect to find him sunken into a bean bag on the lounge room of his bachelor pad recollecting childhood memories associated with his favourite heavy metal bands and air drumming along to the thick power beats and blasts of heavy music’s greatest. It’s this passion for heavy metal, air drumming and film that gave birth to his air-drum epic feature Adventures of Power, a comedic quirky film about a young man’s desire to become the world’s greatest air drummer! But it’s not just the air drumming that Ari is passionate about, it’s the spirit of Metal, the brotherhood that binds and unites us. The chunky riffs, razor sharp licks, thundering bass and pulsating drums that reaches into our very being and saves us.

Air Drumming AND THE PATH TO ADVENTURES OF POWER

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ike many disturbed boys, I became an air-drummer when I first heard Rush’s ‘Tom Sawyer’ on my stepsister’s record player. That synthesizer pulse was so heavy it seemed it could sink the speaker right through the carpet into hell. I was too young to know that Rush had nothing to do with the devil, but the red-on-black letters seemed devilishly awesome to my young mind.

I could never have predicted that years later, I would be air-drumming face-to-face with Rush drummer Neil Peart in my movie called Adventures of Power. And I didn’t even have to sell my soul.

My path to the air-drum epic Adventures of Power was a good one. I grew up fascinated with drums. I air-drummed to Black Sabbath, Led Zeppelin, and Igor Stravinsky’s ‘Rite of Spring,’ which I considered the first heavy metal (from 1913!). I also air-drummed to Kraftwerk and New Order, which both had great electronic drum parts that I considered worthy of my flailing arms. Then, the twin assault of Metallica and Megadeth demanded a new athleticism, by requiring both feet to be engaged.

At my first Metallica show inside San Francisco’s gargantuan Cow Palace, I remember being terrified of all the older kids; stringy-haired pimply metalheads from the suburbs who, I thought, would smash my skull in with a giant black hammer if they had the chance. I was shy as I drummed along, with my fingers to the odd evil rhythm at the end of ‘For Whom the Bell Tolls,’ but I noticed that there were a lot of dudes who weren’t able to figure out where the bell actually did toll. I got it right. This gave me the courage to enter the huge, swirling mosh pit in the next song, The Four Horsemen (during the ear-shattering riff that I was convinced, in my study of metal, was actually written by Dave Mustaine).

Within moments, the whirlpool of sweaty arms had knocked me over.

I skidded underfoot, and boots were kicking me as they ran over my body.

I knew I was about to die.

But then, to my amazement, something else happened. Without a word, four metalheads had squatted like air-drummers in a phalanx around my body, linked their arms, and formed a wall to protect me. They were being pounded by the giant wheel of moshers, which continued its

ari (aka power) gets some tips from legendary rush drummer, neil peart.

“Heavy music is often seen as violent. i see it as tHe opposite; it’s a brotHerHood of tHose wHo would be violent if tHe music wasn’t tHere to cure tHem.” 72 HEAVY01 p072-73 Ari Gold.indd 72

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follow ari gold

twitter twitter.com/arigold official movie site adventuresofpower.com personal site ariGoldfilms.com facebook facebook.com/adventuresofpower

drumming revolutionary terry bozzio shares some trade secrets. violent path, but they held their ground long enough for me to jump safely to my feet. I got a pat on the back, and then the five of us cells separated into the jellyfish, never to see each other’s faces again.

Heavy music is often seen as violent. I see it as the opposite; it’s a brotherhood of those who would be violent if the music wasn’t there to cure them.

Last year, on tour with my movie Adventures of Power, Lars Ulrich told me that it was air-drumming that convinced him to become a drummer. Neil Peart said drums saved him because he wasn’t a jock.

We all start by playing along. On tour with the movie, I played with Marky Ramone (who air-drums on his jeans), Styx’s Todd Sucherman (air-drums with sticks), and Terry Bozzio (who programmed Linn drums and plays like a one-man orchestra). I met air-drummers in Australia, Germany, and Thailand. In Finland, I air-drummed to Van Halen for 5000 people. In Mexico, I was honoured that my twin brother Ethan’s Norwegian-Mexican death metal song from the movie had found an audience. And in Utah, shooting the movie, Michael McKean (singer of Spinal Tap) had watched me rock out on air-drums as he played my horrified dad.

Life has a way of coming around. Keep air-drumming!

– Ari Gold

Unearthing all the ugly truths from spinal tap’s frontman, michael mckean.

adventUres of power with ari Gold “i’m not pussy-footing, i’m doublebass-drumming!” check out neil peart’s drum solo for ‘tom sawyer’ by rush. @Youtube

“master of puppets”. metallica’s lars Ulrich confesses to adrian Grenier and ari Gold that air-drumming was what made him form a band. @Youtube

ari Gold interviews legendary rush drummer and lyricist neil peart. @Youtube

playing van halen’s ‘hot for teacher’ at the air Guitar world championships in finland. @Youtube

power air-drums at the German air-Guitar federation semi-finals in berlin, rocking out to “YYZ” by rush. @Youtube

power visits http://drumchannel.com and dw drums, and wanders into the wrong office… terry bozzio’s office. @Youtube

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dotted liNes with AmAndA mAson, dwyer & Co. soliCitors

Money for Nothing and Chicks for Free O the golDen pathway to winning that government grant

kay, so maybe a government grant isn’t money for nothing and I’m pretty sure they won’t provide you with any freshly hatched chickens, but it certainly is a great way to fund your next artistic project. You may think applying for a grant is a daunting process that has the potential to end in soul crushing disappointment, however this article will show you that it’s not as daunting as it seems.

There are heaps of different grants available and you will need to select the one that is most appropriate for you and your creative endeavour.

Grants are available through the federal and state governments and there are also grants offered by good natured individuals with spare cash and the odd generous corporation.

We’re only going to cover the most relevant music related federal grants here, but you can find a great list of the various grants available in the Music Creators section of the APRA/ AMCOS website www.apra-amcos. com.au and on the Australia Council for the Arts website www.australiacouncil.gov.au.

Federal grants are available through the Australia Council for the Arts and can be applied for online at www.australiacouncil.gov.au provided that you are a professional artist (even if you don’t earn much as an artist), you’re an Australian citizen or resident and your project meets the eligibility criteria of the particular grant. The different grants have different success rates, but it averages at about 20 percent success, which means you’ve got a one in five chance of hitting the grant jackpot. Below you will find a list of the grants that I think are the most relevant to the heavy rock sector of the music industry and some tips to help achieve grant success.

New work – Music This grant is, as you would imagine, a grant for the creation of new music, which includes composition, songwriting, arrangement, sound design and creative development. The funds can be put towards recording (including mastering) so long as it doesn’t

exceed 50% of the total request for funding. Funds cannot be used for pressing or promotion of the recording. The June 2011 round of grants received 129 applications, of which 18 were funded with a total value of $211,900. The assessors look favourably upon unique work by artists that source funding from a range of places, rather than seeking to obtain the full amount required from the grant alone, because sourcing funding demonstrates effective planning. Funding up to: $20,000

PreseNtatioN & ProMotioN Yep, you guessed it, this one’s for presentation and promotional activities like gigs, festivals, showcases, promotional and performance tours within Australia. In the June 2011 round of grants 15 out of 69 applications were successful with a total funding value of $271,086. As with the New Work grant, assessors look favourably upon unique work with funding sourced from various locations. Funding up to: $30,000 iNterNatioNal Pathways This grant is aimed at supporting international touring, market development and networking for Australian musicians performing original Australian music. You must have a commercially available recording and some touring experience. In the April 2011 round of grants 11 out of 50 applications were successful with a total funding value of $182,381. When assessing the merits of applications, the assessors favoured those that had well planned tours that utilised opportunities to further market development. They also liked good, thorough, viable budgets which evidence good planning. Funding up to: $20,000

souNdclash This grant aims to support contemporary music that is experimental, innovative and unique. The assessors even like risk taking and look favourably upon projects that involve new collaborations and creative challenges. The December 2009 grant round received 60 applications, of which 11 were funded with a total funding value of $90,000. The funding is for new work, which includes songwriting, composition, collaboration, rehearsal and recording, but only 50% of the amount of funding requested can be spent on recording. Funding up to: $10,000

artstart ArtStart is a grant for arts graduates that have completed a Certificate IV or above in an accredited artist training course within the last three years and who want to be employed as a professional artist. The funding can go towards skills development, equipment, services and resources to enable the recipient to have a career in the art form they have studied. The April 2011 round of grants received 55 applications in the music sector, of which 19 received funding.

Assessors will consider how viable the goal is along with the commitment and potential of the applicant.

Assessors favour intelligent, detailed, creative and well thought out commercial strategies by artists that have begun utilising opportunities to achieve a successful career. Funding up to: $10,000 tiPs for aPPlyiNg 1. Call the Australia Council for the Arts on 1800 226 912 and speak to the staff about what they’re looking for and how to submit the best possible application.

2. Familiarise yourself with the selection criteria of the grant you

are applying for. The assessors rank applications based on the selection criteria, so it is imperative that your application adheres to and addresses it.

3. Why this project, why now and why you? Australia Council staff recommend keeping this in mind when completing your application so make sure that you cover those questions.

4. Demonstrate your passion, commitment and that you’re organised. A good plan and budget is essential.

5. Why is the government giving you money? It’s a very important question, the answer to which you should keep in mind when applying for a grant. According to the Australia Council the answer is a combination of supporting new work and its creation; increasing resources, opportunities and audiences for Australian art and building the capacity of the arts sector. So boil that down and it means that your work has to provide some benefit to the arts, the community and the country and they want to know how you intend to achieve that.

6. Look at past grants recipients.

This information is available on the Australia Council website. They also have videos with tips from past grant recipients. This will give you a good idea of what sorts of things the government likes to fund.

7. If you are unsuccessful, put away the tissues and the tub of ice cream and call the Australia Council to get some feedback. You may have only just missed out and their feedback could be instrumental in securing your success next time. Like they say, if at first you don’t succeed, try, try, and try again. Or, as The Rolling Stones put it, if you try sometimes you just might find, you’ll get what you need. H

“Different grants have Different success rates, but it averages at about 20 percent success, which means you’ve got a one in five chance of hitting the grant jackpot.”

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Chemical Lawfare Getting the band to sign a band partnership agreement may seem pessimistic or untrusting, a bit like a pre-nup, and maybe it is, but it’s smart business practice and can save a band from an age of Hell later on. A band’s primary function may be making music, but its secondary function is usually making money.

A band is a business and like all good businesses, it should be prepared for any situation that may arise, even if some of them are unpleasant.

What is a band partnership agreement?

Legally, a partnership is a relationship between people who carry on a business in common with a view to making a profit, regardless of the existence of a partnership agreement. Unless the band has been set up as an incorporated company or a unit trust, which are alternatives to a partnership, bands are almost always a legally recognised partnership. A partnership agreement documents the rules of the partnership and ensures that there are mechanisms in place to deal with situations that may arise within the partnership, for example, a leaving member.

Why is a band partnership agreement important?

Sometimes things go wrong and sometimes things just change.

Money, success, touring – these are all things that can put pressure

Band Partnership Agreements

on a band and can change a group dynamic that was previously peachy.

Money or lack thereof, babies and illness are also common reasons for members leaving. Regardless of the reason, there’s a good chance that a band member will leave the band at some stage. What rights do they have to the band name and goodwill of the band? Will the money they invested in the band be returned to them? What happens to equipment purchased by the band? A member leaving is one of the most common issues a band will face, but there can also be disputes over who owns what, who wrote what, who earns what, who controls what, the list goes on and on. A band agreement can defuse these unfortunate arguments by setting out the rules of the partnership right from the start.

It will ensure that it’s not one person’s word against the other’s and it can save money in legal fees later on. It will also prevent a court from implying the terms of the partnership agreement if the band ever has the misfortune of finding itself in that position.

What should a band partnership agreement cover?

To save time and money, a band should consider the rules and mechanisms that they want to include in the agreement before they visit their lawyer. A good band partnership agreement should include:  Partners. The names and addresses of each band member.

 Purpose. The purpose of the partnership.  Term. The initial term, or time period, of the agreement. For example the agreement may provide that it will last for two years, after which time the partners can reassess annually and either continue with the original agreement or amend it as required.  Finances. Who controls and keeps records of the finances?

Will a manager or accountant be appointed to handle this? Who has access to the bank account? Who is putting money into the band? Is it a loan? Who pays for insurance and repairs on equipment?  Income splits. Income splits are one of the areas that cause the most contention. Especially when the money starts to come in and non-songwriters realise how much more money the songwriters are making. How will income be split between the members? Will songwriters share their publishing income with non-songwriters or will all members be listed as co-writers in equal shares regardless of their contribution or will members be listed as co-writers in the proportion that they actually contributed? The ownership of songs does not always coincide with the income splits, which can be varied by contract.  Ownership of assets. Who will own the band name, trade marks, domain name, website, equipment, merchandise etc.?  Members. How can members

resign? Do they have to give notice? How can members kick another member out? How are new members to be appointed? What are the roles and responsibilities of each member? Which members can enter into contracts on behalf of the band? Will leaving members need to sign a confidentiality agreement?  Decision making. How will decisions be made? Will there be a vote? Does the vote have to be unanimous or will the majority decide? Will different decisions have different voting rules?  Dispute resolution. If a dispute cannot be resolved internally, how will it be resolved? A mediation session with an independent mediator is usually a good and fairly economical option.  Winding up. What will happen if the band decides to split up while it is still receiving income from royalties, album sales etc?

We all know bands that have had members leave, sometimes happily, sometimes not so happily. We also probably all know bands that have had disputes with current or ex-members. A recent example, ex-Anthrax singer Dan Nelson is claiming that he co-wrote songs on Worship Music, but hasn’t been paid royalties accordingly. Whether the band is big or small, it’s a good idea to set out the rules as soon as possible to avoid confusion, disputes and unnecessary courtroom battles. H

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3/1/12 10:49:13 PM

shrapnel shards

of metal

Waxing Lyrical words Christian Doherty

L

yrics in death metal are a funny thing. They are often overlooked and rarely ever explored. Mainly due to the fact that most of the time they are indecipherable. Or maybe it’s the fact that the majority of bands have the typical ‘blood, guts and gore’ subjects so people don’t feel the need to look deeper.

Especially in the case of the more extreme metal bands.

But not all of the bands lyrics are just based on these ‘archetypal’ subjects. There are quite a lot of thought provoking lyricists in the genre. As a big fan of the genre, combined with a curiosity for the origins of inspiration, I decided to explore this rarely analysed subject.

For this first edition of Waxing Lyrical I decided to explore a relatively new band on the American death metal scene, who are certainly making waves in their own right, playing with the who’s who of death metal all over the USA. I approached Embryonic Devourment’s main man Austin Spence to chat about the lyrical inspiration for their latest album Vivid Interpretations Of The Void.

“We kind of feel that each person interprets for themselves, what they see and hear. Our music comes from a very dark musical world, which we like to call ‘the void’.”

Starting in 2003, the band immediately wanted to carve out a niche for themselves in the oversaturated death metal scene and instantly were drawn towards Austin’s favourite subject… the reptilian agenda and the global elite that are connected to the agenda. “We

noticed that every death metal band we played shows with and listened to all sang about blood, guts, and Satan. So we decided if we wanted to be original in the lyrical department we needed our own niche… so our lyrical topic is Reptiles and Lizard Humanoids.”

Now those of you who have never come across this subject are probably laughing right now at the thought of our world being controlled by a reptilian race with a very specific agenda, but when you do some research, it starts to make a lot of sense. “It’s mainly just a way to get the people to open up to other possibilities. We hate the narrow-minded view of the world in which Freemasons and Christians have created. All the leaders in the political high-ranking powers are somehow connected to this Masonic society. Are they controlled

by Reptilian beings from another planet? Are these Reptilians the gods that ancient Egyptians and Sumerians worshipped thousands of years ago? Are they the Nephilim?

How does it all tie in? If you don’t open yourself to possibilities, then your life will be closed off and narrowly approached. In our opinion anyway…”

Sometimes when you are privy to certain information you feel the need to express your beliefs and points of reference with other people but you don’t want to push too hard.

Music seems to be the perfect place to get it out there for people who want to explore it, as well as a therapeutic release for the lyricist. “We definitely have our own viewpoints and philosophies when it comes to world beliefs, and we always try and insert those views into our music.

“Are they controlled by reptiliAn beings from Another plAnet…?”

2008 republican american presidential candidate, John McCain, might be an alien…

HEAVY’s Christian Doherty took the microscope to the lyrics within Embryonic Devourment’s Vivid Interpretations Of The Void album, and hasn’t been the same since…

It just so happens that the ideals we relate to the most are that of David Icke and his books on the Reptilian agenda. David Icke can portray an intense, almost unbelievable story, but at the same time he is able to tie things in to science and factual evidence. To an audience of metalheads, which have already disassociated themselves from the normal view of society, it makes a perfect breeding ground for radical independent ways of thinking.”

Obviously something draws people to certain belief systems and ways of thinking and this is certainly something you have to go out on your own and discover. So where do you develop such an interest for these topics? Various avenues are available for free thinkers in this day and age to research certain ideas. “Any book written by David Icke; The Biggest Secret, Chariots of the Gods or anything written

by Credo Mutwa. Check out Phil Schneider on YouTube. Check into Alex Jones too, that should get you started.”

Off you go then, but remember, HEAVY reserves the right to plead ignorance if you hit upon the Reptilian’s secret code. We know nothing… and this magazine is not funded by giant aliens. H

decimatus free download

Decimatus are giving you their brand new debut EP for FREE! They’re one of Melbourne’s best up and coming metal bands playing a brutal brand of straight-up metal with an ounce of groove. Available for HEAVY readers at http://downloads.heavymag.com.au, but for a limited time only. Get on it! free download

‘The Betrayer’ eP @HeaVY limited time only!

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3/1/12 10:50:41 PM

photo by toy car photos

Listen up LoG fans… ne oBliVisCaris: BulleTProof WiTH THEiR DEbuT album Portal Of I soon on the precipice of release, Melbourne’s Ne Obliviscaris have had their fair share of triumph and agony in the months ending 2011. Hot on the heels of the momentous win in the long battle to have French guitarist benjamin baret allowed back into the country, long-time drummer Dan Presland has amicably left the band to ‘focus his time on other things’.

The band has since begun rehearsing with another drummer and, with the return of benjamin sure to bolster the spirits of the NeO clan, the focus can now be aimed at the impending album release. The band will subsequently begin touring in 2012 to support their long awaited debut to spread the NeO name Australia-wide. in a press release from NeO relating to benjamin’s December 15th 2011 return to our shores, violinist and clean vocalist, Tim Charles, thanked the many friends and fans worldwide who helped to end the 13-month battle in their favour.

“A HuGE thank you to everyone that in any way supported our battle to get benjamin back to Australia. We couldn’t have done it without you! At the time we launched our appeal we heard a lot about how small our chances were of taking on the Australian Department of immigration and winning, but we refused to accept defeat as benjamin is just way too important to this band for us to go down without a fight. The endless support from our fans, who signed our petition in their thousands (from more than 60 countries across the world!) is a huge reason why we won this appeal and we will be forever grateful to every person that helped make this happen.”

Samples of the new Ne Obliviscaris material can be heard at www.facebook.com/NeObliviscarisband. c h ec k em out

ne obliviscaris @facebook

CHRIS ADLER IS PLEASED to announce the release of two comprehensive behind the scenes narrative books, both detailing the early days of Lamb of God through the writing and recording of the Lamb of God albums, New American Gospel and the criticallyhailed Devin Townsend-produced As The Palaces Burn. Known for not pulling any punches, Adler tells the real story, warts and all.

Over 100 oversized pages for both New American Gospel and As The Palaces Burn, personally written by Chris Adler, the books also include drum tablature, transcribed and verified by Adler himself. Along with refreshingly accurate drum tabs per song, Adler precedes each song on each album with pages of written detail on how and why the songs came to be what they were, and his view of how it worked, or didn’t, in the band’s live set.

As many players know, many tablature books contain inaccurate information (commonly due to publishers not verifying with the artists) and this is extremely frustrating. By self-publishing, writing and transcribing, Adler has made sure that the common mistakes are obsolete. The tablatures are all transcribed and verified by master technician Travis Orbin (Periphery) and Adler himself.

They are designed to provide an extremely accurate insight into the drumming on the album as well as a convenient learning and teaching tool for teachers and drummers alike.

The production of these books are entirely self-financed, written (no ghost writers), and published

by Adler in an attempt to maintain the quality and vision of the product. These are the first two books in a series of six that will be released periodically so keep an eye out as they are not to be missed.

The books are a must-have for any fans of Lamb of God or Adler’s drumming, as well as fans looking for that ‘fly-on-the-wall’ access to how and why critical choices and decisions were made in the

Chris adler has been a busy man.

process of creating these records.

Throughout the narrative, Adler speaks frankly on his drumming, the successes, the failures, and obstacles that ultimately led to him contemplating leaving the band years ago.

Both books are available exclusively in Australia through www.rarerecords.com.au and are available for pre-order now, so get in early! The first 100 of each book will be hand signed by Adler himself and will be available for pick up at the Rare Records merchandise stalls at Soundwave.

Alternatively, you can have them posted to you after the Soundwave tour if you wish.

Or, if you are really lucky, you could win a copy of one of these books (also autographed by the man himself) through HEAVY. All you have to do is tell us in 25 words or less where you would take Chris to hangout when he is here in Australia. The best answer wins!

Go to the HEAVY Facebook page to enter (www.facebook.com/ heavymag).

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3/1/12 10:50:44 PM

friendly fire conversing

over a beer

Mariachi El Bronx words Matt Haycroft

T

he very bubbly operator lets me know that Matt is ready for his interview and she giggles down the line “Matt, I am now putting you through to Matt. Thank you.”

After a few too many “Hellos?” to establish the connection has been made, I reassure Matt that it’s just going to be a casual interview, as I am a very big fan.

When Mariachi El Bronx closed the Melbourne Festival earlier this year I was the guy who threw him the sombrero that he wore on stage for a few tracks.

He laughs “Oh cool… that was a great show, great experience. Yeah we don’t wear the sombreros on stage, we thought to pay homage to the style of Mariachi music and its history, we would wear the Charro suits, but we felt that the hats were too much; we didn’t want people to think we were making fun of it. This music means a lot to us and to the Mexican people and we wanted people to know that we take it seriously.”

The new album Mariachi El Bronx II has only been out for a few months, receiving rave reviews. One of the notable differences compared to the first album is the songs are more grandiose and full sounding.

Matt explains “We were still finding our feet on the first album, the songs were much simpler, but with the new album and the new songs, the other guys in the band had a bit of a struggle learning new instruments, different kinds of guitars and there’s an accordion on this one!

But it’s a challenge we all wanted to undertake and be a part of. I don’t play guitar or anything, so I don’t really write music, but I write the lyrics. There is a lot you can do with Mariachi music and also a lot of limitations. Comparing it to the music of The Bronx (his other band), which is, you know, punk rock, you plug a

guitar into a loud amplifier and just, well, you can really do whatever you want, but with Mariachi, the instruments are acoustic and needs to have more feeling and discipline.”

Matt realised quickly that the music of El Bronx is more emotional and there he was, apprehensive to singing without a loud band behind him.

“I knew I could sing, but to have all the instruments stripped back, it was a real challenge, I wasn’t afraid, I was more self conscious, you know, for putting myself out there without hiding behind a wall of sound”. For El Bronx, there are certain themes and characterisations that I can explore. On ’48 Roses’, I don’t have four different lovers, but I can take on the persona of a guy like that and tell little stories, you know, having a bit of fun with it. In The Bronx though, because the music is so aggressive and in your face, you can’t sing about those situations, it just doesn’t make sense. I’m actually chilling out now in my apartment before I go work on the new Bronx album, Bronx 4, which is gonna be awesome! All of the Bronx albums to date have not been named and are called One, Two,

Matt Caughthran, lead singer of Mariachi El Bronx is resting up on his couch in LA after finishing one tour with his other band, The Bronx and preparing to record and get on tour again. He lets us in on the challenges of the new album, what they have in store for Australia and his colourful thoughts on the new collaboration between Lou Reed and Metallica.

& Three by fans. It’s an iTunes nightmare as all the songs come up in one big mess of tracks.

Matt starts to laugh and explains “That’s kinda the point! That was one thing we were able to decide on, was NOT naming the albums! All the guys in the band would still be arguing if we had to name them!” He lets out a strong belly laugh.

The other reason is so fans can have a physical copy to hold onto, something to own with cool cover art.

With the new Mariachi El Bronx, the cover was done by our friend Joby, who does all our art, he had this idea for fingers and chains, I think it came up really cool. The vinyl record is coloured red, white & green, like the Mexican flag. We’re all total nerds and love those kinds of things, so when we release something, we want it to be special and to go the extra mile with packaging, I can just leave it on the player and it looks cool, I have a few records like that.”

The interview takes an unexpected detour when I ask Matt, part of the American hard rock scene what he thought about the latest collaboration of Lou Reed and Metallica.

Unbeknownst to me, I must have

hit a nerve as his reaction is silence, then a groan then a slightly subdued tirade.

“Oh man… it… is… f**king…

DOGSHIT! What the hell were they thinking? It is so f**king bad.

It doesn’t make any f**king sense…

Are they trying to lose their fanbase? Like, even if they got together 20 years ago, no, no, if they had somehow got together in both their primes, Reed from the ’70s and Metallica from the late ’80s it would still be shit. It doesn’t make any sense.

You know what it is? It’s a mid-life crisis!

The announcement of the Adelaide and Perth Big Day Out’s being downsized, Mariachi El Bronx won’t be appearing at those venues, Matt assures me that there will be other things in the works.

“Yeah, we have some side shows, secret shows and some other things lining up, it’s gonna be really great!

We love coming down to Australia, the crowds there have always been really supportive and we always get a good vibe. We’ve had a lot of good times in Australia and New Zealand.

Thanks for your support and we can’t wait to get down there again!” H

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3/1/12 10:52:12 PM

Orpheus vs Decimatus

Chris Themelco from Orpheus goes head to head with Andrew Rondinelli from Decimatus

2. You’re the vocalist and lead guitarist in the band, who do you draw your influences from?

Ah, yeah, doing vocals and guitar, good fun haha. Well I wasn’t always a vocalist, so my guitar influences were guys like Kirk Hammett (Metallica), Alexi Laiho (Children Of Bodom) and Jani Liimatainen (Sonata Arctica). Then when I started getting into vocals, my biggest influences would have to be Randy Blythe (Lamb of God) and Mikael Stanne (Dark Tranquility).

3. With your debut album Bleed The Way doing well since its release in early 2011, what are your plans now for the next 12 months?

Well, the first thing was to make it to the end of 2011 with some growth and foresight. The aim for the next 12 months is to see what

we can do to maximise the exposure of the band and the album overseas. We have some really dedicated fans over in Europe. You can be sure though, that we are writing more material for album number two.

4. You also have your hand in audio engineering; do you find yourself having a lot of input in the production side of things?

Yes and no. Obviously the band as a whole has an idea of what the album should sound like but I try to be impartial and let the guy producing/ mixing have his input.

Otherwise you lose that outside objectivity and the decision and thoughts become quite diluted within the band.

Ermin H, the guy who mixed the album, had a lot of thoughts and ideas during pre-production. The songs definitely benefitted from his input and lots of it is just things you don’t pick up on because you are IN the band, haha.

5. Now for the most important question… Fold or Scrunch?

Depends on the mood I’m in really haha. If I’ve been listening to prog, I’ll fold that shit like origami. If I’ve been listening to something thrashy then I’ll scrunch that whole f**king roll! Haha.

1. Top five favourite albums?

Okay… but this isn’t in any order… it’s way too hard to choose.

The White Album, The Beatles Live and Dangerous, Thin Lizzy Ashes of the Wake, Lamb of God Black Sabbath, Black Sabbath The Blackening, Machine Head 2. The best show Decimatus has ever played?

Kiss or Kill’s ‘Mixed Grill Fest’ at the Espy. A lot of people came and saw us that night who had never seen us before. We felt like we had something to prove, we had to show this crowd what Decimatus was all about. So we went out on that stage ready to kill and we did.

In saying that, we do love bands such as Down, Black Label Society, Dream Theatre, Machine Head, Testament, Pantera & Lamb of God. 5. You released your debut EP, The Betrayer, in January 2012, what are your plans for the next 12 months?

Getting this EP out has been an uphill struggle – every time we tried to get it out something happened and delayed the process. That went on for pretty much the whole of 2011 so we’re glad to have finally brought it out! Now we’re going to do some interstate and regional shows, and heaps of Melbourne shows as well.

We just want to get our EP as far out as possible.

3. If you had to kill, f**k or marry either Dakota Fanning, Kanye West or Daniel Radcliff?

I would definitely kill Kanye West!

Anyone who says they’re better than The Beatles has to go. I would f**k Dakota Fanning and marry Daniel Radcliff (c’mon, he’s Harry Potter haha!)

photo by shadowzone photography

1. Why the name Orpheus?

When we were thinking of band names, Matt (Drums) told us about a character in Greek mythology named Orpheus. Apparently he played his harp to coo Cerberus and conquer the beast. We all thought that it was a really cool scenario, and so we agreed Orpheus was an awesome name.

The mix of brutality and melody in the story suits us pretty well.

4. You guys have a thrashy sound but it’s heavy on the groove, where do your influences come from?

Each of us brings our own influences and distinctive qualities to the table.

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3/1/12 10:52:17 PM

hi-rotation album reviews

To The earTh

enTiTy

The Compass

truth inc records

independent

basick records

by

review Christian Doherty WitH tHe LonG tiMe bass player Dave ellefson back on board for the first time since 2001’s The System Has Failed, as well as the returning shred monster Chris Broderick on guitar (where does Mustaine keep finding these amazing guys!?) and Shawn Drover still smashing the drums, this album looks good on paper and although not their strongest output, Thirteen is still an enjoyable listen. one thing that always improves with each release is the bands production and this is as clear sounding an album as you will hear. everything is crystal clear although i think the lead guitar tones aren’t quite as bright and saturated as they should be and almost sound as if the volume knobs on the guitars are turned down to achieve this sound. other than this, the twin attack of Mustaine and Broderick is as good as ever with them both churning out the riffs and swapping solos to perfection. although i don’t think the lead work is as melodic or memorable as previous releases, it’s still certainly a guitar nerd’s dream album. the bass guitar is something that can be too easily overlooked in this heavy music genre and isn’t usually given much love or

by

Circles

Progressive Metal Melbourne, ViC

www.facebook.com/lynchmada

www.facebook.com/origin

www.circlesband.com

review Mark Lennard

review Christian Doherty

review Mark Lennard

SoMeone HaS CertainLy poked the bear at Lynchmada HQ ‘cause their latest, To The Earth, is a brooding, pissed off beast of a release. instantaneously from intro piece What Fresh Hell is this, the production talents of US producer Zeuss (Hatebreed, Chimaira) kick you hard. Driven by a pummeling rhythm section and intense guitar work which creates great dynamics, they are most capably topped off at both ends of the scale by perfect growling.

Far from content with simply brutalising us, Lynchmada summon grim tones with instrumental Harbinger, rock out with twenty Seven years and then completely surprise you with City of Lungs. this track is well written, and as close as these guys get to a (dare i say it) ballad, displaying Joel’s vocal ability to actually sing. as the final track relic fades out, To The Earth lingers in mind as a carefully thought out piece of work, to be commended for both conviction and execution. these guys have the sound, the songs and the live show to kick arse around the country, and if the long list of supports and festival slots they have under their belts is the measure of which to gauge this sun-soaked juggernaut, you will surely be seeing and hearing more of them sooner than later!

yoU knoW tHoSe bands that bring out a new album every couple of years and you know exactly what to expect before you hear it? in the death metal genre origin is one of those bands. Since their inception in 1997 they have been churning out consistently brutal music that sets the bar extremely high in the technical death metal stakes with their hyper speed picking, insane blast beats, furious vocals and sweep picked arpeggios. i was surprised at the sheer amount of diversity and progression on this album however.

Paul ryan has taken the full songwriting reins in his hands and gone above and beyond anything they have done before. there is more groove and structure than any origin album before it and some amazingly inventive riffing on display, as well as some beautifully melodic and shredtastic soloing. of course the vocal style is not for everybody but if you are reading this review with interest, then you are used to this type of brutality. or if you are reading this because you want to broaden your metal horizons, then i can’t recommend this album enough.

Just be prepared to have more noise complaints from the neighbours than ever before.

CLoCkinG in at HaLF an hour, Melbourne’s Circles debut eP The Compass is not far off album length for some bands. the six tracks that lurk behind the worldclass artwork are packed with soaring vocals, low-end bass and ‘djent’ style riffage. the heavy and the melodic are seamlessly traversed, backed by solid drumbeats and laced with electronic trickery, begging the question “what can they do to top it on the debut album to come?” the melodic and electronic interludes step up the progressive nature and ensure that every song is aurally dynamic, surprising the listener with what’s coming next. With the vocal range of front man Perry on spectacular display, Circles are making a conscious and successful effort to stand out in not only the ever impressive australian metal landscape, but in what could be viewed as a crowded ‘progressive’ genre.

Don’t fear neck shredders… there’s a fair share of earth shaking throughout, with guttural growls and pit inducing heavy moments to break shit to. While the mind-bending time signatures of bands like Meshuggah or textures that i associate with the ‘djent’ style are not blatant, there is still plenty for fans of this style to find within The Compass. For those who dig australian names like karnivool or the Butterfly effect, but get irked that they aren’t heavy enough, you may have just found your new favourite band!

the stand out

th e sta n d ou t

th e sta n d ou t

t h e s tan d o u t

‘Public Enemy No. 1’ @iTunes

‘What Fresh Hell Is This’ @iTunes

‘Conceiving Death’ @youTube

‘Clouds Are Gathering’ @iTunes

Megadeth

www.megadeth.com

Origin Death Metal USa

roadrunner

thrash Metal Los angeles, USa

by

Heavy Metal Gold Coast, QLD

ThirTeen by

Lynchmada

credit but you realise just how crucial it is to have a prominent bass sound when listening to this album. ellefson doesn’t do anything over the top but is such a solid player who really plays for the song. He really knows how to accent certain parts and add his own flavour to the songs perfectly which has been a staple of his since the beginning. His tone is also thick and bright with no need for any fuzz or distortion. and when combined with Drover’s drumming, you have an amazingly tight rhythm section that locks in so well that you almost forget that this isn’t the case with a lot of bands. only the real pro’s like these guys show us how it should be done. over the last few years Mustaine has certainly lost a lot of his anger and hatred due to cleaning himself up from various substance abuse problems, which i wholeheartedly applaud. However, they seem to have lost a bit of their venom, which one could assume is a result of Mustaine’s less turbulent lifestyle. But as long as they are still releasing albums and Mustaine still has material in him, then i’ll forever be listening to them no matter how much reinventing needs to be done for Mustaine’s health and sanity.

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3/1/12 10:22:57 PM

The BeTrayer

opus eponymous

red flags

independent

rise above records

independent

by

Decimatus

by

Ghost

by

The Charge

The end of all you Know by

Heavy Metal Melbourne, ViC

Hard rock Sweden

Hard rock Melbourne, ViC

www.facebook.com/DecimatusMetal

www.ghost-official.com

www.thecharge.com.au

Frankenbok

The sTenCh of hardCore puB Thrash by

King Parrot

impedance records

independent

thrash Metal Melbourne, Victoria

Grind Metal Melbourne, Victoria

www.frankenbok.com

www.facebook.com/kingparrotband

review adam agius

review Matt young

review Damo Musclecar

aLL roUnD tHiS iS a good debut eP. Starts of fairly slow with the Stand off that has some great acoustic and electric melodic guitars and concludes with some nice heavy rhythm and lead, and before you know it the count off has started to The Betrayer. i love the moshy up beat of the first rhythm and then we get to hear the cool vocal approach. Vocals are hard but you can understand every word. the guitars twist between riffing and technical runs and it works really well. the heavy riffing and solid drum and bass to Bury you are fantastic, but the best part is the catchy vocal hooks; they are well designed and so is the chorus. it’s my favourite song on the eP, and if i have any criticism, it is that Bury you should have been the opener. overall Decimatus deliver a cool modern thrash sound with plenty of catchy hooks. this is evident again in the song of the Wicked. Moving on to killing time, which starts with the combined melodic guitars before totally thrashing out. another solid song. Decimate is a good final song to the eP, it shows off the band’s versatility with a cool mid paced groove that is heavy as hell with an awesome lead break. Great work form these aussies, only thing i would change would be the song order as the first two tracks don’t smash you as hard as the rest.

GHoSt are a neW band hailing from Sweden. the difference between these guys and many other bands from Scandinavia is they aren’t wearing corpse paint and playing screeching black metal. instead they’re wearing black cloaks, and fronted by one of the most obscure looking characters to ever front a band. Ghost crank out some of the sweetest Classic rock songs these ears have heard in ages. the songwriting and structures show massive talent within the band, and it’s no surprise they are currently exploding all over europe. there are Sabbath and Deep Purple influences all over, executed in a manner that would make their heroes proud.

Vocals are clean, and the placement is well thought out, reminiscent of some excellent 70’s and 80’s prog styles. opus eponymous is instantly catchy and full of hooks, with production values that suit it to a tea. you won’t find any over the top guitar leads or ridiculous drum rhythms or rolls. this is straight down the line, meat and potatoes rock’n’roll. the only negative is the ridiculously over the top satanic messages. every song is about Satan, Lucifer or 666. it’s a shame with the quality of music being so high that they carry such a stereotypical message more suited to black and death metal bands. regardless, Ghost are playing brilliant, classic, satanic rock and this album is all killer no filler.

WeLL My FrienDS, if the Charge had written this album in ’77, then i can assure you that this is tHe band that you would have been seeing and hearing come tour dates or big shows. that whole 70’s rollin’ rooms vibe is felt throughout this record from start to finish, it truly is cool as f**k. From the moment this album kicks, i thought i was going to get a 70’s sounding kiSS due to the Love Gun intro, but that soon dissipated and i was hit with a huge amount of modern heavy downtuned riffage more reminiscent of modern rockers such as Mastodon, Fu Manchu, Unida, Dern rutlidge, kyuss, Wrench and most of the roster that resided over at the now defunct Mans ruin records. that is quite an impressive comparison and rightly so. they have a great sound, groovy songs with cool guitar tones and thumping drums. this release risks getting lumped into the Stoner rock category, but these Melbourne cats offer so much more than that. they have written an album to be played in vans and muscle cars the world over and which will translate into a thumping live show. you get the picture. you like rock? yeah, you neeD this. Go out and get it! enough said.

free download

the stand out

th e sta n d ou t

c h ec k it ou t

t h e s tan d o u t

‘The betrayer’ EP @HEAVy Limited time only!

‘Elizabeth’ @youTube

‘Follow Me Down’ @Facebook

Album teaser @youTube

‘Epileptic butcher’ @youTube

review Mark Lennard

review Mark Lennard

For WHat CoULD Be officially classed as f**kin’ ages, Frankenbok have been stomping the proverbial boards across our country and beyond, leaving many a punter damaged in their wake. 15 years, three albums and two eP releases have seen their setlist vary, adding to the testosterone driven live shows that brutalise every time.

The End of All You Know, a monstrous collection of metal that thrashes, crushes and rocks over 12 tracks of well-crafted oz metal. the album is adorned with cover artwork by tom emery; depicting a riot of epic proportions featuring over 1000 individual crazies brawling about a pyramid that’s representative of our modern social structure. the album’s fast-paced outset to the well placed chugging, southernrocking and punk driven tracks, i can picture a heaving mass of punters pummeling each other to any of the 12 on offer here. the vocals are particularly well done, with the imposing Dan primarily delivering the venom, along with bassist tim who brings the killer backing vocals that work to make a track memorable.

With plans to bring The End Of All You Know to most australian states in 2011 and new Zealand, asia, europe, america & beyond in 2012, the future for one of australia’s longest serving metal tribes is looking busy and bright. if all else fails… they could win beard-growing competitions worldwide hands down!

MeLBoUrne 5-PieCe grind metal ensemble king Parrot unleashed this slab of ear splitting raucousness in early 2011 and with the pedigree of members (Blood Duster, Watchdog Discipline, Stiff Meat, the Wolves/the Bezerker) the intensity and musicianship should be no surprise. Sometimes fast, always heavy and pit-friendly, the lads in king Parrot know exactly what kind of maniacs they’ll attract and The Stench of Hardcore Pub Thrash is the perfect soundtrack to the mayhem.

Mixed by Jason PC (Blood Duster) at Goatsound, the mostly tonguein-cheek titled tracks (like opener epileptic Butcher and Lawnmower Dog) are short, sweet and pack a brutal punch thanks to wood shedder rizzo. kP love a good riff and there’s plenty of chug and blistering pace accompanied by the face peeling screech style vocals that many grind bands wield to vicious effect. it’s not all pedal to the floor though and kP know how to break up the chaos with mid paced stomping riffs to get the pit fiends moving.

So if you like yours brutal, pick up The Stench of Hardcore Pub Thrash and check out the quality video for epileptic Butcher doing the rounds on youtube. Most importantly, get to a live show! king Parrot wholeheartedly endorse pit violence and it’s a given with venomous tracks like these that punters will bleed… like it or not!

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3/1/12 10:22:59 PM

Top 10 Bizarre Band Merch Band merchandising seems to be going in some very interesting directions words Amanda Mason

10. slayeR bike helmet

If you’re starting your own Sons of Anarchy style motorbike gang and you’re not going to wear a spiked German military helmet (which is amusingly called a Pickelhaube) why not do it in Slayer-style?

6. motöRhead shiRaz

Imagining Lemmy sitting there sipping on a glass of red is like imagining him crocheting a nice doily at a tea party… arousing, no wait, I mean disturbing. The Motörhead Shiraz website describes the wine as ‘rockin’.

I don’t know anything about wine, but ‘rockin’ sounds better than ‘grapey’. AC/ DC, Maynard James Keenan, Ratt, KISS and Warrant also have their own wines.

5. kiss kondoms

If you’ve ever thought it’d be hot to have Gene Simmons’ face printed on a condom then KISS Kondoms are for you. They’re FDA approved, so now you can have peace of mind when you Rock’n’roll All Night. If you’d prefer to Into Glory Ride or spend a couple of Seasons in the Abyss, Manowar and Slayer also have their own condoms.

4. Rammstein Flambé buRneR 9. metallica monopoly

Oh what?!! There’s no hat game piece?

But that’s the best thing about Monopoly!

Maybe that’ll be in the Guns N’ Roses edition.

Metallica Monopoly has game pieces that represent different Metallica albums and I’ve got to admit that’s pretty awesome, but cool game pieces are not going to make the game end any faster. I can’t wait until they bring out Twisted Sister Twister.

The whole Masterchef craze must have reached Germany. According to Rammstein’s website the “flambé burner” (aka blow torch) can be used to ‘caramelise Crème Brulée, melt cheese and much more!’

I suspect the ‘much more’ is arson.

8. bRing me the bbQ sauce

Bring Me The Horizon now have their own BBQ sauce, and according to Bravado, the merch company distributing Bring Me the BBQ, it’s ‘so good it makes dogs fart’.

7. mastodon lageR

German beer company, Mahr’s Bräu, manufactured a limited run of 200 bottles of Mastodon Premium Lager for the 2011 Sonisphere Festival in Germany.

Clutch and Amon Armath also have their own beer.

2. kiss kasket

If you like the idea of being buried in a coffin that is covered in flames and dudes in spandex, well this might be a decent place to rest for all eternity. Does anyone else find it annoying that the Kiss logo inside the lid is facing the wrong way for the corpse to read?

I know they’re a corpse, but if my loved one awoke as a zombie, I’d prefer it if they could read the logo without twisting their undead head around.

1. Rammstein dildo box set

And finally, the bizarrest bit of merch award goes to Rammestein for a box of dildos.

‘Liebe is für alle da’ translates to there is love for everyone, and with six sex toys ranging from six to eight inches modelled on the band members’ manhood, there most certainly is love for everyone. You also get some lube and a pair of handcuffs. Oh yeah, and their album. A replica of ex-Skid Row drummer Phil Varone’s member is also set to be released in early 2012 and, for the ladies reading this, he has a prince albert (ie. penis piercing) and is ranked 148th on Metal Sludge’s World Famous Penis Chart (yes, that’s a thing that exists). H

who is RichaRd cheese?

It surprises me that after releasing ten albums, there are those who walk among us, unfamiliar to the sounds of Richard Cheese. For the love of a beardy man on LSD making crazy proclamations, his backing band is called Lounge Against The Machine…

And you call yourself alternative?

Surely alternative enough to be familiar with the swing version of ‘Down With The Sickness’, during the closing credits of Shaun Of The Dead?

Richard Cheese (in his own words) swing-a-fy’s songs, which I may add, on paper, do not look workable as swing/show tunes. Cheese takes many an alternative, metal, rock, pop and hip-hop song and croons with his tongue firmly in his cheek and his eyes firmly ogling the nearest pair of breasts. My personal faves are his versions of songs that are so wrong, they’re right, such as ‘Closer’

by Nine Inch Nails, with that oh-socatchy vocal hook about beastiality (I know it’s not but, ya know). He took on Michael Jackson’s ‘Beat It’ knowing full well that it wouldn’t be complete without 20 kids joining in the chorus... so, he got 20 kids joining in the chorus – GENIUS! Even the sacrilegious (there’s a theme emerging here) rock tunes get the Dick treatment.

Van Halen’s ‘Hot for Teacher’ gets swung like a cat and Mötley Crüe’s ‘Girls Girls Girls’ reminds us that they’ve got ‘em in Ipanema.

Richard Cheese has helped me understand, that any existing song can be transformed into something completely different, even if it defies the laws of music science. An understanding that came, not before I bent my brain sideways, searching for a relative explanation for his successful ‘swing-a-fyed’ rendition of Slayer’s ‘War Ensemble’.

– Steve Murphy

3. kypck gas mask

Finally, I can buy a gas mask without raising suspicion and it will look so hot with my Rammstein blow torch… I mean ‘flambé burner’. It’s apparently a genuine Russian gas mask, and, if it wasn’t already practical enough, it also comes with a handy carry bag.

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