Heavy Music Magazine Issue #6

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Featuring tracks from artists including

LINKIN PARK, Blink 182, THE OFFSPRING PARAMORE, GARBAGE, CYPRESS HILL, Sum 41, STONE SOUR, ANTHRAX, SUM Killswitch Engage & many more!

In stores and online now!

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oon s g n i m o c ’ RAP T T A R ‘ P E om.au c . o o h 5 track a y @ 1 ddevine Bookings: d

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issue 06

contents

published Quarterly in 2013

• features •

58 LITA FORD

Our HEAVY legend and Chick That Rocks, after The Runaways, Lita Ford has been making a name all for herself.

20 GHOST

Unholy, theatrical horror metal. Welcome to Ghost.

32 OZ FEATURES

Heavy things are happening... Portal, Sydonia, The Amenta, Northlane, Lord, The Devil Rides Out.

28 AIRBOURNE

Australian rock gods Airbourne show us where hard work can lead.

printed & produced in australia 6

52 SOUNDWAVE HIGHLIGHTS

HEAVY raises their horns up at Soundwave Festival.

12 CLUTCH

The Maryland rockers are about to release their tenth studio album.

Bring Me The Horizon

14 BRING ME THE HORIZON

We talk giddy scene girls, touring and internet fame.

44 OZ UNDERGROUND

We bring you the best of Australia’s thriving underground scene.

26 CATTLE DECAPITATION

Lita Ford

Not just vegans and vegetarians, Cattle Decapitation are musicians as well.

19 OBITUARY

The fore-fathers of death metal embrace the future.

Cattle Decapitation

culprits

Airbourne photo courtesy Amped Photography

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!

Executive editor & publisher Olivia Reppas editor Nick Lord Art Director Peter Falkous Publishing Consultant Effie Dimitropoulos 186Red Pty Ltd ASSISTANT SUBS Damo Musclecar Amanda Mason Lep Beljac Tennille Secomb Distribution Gordon & Gotch Printing Blue Star Group (Printed in Australia) Specialist contributors Doug Steele – Guitar Drew Dedman – Bass Rob Brens – Drums Dave “Higgo” Higgins – Airwaves Amanda Mason - Legal Contributors this issue Adam Agius Angela Allen Anthony Moore Cassie Walker Christian Doherty Dale Noble Damo Musclecar Fabio Marraccini Jay Clair Justin Tawil Kama Way Karl Lean Kiel Egging Kimberley Croxford Lep Beljac Jeff Schenck John Raptis Jon Stockman Josh Voce Julianne Pimenta Mandi Santic Mark Lennard Mitch Booth Riley Strong Rob Brens Rod Whitfield Sheri Tantawy Simon Lucic Tennille Secomb Tom Valcanis Vix Vile Will Oakeshott 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.

welcome to the sixth issue of HEAVY

O

ur feedback tells us that our readers love the Aussie content that we cover. So at HEAVY HQ, we have been working hard to bring you an Aussie heavy issue, and here it is. Bursting at the seams with Aussie bands from yesteryear (check out Metal Rewind), current gems deep in the underground (OZ Underground and HEAVY Surveillance), some sensational OZ features including the obscure Portal, and getting up close and personal with internationally renowned act Airbourne at The Bendigo Hotel in Collingwood – we have the home-grown stuff covered for you.

Many punters also seem to be suffering from Post-Soundwave Depression, so head over to the Soundwave review special and reminisce on the day that was, and see if you agree with what our reviewers discuss. If you don’t agree, get on our website forum (heavymag. com.au) and tell us! We are keen to know your thoughts.

In this issue we’ve combined Chick’s That Rock with HEAVY Legend, to make way for the exceptional Lita Ford, one of metal’s finest women!

No matter what style of heavy music you like, here at HEAVY we try and please

Photo: Lep Beljac

you all as much as we can… from dirty rock’n’roll, (see Clutch), to the more brutal side of things (Cattle Decapitation), to the blasphemous Ghost.

I’d like to welcome Nick Lord as Editor to our team, Doug Steele as our new guitar specialist for Strings & Skins, Simon Lukic taking over Metal Rewind, and Tennille Secomb as our intern; we are pretty darn excited to have them, adding more knowledge and passion to our product.

As always, my ongoing and biggest thanks to Soundwave, Roadrunner, Riot! Entertainment, Century Media AND Printing, Blue Palm Touring, Lanie Phelps, all our supporters, sponsors and advertisers, bands, affiliates, all contributors and photographers, and of course 186Red. – Olivia Reppas

Photo By Carbie © www.carbiewarbie.com

IS THIS YOU?

Because we’re a generous lot here at HEAVY we love to give away prizes to our loyalreaders-to-be. so if this is you, or if you know this metal fan, please do him a favour and tell him to get in touch with us to collect his prize! Valid till 1 August 2013

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shreds

views, news & reviews

The Aussie Alternative Rod Whitfield keeps his alternative ear to the ground

ELECTRIC HORSE VENOMOUS

Ten years ago, Queensland heavy act Sunk Loto released the monumental Between Birth and Death album. It has since gone down in the opinion of this writer as one of the greatest heavy albums released by an Aussie band. A few years later, the band disbanded, well before its time.

Two Sunk Loto members have given themselves a second chance by forming Electric Horse. The band released an excellent EP a few years back, and now unleashes their debut long player Venomous. It’s a very different beast to Sunk Loto, but similar enough to still appeal to fans of the original project. In fact, there’s actually a sizable stylistic change from the EP to the album – while the EP was slightly heavier and a little more progressive at times, the goal here seems to have been to create a strong, straight-upand-down, modern heavy rock

words Josh Voce

album. In that, Electric Horse have succeeded admirably. The songs are straight ahead, but have a serious stick-in-your-head catchiness to them as well.

Venomous is one of those rock albums that combines the ballsy with the catchy to an absolute tee.

Check it out.

check em out

‘Venomous’ @iTunes

JERICCO Beautiful In Danger “This album is like a baby; it was one big labour,” says Roy Amar, bass guitarist, backing vocalist and founding member for Melbourne alternative rock act Jericco. Forming around five years ago, the band have released two extremely wellreceived EPs and a live album, and have toured the country many times over, both as a headliner and also in support of bands like Karnivool, Dead Letter Circus and Mammal. Jericco started life as a very progressive heavy rock act, with lengthy songs that were loaded with twists and turns, and a strong middle-eastern influence throughout.

The debut album Beautiful In Danger sees the group’s sound evolving and streamlining. Produced by the great Forrester Savell, (the man behind Karnivool’s Sound Awake and Dead Letter Circus’ This is the Warning), Beautiful in Danger is choc-full of shorter, more anthemic rock tracks, and Amar is as overjoyed with the results of their

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“labour” as he is with the vibe in the band currently.

“It [Beautiful In Danger] started very progressive and ‘Tool-ish’ with a middle eastern influence in music and the riffs,” Amar recalls, “and it just progressed from there. This record’s going to kick some goals, I think. It’s turned out great and I can’t wait to share it with everyone.

And the bond in the band... it’s awesome!”

Beautiful In Danger was released on April 19 through iTunes and in all good record stores. Watch out for an extensive national tour thereafter.

check em ou t

@Facebook

Infernal Outcry (TAS) Tasmania seems to be Australia’s latest breeding ground for uniquely heavy bands, and Infernal Outcry are no exception. The Tasmanian progressive/technical death metallers have recently released their first demo entitled Eclipse.

The three-track demo is available on the bands’ facebook page for free and is an exceptional foray into well-crafted and technically proficient metal. Front-woman, Leah Armand, is reminiscent of the late Chuck Schuldiner of Death whilst guitarists Dave Lawson and Daniel Hill display impressive guitar-work. The band has played with a range of Australia’s top extreme metal acts including Psycroptic and Synthetic breed.

Infernal Outcry are currently in writing mode for their debut fulllength album.

Eternal Rest (QLD) If brutal death metal is your thing, then Eternal Rest’s debut album, Prophetic, is sure to ease your tension for heavy suspension.

Prophetic compiles furious blast beats and Nile influenced middle-eastern counter melodies that culminate in an album that fuses brutality and atmosphere harmoniously. Eternal Rest are

currently on tour with death metal heavyweights, Origin, as part of Japan’s Extreme Deathfest.

Prophetic, is out now via Deepsend Records.

Obscenium (WA) Some of us may have died of old age waiting for the new Necrophagist album, so to satisfy the urges of those that get off from overly complex guitar riffs and stuttering time-signatures, Obscenium just might tide you over until that next dose of German excellence. The band’s debut LP entitled (Con)clusion (Sequence) is slated for release in 2013 with an EP set to follow.

Burning Beard (VIC) Burning Beard are an experimental metal one-man band that specialise in extreme obscureness. Written, arranged and recorded by Dante Morris, the debut album I Don’t Want To Live In A World Without Science features a T-rex and vulture conversing over a cigarette on the front cover, a clear indicator of the madness conveyed in the album.

I Don’t Want To Live In A World Without Science is available in all formats on the band’s website (burningbeardclan.com).

ROCKThere SCENES have been countless films made that bring together words Vix Vile

music and cinema, some written to perfectly capture rock’s enduring and indelible footprint on cultural history, and others just as an excuse to provide a decent soundtrack.

Here are some of the best.

intothevoid

Stoner/fuzz news with Anthony Moore

Miami sludge / doom three piece, Shroud Eater, have unleashed their latest release Dead Ends. Out now on CD through The Path Less Travelled Records and cassette through Primitive Violence Records. They are gritty, hefty and impressive with a massive sound!

NAAM are set to release their second full length album on June 4th through Tee Pee Records. Hailing from Brooklyn, these psych rockers have also just rereleased the Kingdom EP with a previously unreleased bonus track through the Italian label, Heavy Psych Sounds.

Recommendations

Trick or Treat (1986) Directed by Charles Martin Smith Eddie’s rock idol has come back from the dead and Eddie, (Skippy from Family Ties), needs to stop him from wreaking havoc on all that have wronged the poor protagonist. How does he do this?

By luring his undead idol into a cassette tape, of course. Featuring Ozzy as a reverend, Gene Simmons as his mentor, some evil radio airwaves, a bedroom that any ‘80s metal head would love, and a battle jacket loaded with all the right badges, Trick Or Treat ticks all the metal boxes.

Hard Rock Zombies (1985) Directed by Krishna Shah Forget calling Ghostbusters when your town is in trouble. In what is quite possibly one of the cheesiest rock films ever made, a glam rock band find themselves in a small town overrun by all sorts of baddies.

With all that hairspray, these poor rockers find themselves fried when electrocuted by the evil head of the town, who also happens to be Hitler

– Hey, no one said this film makes any sense. Fear not though, because the band are brought back to life by the lead singer’s girlfriend just in time for the final cheesy battle to rescue the town. Hard Rock Zombies is B-grade film-making at its best.

Detroit Rock City (1999) Directed by Adam Rifkin After four bumbling teens have their Kiss tickets destroyed by one of their mothers, they embark on an epic quest of hilarity to get their hands on replacements. Detroit Rock City is sure to resonate with anyone who has gone to great lengths to see their favourite band live. It also answers that age-old question: whatever happened to Edward Furlong?

Rock Star (2001) Directed by Stephen Hereck They say anyone playing in a cover band is really just dreaming of the real thing. Well, careful what you wish for. Loosely based on the real life events surrounding the

recruitment of tribute band vocalist Tim ‘Ripper’ Owens to the role of lead singer of Judas Priest, Rock Star declares that sometimes the life of a rock star isn’t all it’s cracked up to be.

School of Rock (2003) Directed by Richard Linklater Quite possibly one of the most tightly-written rock comedies to date and certainly one of Jack Black’s best films, School of Rock is worth seeing just for the overzealous guitar solo that gets Black’s character Dewey thrown out of his band. Dewey then impersonates a substitute music teacher and takes his class all the way to a Battle of the Bands competition with riotous results.

Interesting side note: Led Zeppelin, who notoriously doesn’t allow their music to be used for commercial purposes, gave permission for Immigrant Song to feature in the film, such was their belief in this rock n’ roll story.

NEW RELEASE: The Neptune Power Generation Mano A Satano.

The Neptune Power Generation is a band that somehow defies description. Yeah sure they have all the tell tale signs of a band who live for ‘80s metal and showmanship, but they are way more than just a band, they are a religion unto themselves! Mano A Satano came out on transparent red vinyl 12 Dec 2012, so newish, but the buzz is building!

CLASSIC: Thumlock Emerald Liquid Odyssey & Dripping Silver Heat

Thumlock were from Wollongong and around from 1997 – 2002 released two albums, two EP’s and three singles in such a short time. They were hailed as one of the greatest Australian bands of their kind and leaders of the fuzz and stoner scene. Their music was never released on vinyl and Kozmik Artifactz (Germany) have released Emerald Liquid Odyssey (2000) and Dripping Silver Heat (1997) together on a double LP leaving fans already frothing at the mouth! Out now on 180g vinyl with hand numbered sleeves and limited to 200 black, 200 coloured and 100 marbled.

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On The Record label introductions

l ate s t re l ea s e

“I played drums in many bands during high school and college, so I guess that’s where I got my start.”

Dead Rock Commandos by

Nightstalker

SMALLSTONE Records

Nightstalker’s latest full length Dead Rock Commandos is their first on Small Stone and by far their most impressive to date.

The Greek band’s sound is reminiscent of ’70s classic riff masters and filled with cosmic rock. With thundering grooves and heavy stoner vibes blended throughout, this album is set to be one of Small Stone’s strongest releases. c h eck em out

‘Dead Rock Commandos’ @Bandcamp

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words Anthony Moore

Label: Small Stone Records Based: Detroit, USA. Founded: 1995

Small Stone’s stand out releases according to label founder & President, Scott Hamilton:

smallstone.com smallstone.bandcamp.com facebook.com/smallstonerecords

The international heavy rock community is continuing to gain momentum and Small Stone Records are at the forefront.

Focusing on a wide range of genres including heavy/stoner/ metal/retro/blues and southern rock. Scott Hamilton originally started the label to have a Detroit-based version of Seattle’s Sub Pop Records.

Before starting Small Stone, Hamilton had no formal training in the industry and his background stems from his love of music.

“I played drums in many bands during high school and college, so I guess that’s where I got my start.”

During that time he also booked bands and then after college went on to work in a record store, a commercial FM radio station and eventually with concert promoter Live Nation.

The name Small Stone is inspired from one of Scott’s all time favourite guitar pedals, the Small Stone Phase Shifter, made

by Electro-Harmonix. “I’ve had an original version of the pedal from the 70’s, one since I was 14 and now I have several of them.

Somehow my love for the pedal became a name for a record label.”

The first release was a local compilation called Detroit Rust City which sold out in 2 -3 weeks and featured Kid Rock and Big Chief amongst others. Small Stone followed that up with 36D featuring members from two Ann Arbor bands Big Chief and Slot, Scott explains how it came about “I was both a huge fan of, and also friends with [the bands]. So it was just a pretty natural thing to happen at that time.”

Even though the Detroit scene was strong through the ‘90s the label wasn’t working as well as expected only releasing bands

from the local area and was forced to expand the market base outside of Michigan. “[This] needed to happen if Small Stone was going to grow and survive as a label” explains Scott. He signed bands like Halfway To Gone (New Jersey), Puny Human (New York) and Los Natas (Argentina).

“I started signing other bands from around the country and globe and the label really took off from there.”

Small Stone’s simple work ethos, “All the bands have to be top notch, great players, and good people” has them powering along with their sights on broadening even further into other regions. “We will keep doing what we are doing... signing new acts, aggressively amping up our marketing efforts, and continue to get a stronger foothold in places like Europe, with a new market focus on both Australia and Japan too.”

There are always some releases that do better than others, though sometimes unexpectedly. Scott reflects on two in particular that have done well for the label. The newest from Freedom Hawk, released October 2011.

“Holding On has done very well in Germany.

I am sure it was a combination of the album sounding like early Sabbath and a strong press campaign to promote it.”

Released in 1998, Five Horse Johnson’s “Fat Black Pussy Cat blew up for us too and that was mostly by word of mouth and the band hitting the road a whole bunch.”

And Scott’s favourite part of owning a label?

“Not having to wear a suit and tie to go to work.”

Keep an eye out for vinyl releases coming out very soon from Wo Fat, Nightstalker,

Five Horse Johnson - The No.6 Dance: “The first album that I really got involved with from a production standpoint. Also an album that really opened up some doors for both SSR and the band... Plus, it is a bad ass album.”

Shame Club - Come On: “One of the best sounding Small Stone releases. It is a fantastic album from start to finish, and overall has fallen under the radar, but it needs to be owned and heard by everyone who loves rock.”

Halfway To Gone - Second Season: “Another fantastic album from start to finish. The band toured hard on this album too with the likes of Nashville Pussy, Nebula, Five Horse Johnson, and Clutch.”

Luder – Sonoluminescence: “My band’s first release also marked SSR’s 100th release. Cool sounds and fusion of Portishead meets the harder rock.”

Gozu - Locust Season: It just rules. Stop reading and go get it asap!”

Lo-Pan - Salvador : “Great sounding album. Somewhere in the world of Tool meets late ‘90s Monster Magnet. The band is young in their journey and we expect great things.”

Lord Fowl - Moon Queen: “My master reference version of this CD has been in my car for the last three months. I listen to it every time I drive. It is fantastic little rock’n’roll record from another young band.”

shreds

views, news & reviews

words Amanda Mason

Number of the Feast

Food and metal are two of the best things in the whole, wide world and you may not think that there’d be too many instances where they meet, but that’s where you’re wrong my little Meshuggah puff.

Songs like Warrant’s Cherry Pie, Def Leppard’s Pour Some Sugar on Me, and Van Halen’s Poundcake prove that metal and food have been friends for decades. Okay, so maybe those songs are all about sex rather than baked goods, but let me provide you with undeniable proof that food and metal are as one, just like Kerry King’s head and neck.

Metal Chefs It seems that there are almost as many metal chefs around as there are chicks that have had their cupcakes frosted by Gene Simmons.

The best of which - metal chefs that is, not Gene’s lady friends - are the Vegan Black Metal Chef, Sahil Makhija of Headbanger’s Kitchen and the Swedish Chef Heavy Metal.

Despite the lack of animal product, carnivores and vegans alike can enjoy watching the amusing, corpse paint laden Vegan Black Metal Chef cutting things with ridiculous ornamental knives and growling recipes to death metal songs. Headbanger’s Kitchen stars Indian chef Sahil Makhija of metal band Demonic Resurrection cooking things to feed to bands and my third favourite metal chef is the Swedish Chef Heavy Metal, which, although it’s just YouTube videos of the Swedish Chef from the Muppets overdubbed with metal songs, is amusing indeed.

Food and Drink Merch There is a f*ck load of food and drink related metal merch on the market nowadays, even if you don’t count the myriad of stuff produced by the merch-whores, KISS, but can you really discuss merch without mentioning KISS? Of course not. Over the years KISS alone have had their own brand of coffee, candy, wine, juice, cereal, ice-cream, BBQ sauce, hot sauce, ketchup and god knows what else.

Other non-KISS food related products in existence include sauces from Bring Me the

Horizon and Zakk Wylde; alcohol from Motörhead, Mastodon, Clutch, Amon Armath, AC/DC, Maynard James Keenan, Ratt and Warrant and there are even cooking accessories like the Rammstein flambé burner and Slayer apron.

Metal Dudes in Food and Drink Ads There are a surprisingly large number of members of metal bands in food and drink commercials and they’re all hilarious because of the awkward acting, cheesy lines or over the top ‘80s-ness. YouTube this shit.

My favourites are Cinderella for Pat’s Chili Dogs, Steven Tyler for Burger King (Kerry King would have been the obvious choice, but he is busy doing ads for Jägermeister), Lemmy for Walkers Crisps and playing violin for Kit Kat, Alice Cooper for Miller beer, Gene Simmons for Dr Pepper and the absolute ultimate ad stars the Prince of Darkness himself, Ozzy Osbourne, cooking fairy cakes for I Can’t Believe It’s Not Butter.

Metal Eateries 666 is not only the number of the beast, it’s also the number of metal themed eateries around the world. That’s probably not true, but there are quite a few metal restaurants in existence. Some of which include Hoeks Death Metal Pizza in Texas, Rock’n’roll Ribs in Florida (technically this isn’t metal, but it makes the cut because it’s co-owned by Iron Maiden drummer Nicko McBrain), Heavy Metal Hotdogs in Ontario, the Twisted Sister House of Hunger Food Truck in Minneapolis and the KISS Coffee House in South Carolina, but the award for the most mouthwatering metal eatery goes to the winners of the Great Food Truck Race, Grill ‘Em All in California with burgers containing delicious morsels of artery clogging goodness like deep-fried bacon, jalapeño peppers and peanut butter.

recipes and you can also find vegan recipes at heavymetalvegan.com With the rise of veganism in the metal community someone needs to tell Judas Priest that they should be hell bent for pleather.

Metal Bands on Cooking Shows The foodie movement has gone crazy over the last five to ten years and metal is jumping aboard the trend by appearing on food or cooking shows. Metal guest appearances on such shows include the Sword on Anthony Bourdain: No Reservations, Dee Snider on Kitchen Nightmares, Andrew W.K. on Dinner with the Band, Hull on Cake Boss, Sebastian Bach and Glen Danzig in Sponge Bob Squarepants and Mastodon in Aqua Teen Hunger Force. Now I know that Sponge Bob and Aqua Teen Hunger Force aren’t cooking shows, but one is set predominantly in a burger restaurant and the stars of the other are a meatball, french fries and a thick shake so that’s close enough.

Tool And the last bit of irrefutable evidence that food and metal belong together like Tommy Lee and erectile maritime navigation is Tool’s song Die Eier Von Satan. When translated from German into English, the lyrics reveal a pretty tasty sounding eggless recipe for hash cookies. Bam! Case closed.

Metal Cook Books and Recipes Hell Bent for Cooking, Mosh Potatoes and For Those about to Cook are all cook books that feature anecdotes and recipes from big name metal bands.

There is also the Heavy Metal Recipe Exchange on Facebook for metal fans wanting to swap

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heavyfeature

Front man extraordinaire Neil Fallon gives HEAVY an introspective retrospective on ‘earth rockers’ Clutch as they drop their tenth studio album. words Rob Brens photo Courtesy of Two Fish Out Of Water

W

hile it would be unfair to simply refer to Clutch as a rock band, we would also run the risk of requiring another page of text if we listed the genres the band has tapped into. This free spirited approach to exploring their creativity without feeling bound to genre has seen them run the gamut from blues, jazz, funk, rock to metal and many more, all the while retaining an unmistakable identity.

Vocalist/guitarist Neil Fallon has stated in the past that their evolution has been the result of the band’s reaction to each previously released album.

“We have a tempo we call ‘the Clutch tempo’. That’s usually 95 to 100 BPM,” reveals Fallon “That’s where we’re most comfortable playing at. There was a lot of that on Strange Cousins From The West and we wanted to push that. Playing faster for us was a little bit odd at first. It’s not thrash by any stretch of the imagination but it was a good exercise. I think lyrically, Strange Cousins was a dark record and I wanted to lighten the

12

mood a little bit on this one” The result was Earth Rocker, a much higher energy effort by the Maryland four piece. This marks the band’s tenth full-length release, a milestone by any musician’s standards. Their twenty-plus year life as a band has given them the luxury of a spritely recording process, but they remain as committed as ever to ensuring creative exploration is never skimped on.

“We wrote on and off for a year but we really started cracking down on writing about two months prior to pre production. Pre production lasted about two weeks but because we were so focused on getting the pre production exactly as we wanted the songs to be, the time in the studio was very quick. JP (Jean Paul Gaster, drums) was there a week, Dan (Maines, bass) was there for two days, Tim (Sult, guitar) and I were there for two weeks each.”

This consistent approach to evolving with each release has served well to maintain the interest of their

to lyrics because a lot of the time, I don’t exactly know what I’m singing about either. I just know it sounds cool. These things pop into my head and if I had to justify or explain every lyric, I wouldn’t get anything done. I approach songs like short story/science fiction writing. Once you do that, you can say whatever you want” Self-sufficiency has always been a key in nurturing creativity, something Clutch has strived to maintain where possible in their career, culminating with the start up of their own label, Weathermaker music. The music industry has undergone dramatic change since the digital revolution and Fallon couldn’t be happier where others have lamented.

“Those first records I won’t see a dime from, it’s just the game. Major labels aren’t in the business of selling gold records; they’re in the business of selling platinum records. When we got signed up, when Nirvana’s Nevermind came out, we were one of the hundreds of bands that got signed up in that fever. We were also, like most bands, not the cash cow that the major labels had hoped for.”

Fallon goes on to encourage the new generation of musicians to take advantage of the resources available to them today and to do it your way.

“When we stopped playing that game, we became much more self-sufficient. I think if you’re in a position to sell your own records to your fans you’d be a fool not to. Sure, file-sharing burst everyone’s bubble but the other side is it’s easier for niche bands like us to find our fans.” H

l ate s t re l ea s e

long standing fan-base. Open mindedness became the principal force in helping Clutch make the biggest step towards achieving their sound.

“Transnational speedway league doesn’t really sound like this band. We were much more entrenched in bands that sounded like that. We liked the Swans, the Melvins and a lot of hardcore too.”

Fallon then elaborated on their motive for change.

“Lyrically I found I’m not naturally a dark or angry person and I would exhaust that creative spirit pretty quickly if I tried to convince myself that I was. I had a pretty ignorant attitude when I was starting out, that if you were trying to do melody and pitch then you were a sell out because that’s what commercial acts did.”

Up on discovering a mutual love for classic rock, the spark was generated for a new stylistic path.

“At that time we were discovering bands together and we got into classic rock bands like Cactus, Three Man Army and Captain Beyond. When we heard these great bands it was a ‘Eureka’ moment for us. It was easier to play catchy, swung riffs than it was pessimistic power chords. It was around Self-titled when that happened.”

A big attraction to Clutch are the colourful lyrics generated by Fallon. His rich storytelling conjure up entire worlds and characters that could be extrapolated into a sprawling three-part saga. From obscure compositions that leave fans fumbling at song meanings like a Rubik’s cube, to straight ahead, fist pumping rock anthems, Fallon leaves the ball in the listener’s court when it comes to interpretation.

“I think it’s important to have a bit of ambiguity

Earth Rocker by

Clutch

Weathermaker Music

review Rob Brens.

Within seconds of hitting play on Clutch’s latest release Earth Rocker, you’ll know you’re in for something fresh. There’s a fast paced aggression taking place, but you can hear it’s coming from a place of positivity as opposed to hostility. Fallon’s lyrics are as clever as ever but this time he’s opted for a plainer speaking approach, so you can leave your degree in 12th century literature at home for this one.

Drummer Jean Paul Gaster is the ‘feel master’ as always, adding new angles as he does with each release. Gaster leaves his mark with feature grooves on tracks such as ‘Crucial Velocity’ and ‘Book Saddle & Go’, all the while knowing when to step it back and give catchy riffs centre stage, such as ‘Unto The Breach’ and title track ‘Earth Rocker’. On the other end of the spectrum, ‘Gone Cold’ brings out Clutch’s subtle side, providing a smoky bar-like atmosphere, which would do Tom Waits proud. All round this is much more of a head-banging release, but still very much a Clutch record. c h e ck e m o u t

Discography @iTunes

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heavyď Žfeature

Bring Me The Horizon interview Cassie Walker words Lep Beljac photo Jesse John Jenkins

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heavyfeature It’s hard to think of a band currently more polarising than Bring Me The Horizon.

As the group warm up for an underage gig in Melbourne, hundreds of teenage fans line the block, many of whom are girls, and some of whom are visibly hyperventilating at the thought of seeing their idols.

I

t’s a school day but the kids have ditched math for metal, braving the crisp, cool air in anticipation of the band of the hour. Inside, people are buzzing about, yet amongst all the commotion, singer Oli Sykes calmly takes to the stage to perform a soundcheck. It’s ‘Soundwave week’, the heaviest touring week of the year – a time when heavy music seems to take over the whole country. But what occurs with Bring Me the Horizon (BMTH), is worlds apart from what happens at any Slayer show, for example. This is about more than just male metalheads parading their rarest and mostvalued tour shirts. Here, scene chicks dig deep into their wardrobes for an outfit that might help them ensnare a band boyfriend, and airports and hotel lobbies overflow with giddy female fans all trying to share an intimate moment with their idols. Metal has traditionally been a male-dominated genre, but BMTH garners a hoard of notoriously devoted female fans – one even tattooed Sykes’ face on her derriere (seriously).

The band just took a year off touring, using the time to “master the X-Box, learn to skate and hang out with pets”, but there’s no rest for them on this tour, being loaded up

with media commitments and appearances between shows.

“We just love coming to Australia,” bassist Matt Kean says. “The kids seem to get what we’re doing – we got a #1 album here, yet it was the lowest-selling album everywhere else.

When we got the offer to play Soundwave and no one asked what we were getting paid, we just said, Yeah we’re doing it, we’re going back to Australia.”

Despite their love for Australia, the band revealed that they were parting ways with their Australian guitarist Jona Weinhofen (ex-I Killed The Prom Queen).

The departure, announced on Twitter and Tumblr, has been less than amicable. During a set in Sydney recently, Sykes dedicated the lyrically-provocative ‘Antivist’ to Weinhofen, finishing it off with a crude hand gesture.

Kean makes no attempt to soften the band’s view of their ex-guitarist. “We’re not really bothered with Twitter and stuff. He’s [Weinhofen] really, really bothered with his internet persona, and that’s not really us.

I don’t think he really saw us as a band, it was like ‘Jona and Bring Me The Horizon.’” Kean adds, “We’re not slagging him off. It’s just the guy he is... It just didn’t work. Not saying he’s

“We got the offer to play Soundwave and no one asked what we were getting paid, we just said, Yeah we’re doing it, we’re going back to australia.”

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>>

a bad guy, I don’t wish anything bad on him.”

Next year is BMTH’s tenth anniversary, which is remarkable for a band with members still in their twenties. When reflecting on the band’s decade together, Keen recalls their first ever gig: “Our drummer Matt found the flyer today on the internet, and it’s so shit. We played this place called The Charters Arms in Rotherham – it’s the basement of a pub where they keep disgusting crap. You could fit at most about 60 people in there and we were set up on the floor.”

Things have changed a lot since that dingy basement gig, and BMTH have scaled some great heights – they were the most popular band on Myspace in 2010, and through Myspace they were able to share their music with masses, despite the backlash of being labelled an ‘internet band’.

“The reason we were so heavily on the internet originally was because we couldn’t get our record in America and Australia to tour, so Myspace was such a great platform for us to get music to kids,” explains Kean, adding that the platform was a perfect match for the band’s own brand of youth-angst. “It was a youth-based website, and we were playing energetic music; we were at that age where it

all fit together.”

On the back of BMTH’s breakthrough success, their label Epitaph wanted to re-release 2008’s Suicide Season, and what resulted was a remix album that spanned many genres including hip-hop and drum and bass. Without a huge budget at their disposal, the band enlisted the help of friend Sonny Moore, who is now far better known by his stage name Skrillex.

“It’s weird because we didn’t realise that we were kind of ahead of everyone on that [and] had noticed him, and what he could do,” Kean says. “You could easily see he had the talent, but next thing he’s remixing Lady GaGa and we are like “What happened here?”

The band have toured relentlessly during their rapid rise to fame, and as the tours show no sign of abating, one can’t help but wonder how much longer these lads can sustain it.

“I can tell we’re getting older now because after a gig I ache ten times worse than I did when I was 16,” Kean says. “I think we will know when the time comes to quit.

I don’t think we’d try to scrape the last bit of money from the band. We’d just look back and say ‘Yeah, we’ve had a good run. Let’s do something else.’” H

l ate s t re l ea s e

heavyfeature

SEMPITERNAL by

Bring Me The Horizon

Sony Music Australia

review Amanda Mason There’s no doubt that Sempiternal is a Bring Me the Horizon album - the vocal overlays and anthemic choruses scream Bring Me the Horizon and initially this feels repetitive, but after a couple of plays you’re hooked. Sempiternal is big, powerful, ballsy and heavy, but it also incorporates electro elements making you wonder whether they’re going for mainstream, commercial appeal, although after listening to the lyrics of Anti-Vist you quickly realise that, when a band drops the C-bomb, commercial appeal is probably not what they’re going for.

Crooked Young and Empire (Let Them Sing), two of the most powerful and heaviest tracks on the album, are both standout songs and Sleepwalking is probably one of the catchiest songs ever. In fact, the whole album is catchy as f**k and it’s set to propel Bring Me the Horizon to an even loftier height of metalcore stardom.

th e s tan d o u t

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‘Sleepwalking’ @YouTube

heavyfeature LARPing Around If you’re one of those guys or gals who love LARPing (live action role-playing) then you probably want to know where Ensiferum get their costumes.

Well HEAVY has come to save the day. The band get all their wicked medieval outfits made by a Finnish company called ArtistiAsu, which literally translates to ‘artist outfit.’ Now, it probably doesn’t help you that the company is in another country, but when you go to Finland, at least you’ll know!

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‘In My Sword I Trust’ @iTunes From their latest album Unsung Heroes

words Julianne Pimenta photo Courtesty of Riot

What do you think of when you hear the words ‘folk metal?’ Dragons? Vikings? Mead? Well the genre has all this and more (but mainly mead). For Finnish act Ensiferum, folk metal is dressing up, putting on war paint and singing their mighty medieval themed songs to their fans.

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n between shows on Ensiferum’s current tour throughout Russia, bassist, Sami Hinkka, took the time to chat to HEAVY before he got too stuck into reading The Hunger Games.

Ensiferum have been on tour for the majority of the last few years, most recently to promote their album Unsung Heroes, which was released in August last year. As they say though, no rest for the wicked, because the band have already started working on their next album while still on the road.

“We actually started working on it a few days ago. We have some songs from previous sessions that we couldn’t finish, so we already had some material to start working on,” Hinkka says.

Along with the release of their latest album came their video for the song In My Sword I Trust. Epic name, don’t you think?

“The castle where we shot the video is a real tourist attraction,” Hinkka says, “There were

tourists every now and then walking around and families who were like ‘What’s going on here?

There are bearded guys shouting and listening to metal’… The rest of the people in the video were from a Polish medieval re-enactment group.

They were so nice. It would have been nice to have a real party with them afterwards but we only had one day there. Luckily we managed to film everything that we needed, but it meant that we had to leave pretty much straight after we had shot everything. Personally, I don’t really like making music videos, but this was definitely something different. I really enjoyed this experience.”

For someone who doesn’t like making music videos, Hinkka pulls it off pretty well – pretending to sing and shout with strangers staring could have got pretty awkward.

“Yeah, that’s the thing,” Hinkka laughs, “It would be nice to have a really professional music video, but that costs thousands and tens of

thousands of Euros, which is not really possible with our status. I would rather not make a video at all, but that’s just my opinion.”

Folk metal concerts tend to roll a little differently than the norm. Oh, there’s the usual moshing, don’t worry about that, but there can also be a lot of people linking arms and skipping in circles. It’s jolly, to say the least.

“Everywhere we go people are in a good mood at the shows and are enjoying themselves,” Hinkka says.

Ensiferum last brought their jolly spectacle to Australia in 2009 when they supported Sonata Arctica and recently returned in March this year..

“We have gotten so many fan emails from Australia during all these years, so we’re really interested to see what it will be like again… We hope that we can bring some new crowds to our shows. It’d be really interesting to see what the folk metal scene is like there. Some of us are coming over earlier to enjoy the fun.”

For those diehard fans who love to get in character for shows, I asked Hinkka what he thought of people dressing up in medieval gear and painting their faces for gigs.

“I think it’s really cool that people do that, it gives us a different mood on stage when people are prepared in some way. It gives us an extra boost.” H

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heavyfeature

Buddy Nielsen: Tower of vulnerability

words Tom Valcanis

Senses Fail New Jersey’s Senses Fail stared themselves down ahead of producing their milestone record, commemorating a decade in the business.

Renacer had to be more than a rebirth in name, vocalist James ‘Buddy’ Nielsen explains.

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uddy’s just dusted himself off from a hard day of working at his band’s label, reclining to discuss an overload of culture he’s complicit in building. “There’s so much entertainment these days,” Buddy opines, his voice spared a decade’s worth of scream damage. “There’s so much stuff now that people just move on.”

Hardcore devotees Senses Fail aren’t satisfied simply by treading water in fathomless oceans of content. There is a certain allure of resting on one’s laurels, admittedly.

Why? “Because it’s f**king easy, especially if something’s successful, why change it, you know?”

The soft option might work for some lazier acts. For Senses Fall, idleness and imagination aren’t bedfellows. Ten years entrenched in a million-record selling and fan acclaimed career, their turn of the century post-hardcore sound was approaching obsolescence. Only two original members remained. Jammed in a corner which sees lesser bands throw their hands up and walk away, Buddy turned looming crisis into opportunity.

“We said, well, f**k it, we don’t have anything left,” Buddy says forcefully. “We don’t have anything left to lose. We just decided to reinvent the band.”

“I guess in our musical style, we hit a peak with what we could do with it, with where it was. Our musical style was around since early 2000 and we tried to hang on to it. I don’t want to make music stuck in a time period. I want make music I think is current. I think that was competing with what Senses Fail was. Just living in the past trying to hang onto something

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that wasn’t there anymore.”

Scratching around the bottom of inspiration’s empty well saw Senses Fail take a conscious ‘left-turn’ with their fifth record Renacer, (pronounced rey-NEH-serr) the Spanish word for ‘Rebirth.’ Notably, Buddy peppers the new record en Español, figuring it would sound ‘kind of cool’ on a record intended to break from the past. Hiring Deftones producer Shaun Lopez kicked them clear out of their comfort zone, making the metaphorical resurrection flesh.

“He basically saved our ass,” Buddy confesses. “I knew that we were going to go out on a limb and do something different. We weren’t going to play it safe. We were going to push ourselves. A ‘moving away from your parents’ was sort of the way I looked at it.

The band strives for closeness with fans, aiming to create a positive, “personal relationship” alongside them. Buddy thinks people “relating to the lyrics” forges that unique bond, owing much to a band with aspirations beyond “some young f**king kids from New Jersey making noise.”

“It not just about the entertainment, it’s not just about the noise, it’s not just about songs and singing along,” Buddy passionately says. “It’s about when I sit down and listen to a record – does it make me feel or teach me something about myself? Does this bring a new perspective to my life?”

He believes that people are reaching for media and entertainment that’s not only artistically rich and stimulating, but honest and built from the ground up.

“I love VICE Magazine documentaries, the

In one of the ballsiest moves for a rock star, Buddy published an authentic, open letter to his younger self in US Rock Sound magazine. In 2012 Buddy admonished Buddy Jr. for his poor choice in tattoos, particularly the “vagina monster grim-reaper with the dick in place of the sickle, you know, the one affectionately titled ‘Quifer Sutherland,’” part of a generalised predilection for permanently pricked-on phalluses. Trivial criticisms aside, he opened up about cheating on his girlfriend and regrettably plying her with expensive gifts to soothe his conscience. It’s an honesty he feels is spurred on by an electronic age. “People try so hard to make technology out to be a bad thing, and all it keeps doing over and over again is bringing people closer together and making people see that everyone goes through same shit.”

[comedian] Joe Rogan Podcast, [celebrity chef] Anthony Bourdain,” Buddy says. “You look at these guys, they’re doing the same thing a lot of other people are doing but they are doing it in this honest sort of way. They’re not making up bullshit. They’re not selling you something and I think those people inspire me to do that with music.

“Give as much of yourself as you can, and teach people about life or about what you know.

Show them the world in a way that maybe they haven’t thought about.”

Senses Fail aligns with Buddy’s contemporary heroes’ outlook. He wants to add positively to the world no matter how small the contribution, despite casts of millions clamouring for our thin wedges of attention.

“Like what can I do immediately?” he asks himself. “I have this ability to play in this band where a small amount of people listen to it.

Maybe those people can take what I’m putting out there, spread it and we make a better world and better people because of it. If we give a s**t about other people like the guys I’ve mentioned then I think that we’re ultimately on the right track to the world becoming a better place.” H

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Mi Amor @SoundCloud From Renacer

heavyfeature words Christian Doherty & Paul Hammond photo Courtesy of Soundworks Touring

Obituary were one of the fore-fathers of death metal and are not holding back when it comes to finding new ways to entice their fans.

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aking influence from bands such as Celtic Frost and Slayer in the early days Obituary were a large part of the birth of death metal. When asked how they felt about this Donald Tardy said “We didn’t think too much about it back then cause we were so young and just trying to find ourselves, our style and identity in the metal scene”. The band has definitely been through a lot but has stuck together for almost 30 years, as the band credits their love and drive to create something that is both for themselves and the fans would enjoy.

With technology constantly growing it can sometimes be hard for a band that has been around so long to adapt but Obituary seem to be doing great with the changes. The release of their 1992 album Cause of Death featured something new that people hadn’t heard before, with the introduction of triggered drum sounds in the tracks “It was a brand new concept back then and we were the guinea pigs of this new way of doing things. Now it is a standard thing that almost all metal bands do on recordings but we are going back to the old school mentality and keeping it real and just miking up the drum kit.”

Although some things Obituary have tried haven’t stuck, the band has taken to social media quite well with the introduction of their Unation page, a website where fans of the band can unlock exclusive content such as videos of their live shows, backstage footage and even the chance to watch live streams of the band recording their next album “We want to offer the fans a chance to witness our lives before, during and after the album is released with exclusive events that they will have access to when becoming a member.

I would love to be able to be a part of my favourite bands’ experience and lives if they allowed me to and I want to make that a reality for Obituary fans this year with Unation.”

Having many of their fans point out they are one of the tightest live bands playing today, Obituary drummer Donald Tardy says that the songs are written for that exact reason, to be played live which means when it is time to record the tracks in the studio “we seem to lay tracks down effortlessly even long before the click track was around”. With their live set being so tight, one has got to wonder how much of a practice strategy the band has “I just try to practice almost every day and

keep my chops up. Music has always been a big part of all our lives and drums for me are the most fun a human can have, I can never get enough.”

Obituary have gone strong their whole career and when asked about tips on how they have managed to stay together Donald said “The main secret behind our success I believe is that we are best of friends and after 25 years we still enjoy being around each other. That and I think it is also a key ingredient that we don’t take anything too seriously. I mean it is music and music is there for humans to enjoy and get away from the real world, so we always have a good time and don’t think too much about the business side of the band. Don’t worry, be happy.” H

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Don’t Care @iTunes

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heavyfeature interview Cassie Walker words Lep Beljac photo LepBeljac

Kneel down and worship at the altar of Ghost BC, the enigmatic six-piece from Sweden who have taken the metal scene by storm with their mix of on-stage theatre and horror.

The band consists of five Nameless Ghouls and lead singer Papa Emiritus II, and together, their blasphemous show has dominated stages across the world.

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here has been much said and speculated about Ghost since they graced the stages of Soundwave earlier this year, captivating audience attention with their unholy blend of heavy metal. Their live show is a very calculated and engaging one – it’s clear that every minor detail has been honed and perfected, and all that effort is certainly worthwhile.

On stage, they have elaborate costumes that mask their faces, and band members remain in character even when meeting fans off stage and signing autographs with customised stamps. As real names aren’t used, each of the Nameless Ghouls has a symbol on his robe that represents an element – earth, wind, fire, water and quintessence – that they was supposedly bestowed upon them by the elders of their sect.

Amid the blistering Australian summer and congestion of Australia’s largest rock and metal festival Soundwave, we wondered about how it must feel to don the robes each show but, as one of the Nameless Ghouls explained to us after their set in Melbourne, they have a trick for keeping cool: “We have our own tailor within the ministry who makes [the costumes] for us and yeah, they’re kind of fancy. They’re not ideal for hot and sunny weather, but we go commando.”

Ahem.

With each member’s identity shrouded in mystery, internet message boards have

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been set ablaze with speculation and rumour of just who is behind this remarkable show.

The Swedish six-piece have been making music since 2008 and two years of planning went into the band before they even officially announced they were together. Their vision is that of a horror show set to music which, as the Nameless Ghoul explained to us, is the best way to experience their music.

“We are first and foremost a live band,” Ghoul says. “It’s one of our intentions to bring out albums that are worth listening to, but that is just sort of an obligatory thing that we have to do in order to play live. Playing live is where we excel. We’re happy that the nature of what we do sprung from the idea of being a live act and I think that people understand this. I’d say that all the festivals that we do and all the shows that we’ve done have turned a lot of heads.”

Turned heads they have, and they don’t look like they’re going to slow down anytime soon. Ghost just released second album Infestissumam, which was hotly anticipated and which caused a stir before it was even released with several CD manufacturers in the USA refusing to print the CD due to what they labelled “blasphemous artwork”. One can’t help but think that such press has only added to the band’s aura and increased their profile, and considering how premeditated the rest of their act is, it wouldn’t be surprising to find out this was all part of their mad scheme.

Ghost have also been at the centre of more controversy after legal reasons forced them to change their name to Ghost BC. The ‘BC’ is evidently a pun on ‘before Christ’, highlighting the band’s satanic underbelly. The band simply ignores the technicality, likening it to the way no one refers to a Ferrari as a Ferrari GT, and despite the multiple other artists that are returned in an online search, only one of them demanded that Ghost make the distinction.

The word hype gets thrown about a bit when Ghost is mentioned and we could argue back and forth all day about whether or not they are deserving of said hype – we think they are. As the Nameless Ghoul explains, sometimes this can work against a band.

“Whenever you do a festival, it’s hard to predict what your audience will be, you have no clue of what the actual pool is,” Ghoul says.

“Being [the sort of] band that is helped out by hype, it’s very hard to know if people will show up next time or if there will be more people coming.

“We are lucky in the sense that, so far, whenever we’ve done an initial run doing festivals and then we’ve come back, usually it’s actually quite steady.”

It’s hard to imagine someone bearing witness to their theatre of horror and classic rock and not wanting to come back for more.

Here at HEAVY, we’re all pretty keen to see what other tricks Papa and the Ghouls have up their intricately sewn sleeves. H

“Playing live is where we excel.

We’re happy that the nature of what we do sprung from the idea of being a live act and I think that people understand this.”

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‘Secular Haze’ @YouTube

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heavyfeature words Riley Strong photo Lisa Johnson L I S TE N n o w

‘From Womb to Waste’ @iTunes

Straight out of Los Angeles, The Bronx have been described in many ways throughout their now eleven years of writing and releasing music.

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hey have the frantic live energy of a punk act, the recording quality of a rock group and the down-to-earth rawness of a garage band – yet using any of these as a stand-alone description would be selling the band short.

Unsurprisingly, guitarist and founding band member Joby Ford does not offer any insights that may help listeners to pigeonhole the band stylistically.

“Whatever people think it is, that’s fine with me; it’s just my band,” he says. “Music is so subjective and trying to describe it to somebody is virtually impossible because, to them, it means something completely different than it means to you. As long as people get something out of it, we can be hardcore, punk, rock, metal or whatever.”

Ford’s non-fussed attitude shouldn’t be mistaken for complacency in the band’s identity and sound. To sit and listen to the five piece, now on their fourth album, is to experience a tonal powerhouse of guitar riffs, screaming vocal melodies and an overall sense of menacing musical attitude that has been present since their first recording effort a decade ago.

Yet, when we discuss the studio experimentation and processes, particularly the use of the specific gear that has given them that ‘Bronx’ sound, Ford furthers his simplistic outlook. “It’s just us using our gear,” he says, adding, “When it comes to experimenting, not a lot of that happens in The Bronx. It’s not something we’ve ever really been into. The Bronx has always been how it is.”

‘How it is’ has served the band quite well so far too, having famously been taken under

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the wing of a major US label, the Island Def Jam Music Group, by the time they had performed just a dozen live shows. The Bronx have continued to rise steadily with each new release, growing their audience worldwide as they go, but Ford again offers only minimal insight into the reason for their success, except to suggest that keeping things simple has been key. “We, as a band, try to make records we enjoy listening to,” he says. “This latest one sounds pretty good to me and I like the songs.”

Playing a part in this worldwide Bronx fever is none other than our own semi-isolated cultural music hub, Australia. One theory to explain the active appreciation our country has for The Bronx could be our collective ability to relate to their gritty street sound, due to our country’s strong track record for producing epic punk rock, blue collar rock’n’roll and hardhitting live bands.

Ford encourages this thought: “I’ve always been a big fan of Australian music,” he says, describing it as “such a rich pedigree of old garage stuff”.

Whatever the reason Australian audiences can take pride, and comfort, in Ford’s eagerness to reciprocate the feeling. “There’s something really awesome about travelling halfway across the world and people knowing who you are,” he says. “As a Californian band it’s pretty easy for us to slip into that country; it feels like a very comfortable place to play.”

Comfortable is a surprising way for Ford to describe tours down under, given that he was plagued by a recurring back injury the last time he was here that forced him to perform in a wheelchair. Yet, even while tolerating ‘extremely painful’ back spasms and trying to function on

what he describes as “quite a pharmaceutical concoction”, Ford not only performed all shows on the tour but managed to find the lighter side of the experience, creating a memorable on stage scene that punters won’t forget in a hurry, further strengthening the bond between band and crowd.

Ford laughs while re-telling what seemed to him at the time a reasonable way to deal with the situation: “In my logic, I put a sheet over my head and thought it was a really good idea that the bill should be called The Bronx plus special ghost.”

The injury was a stand-alone occurrence for Ford, but not so much for band mate and vocalist Matt Caughthran, who regularly hurts himself by venturing deep into crowds, whether by surfing on top of their heads or singing from the heart of the mosh pit. “He’s sustained a lot of injuries – he’s even gotten both of his feet broken out there,” Ford says.

“He told me a couple of years ago he went to the dentist and all his teeth were cracked from landing into the mic.” With tales like these, it’s a testament to the shaved-headed frontman that he can repeat the performance night after night, a feat Ford attributes to one simple fact and one almost comical attribute: “Matt is a very strong guy and has a low centre of gravity.”

It is a combination of these over-the-top stage antics, a dedication to perform to the limits of their ability and an admirably simple approach to songwriting that forms the result that audiences have coveted so dearly, and made The Bronx a must-see live band. Luckily, here in Australia, we get the chance to do it all over again. H

Municipal Waste F

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‘The Fatal Feast‘ @YouTube

With an Australian and New Zealand tour looming in June, Municipal Waste return with confidence, determination and beer. words Tennille Secomb Interview Liam Guy photo Luz de Luna Duran

ive albums into their thrash-laden trajectory, Municipal Waste have discovered the age-old truth of believing in themselves. Their 2012 release, The Fatal Feast, encompasses the same speed-punk/ crossover style the band has always played but, more than a decade since their inception, it is evident that Municipal Waste have matured as both musicians and individuals.

“We haven’t changed or altered anything when it comes to our music, and if more people are receptive to us from simply sticking to our guns, I think that’s awesome,” vocalist Tony ‘Guardrail’ Foresta says.

It’s been more than five years since Municipal Waste have been in Australia, but the well-received releases The Art of Partying (2007) and Massive Aggression (2009) have ensured the band has maintained its sturdy fan base. Fond memories of the 2006 tour have the band looking forward to returning to Australia, and Foresta says they have a lot to offer both old and new fans.

“We really can’t wait to return, we had such a great time the first time,” he says. “The people were so into it and supportive that we were pretty blown away. We know we’re on the same page with you all this time and expect nothing but a great time again.”

This time around, Municipal Waste will destroy nine stages across Australia and New Zealand, but Foresta says it doesn’t matter where they are, what size their stage is, or who’s in the audience. “[Even if] we wind up playing a really small place, the feeling and connection with an intimate crowd is still there; it fuels us even more,” he says. “We just want to play our music,

to ten people or 1000, we’re still going to put the same amount of energy and passion into it.”

Municipal Waste have a refreshing appreciation for their fans, which only makes you want to chink glasses with these riotous young dudes even more.

“Continuous touring is crucial but impossible without a fan base,” Foresta explains. “We are thankful and very fortunate that people support us – it’s amazing.”

Well known as a party band, Foresta says the years that lapsed between 2009’s Massive Aggressive and 2012’s The Fatal Feast were filled with an onslaught of food and beer, and it is obvious that the natural camaraderie formed on the road helped augment the band’s sense of self.

“We know what we want to do each time, and progression just comes with the territory,” he explains.

The overwhelmingly positive reception of earlier albums Hazardous Mutation and The Art of Partying might seem to put a lot of pressure on the band to supersede themselves as they tour with the newer material, but Foresta knows it’s important to make music free from the prism of expectations.

“There is always that moment when you think ‘We’ve got to crush that last record’,” he says. “It’s awesome that people really enjoyed those records for sure, but we don’t really base one album off the next.”

Speaking of the writing process, Foresta says the band works most creatively as an autonomous entity, remaining indifferent to the standards they have set for themselves in the past.

“The good thing about Municipal Waste

is that we write the music for ourselves first and foremost. Massive Aggressive had some thought not to repeat The Art of Partying, so that was kind of a conscious decision in that respect, but not with The Fatal Feast. The one thing that stands out on this album is that we had pretty much a year off to write, and that’s the first time we’ve ever done that – it’s always been tour, write, tour, write. Having no deadline was really nice and I think that helped us relax a bit and write some really cool music.”

He confesses the different approach led to the production of some the band’s most original material: “When writing, things just happen and blossom into [something] that you can’t really expect. When it happens in the spur of the moment, you get that feeling of excitement back; the flood gates open up, and suddenly there is all of this creativity.”

Foresta admits the music scene has changed radically over the past few decades, as digital-downloading ravaged the economy of the music industry and eclipsed physical releases, but Municipal Waste will endure.

“Things are certainly not what they used to be,” he says. “We do sell a considerable amount of vinyl, but not to the scale of the old days.

These days you have to be creative and work super hard with merch and touring.”

Taking the same attitude to life as to music, Foresta believes that you just have to stay true to yourself in spite of what people think.

“We have been [working] diligently, and upholding our own standards while adjusting to today’s expectations. Our music and life is what we make of it, so we go at it 100 percent. H

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heavyfeature

words Justin Tawil photo James Sharrock

Classify them however you will, gothic metal, nu-death metal, grimey vampiric black metal, but their unique sound only leaves them with one true label: Cradle of Filth.

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he fiendishly sinister Cradle of Filth have been putting out albums for a couple of decades now, and the latest release of The Manticore & Other Horrors has shown an invigorating growth and evolution for one of the most deliciously evil sounding bands around.

“Cradle of Filth still kept the spirit of what we believed when we first started the band” says vocalist Dani Filth, “we’ve upheld that right up to what is now our 14th record, so the spirit of the band is still there and I think the new record speaks for itself in that department.”

Death metal was at the forefront of the scene at the time of Cradle of Filth’s inception, and before that it was swarmed with a torrential flooding of thrash bands.

However it was the more theatrical aspects of bands like Paradise Lost and Age of Sanity that appealed to Cradle of Filth. “We liked the atmosphere of doom but we thought doom was too slow, so we took parts of different genres and melded them together to create Cradle of Filth.” Dani continues “then the second wave of Black Metal broke around the same time and we sat quite snugly into it because we had the sound.”

Dani’s dedication to the band was there from the very start, as illustrated by his decision to take a year off of school to work solely on establishing and promoting Cradle of Filth by exploring other artistic avenues.

“I was drawing underground fanzine covers, pen and ink style, in order to get interest in

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the band. It was like if I was to draw you a magazine cover, you’d give Cradle of Filth two or three pages... it was a bit like that really, all word of mouth and tape trading and keeping abreast of the underground.” However there are more avenues and tools at the average musicians disposal now that the same approach probably wouldn’t be as effective, says Dani “I think nowadays you have it a lot easier because there are no tape traders, it’s all facebook and twitter” he explains , “everybody has got their own studio in their house, everybody thinks they’re a producer, so henceforth there’s like a billion bands out, and you just have to wade through the crap now.”

The Manticore & Other Horrors, the latest release from Cradle of Filth certainly has interesting elements to it, both musically and thematically. One of the more subtle influences was the hardcore punk flavouring amongst the abundance of gothic melodies and thunderous drum beats. As Dani tells it, “[The album] does have new instances of punkier elements of black metal, because a lot of black metal is rooted in punk, and it’s definitely got a lot of New Wave Of British Heavy Metal influences in it, like early Iron maiden, Samson etc.” However, this punk influence isn’t just unique to The Manticore & Other Horrors, as Dani explains that from the very start there was a strong magnetism between the two styles that were integral in the development of the band. “We grew up on lots of different music, and part of

that, for me, was classic American hardcore like Bold, Gorilla Biscuits and Circle Jerks...

That just sort of became part of what Cradle of Filth was about, the fact that we were a hybrid, like a chimera, and we had taken all these aspects and used them as we liked.”

While the subject matter of an album can often be overlooked, you would certainly be a fool to ignore the inspiration behind The Manticore & Other Horrors. While it definitely is not a concept album in the slightest, the physical representation of a psychological and internal demon tends to be brought up consistently. “Everyone has their own personal demons that they have to overcome, and that can be loss or a sense of injustice or just fear. It’s like finding a minotaur in a maze and conquering it and finding the way out, it’s something that’s empowering and has to be broached.” The dichotomy between the literal and figurative demon is best exemplified in the track Huge Onyx Wings Behind Despair. As Dani puts it, “Huge Onyx Wings Behind Despair kind of mixes the two, it puts it across as a physical horror entity, but really it’s about personal fears that have been characterised and brought to life, so it’s almost like a physical presence.”

Cradle of Filth recently regretfully had to cancel their entire US tour due to complications with the immigration

department, but alas they have set their sights on Australia for early May and will be making stops in Melbourne, Brisbane, Sydney and Freemantle. The devilishly wicked band from Suffolk are sure to put on a truly unique show and despite the fact that they’ve been gigging for 22 odd years, they still have the fire and conviction to show up even the most fresh faced of bands. H In the gap year that Dani Filth took a hiatus from school to pursue his goal of making Cradle of Filth a success, they recorded an album for a label called Tombstone Records, however it never saw the light of day. “It was quite fortunate that the master tapes were actually taped over because we didn’t pay for the studio, otherwise we would have been tied to this really shitty label and probably wouldn’t have gotten anywhere.”

L I S TE N n o w

Manticore @iTunes From The Manticore & Other Horrors

“Everyone has their own personal demons that they have to overcome, and that can be loss or a sense of injustice or just fear.”

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Cattle Decapitation words Kama Way photo Matthew Zinke

From the fury of the first barbarous chord in San Diego 1996, death/gore-grind band Cattle Decapitation have been infamous for their blistering speed and relentless sonic brutality, all served with side orders of grisly lyrics, artwork and video clips.

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enowned for depicting and detailing humans in scenarios normally endured by farmed and domestic animals, the band’s name has become synonymous with vegetarian and vegan ethics yet singer Travis Ryan, much admired for his technically proficient and diverse vocal style, notes that Cattle Decapitation is not necessarily politically motivated.

“When you talk about veganism or vegetarianism, it has a strong activist centrepoint,” he says, adding, “with the extremities in [our] music, one would think we must be part of ALF [direct action resistance movement Animal Liberation Front]. Yes, it’s the topic at hand, but we’re pretty much musicians first and foremost. The first couple of albums really dealt with slaughterhouse practices and stuff like that a lot more than later stuff. When we hit Metal Blade Records, it definitely turned more of an anti-human approach – there’s only so many songs you can write about [commercial slaughter].”

Little research is necessary to discover incidents of animal cruelty sufficient to motivate an activist standpoint, but if this is no longer the main source of the band’s lyrics, what inspires such misanthropic content?

“I think it mostly stems from depression – I don’t think I’m bipolar but I’m A.D.D. riddled and with that comes certain chemical imbalances and depression issues, and I’m not immune to that,” Ryan says. “I don’t really expect anyone to agree or disagree, or buy into anything that I write about. It’s just how

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I see things, and there’s a lot of people that agree with it, and a lot of people that wish I would stop.”

Cattle Decapitation’s tenth release, Monolith of Inhumanity (2012), has been enthusiastically praised as the band’s best, and despite the challenge it presented to the band of how to continue to evolve technically while still writing the songs that fans want to hear, Travis Ryan is pleased with the result.

“With this last record, we thought ‘Is this too far out on a limb that people aren’t going be able to reach it?’ I was worried about that, especially with the vocals,” he says, adding, “You don’t discount the fans’ opinions – I know there are people that want to hear more of the melodic vocals that I’ve been doing, so I kicked that up a few notches. We took certain things that people liked about our previous album and tried applying it to the new stuff, but we also had a new bass player who helped write too, so that was a new dynamic.”

The album has breathed new life into the band, according to Ryan.

“We’re on a second wind,” he says. “ We weren’t expecting that at all; we weren’t sure what was going to happen with this last record but we’re just thankful that it ended up on the plus side of the fence. The thing is that Josh and I, we’re in our late 30s; we’re getting too old to give a shit about that stuff. This has a shelf life. I don’t know how we could play this fast, to this calibre and intensity for that long. I mean I’m gonna bust a blood vessel

sometime.”

Ryan’s inherent commitment to vocal proficiency has made him famous, not only for guttural power but also for his ability to be diverse, innovative and melodic within the scope of the death/grind vocal style.

“What I think is lame is if there are 20 people in the audience and [a singer] is still playing like he’s in front of 100,000 people,” Ryan says, explaining, “It’s admirable because this guy got up there and put on a show but sometimes these guys lay it on way too thick.

How about paying a little more attention to the vocals you’re producing? It’s [the stage] not a gym; this is music – there’s supposed to be a certain level of proficiency here, and running around like an athlete has nothing to do with that. I pay way more attention to the sound I’m trying to produce. I try to actually be a singer.”

Never having toured to Australia, 2013’s Hate Across Australia tour is the band fulfilling an enduring desire to play for some of their most enthusiastic fans.

“We’ve been holding out for Australia for years, and we’re just ecstatic to finally come,” Ryan says. “The majority of the heat that we get from around the world, the overwhelming majority of it seems to be from Australia.

I can’t wait. It [coming to Australia] is the one thing that I’ve been dying to do. We’ll be going to Asia, and we’re like ‘That’s cool and all, but f**k... Australia!’ To know that we’re going to have an awesome time in advance?

That is something special.” H

Cattle Decapitation get the meat treatment words Kama Way The odds are high that Cattle Decapitation is the only death/ grind band in the world to have a veggie burger as its namesake.

On your next metal and burgers tour of the US, be sure to visit Hamilton’s Pub and Café in the band’s hometown of San Diego for the Cattle Decapitation burger with PCS (Phil Collins Sucks) special sauce. If on the same holiday you want to take the homage one step further, you could eat the burger while wearing a mask made of beef jerky, as singer Travis Ryan famously wore during live shows following the release of Cattle Decapitation’s 1999 album Human Jerky.

Another homage to the band’s extreme subject matter and delivery are the many strong reactions from popular and commercial media to their music and artwork. To date, the band’s most infamous video clip, that accompany the track Forced Gender Re-assignment from current release Monolith of Inhumanity, still does not appear on YouTube, and it fell to the slick horror website Bloody Disgusting to premiere the video after other sites refused. What fans can see on YouTube, however, and what works as powerful publicity for the band, the track and the album, are scores of clips showing viewer reactions to the video – common responses include covered mouths and unfinished sentences.

check them out

@Website www.cattledecapitation.com www.facebook.com/ cattledecapitation

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words Damo Musclecar live photos John Raptis

From their days of playing pubs in Warrnambool under the name Sik Kitty, Australia’s AIRBOURNE have a come a long way.

Now with the release of their latest album, Black Dog Barking, they have their sights set on the US, showing local fans that hard work and dedication pays off.

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irbourne has always been a band who have pushed forward and never taken no for an answer. They are a true-blue working-class bunch of guys who knew early on they wanted to do this for the rest of their lives.

To them, there’s no way like the hard way and don’t they know it.

“It’s the same way that AC/DC started out,” explains Joel O’Keeffe, the band’s charismatic vocalist and lead guitarist, “They went to Europe and cracked it, and then went to the States, then back to Europe, then back and forth – it’s what we have to do. There are still a lot of countries in Europe we haven’t touched yet. We’d like to play Russia. We’ve got the fire burning but now we just need to turn it into a raging bushfire.”

O’Keeffe is under no illusions about the difficulty of cracking the US market.

“In the States, we’re there with our little sticks trying to get a fire going,” he says. “We’ve got a little bit of a spark but we have got a lot of work to do there and any other band will tell you, you have got to go there with guns blazing and kick down the doors of the saloon.”

His brother, song-writing partner and the band’s drummer, Ryan O’Keeffe, chimes in.

“Weighing up the opportunities that we have been given in Europe compared to the ones in the States, they have just been a lot better,” he says. “With this album, we will hopefully focus more on the US, both North and South America.”

Moving overseas may seem a bit drastic for a lot of bands but not for the guys in Airbourne. They have spent considerable time

overseas both living and touring consistently to build their fanbase, doing whatever it takes to make their mark in the world of rock’n’roll.

Surprisingly, even with the success of our very own AC/DC, they are still finding it hard to be accepted by people in their home of Australia.

“We have always had a bit of a hard time in Australia,” Joel O’Keeffe admits. “We’ve made a bit of an impact out here but not like we’ve come back and we’re Def Leppard or something. That’s not happening... yet.”

Airbourne have a genuine love for Australian rock’n’roll and their sound is a direct reflection of the music they love. While many critics at home have been quick to dismiss the band as imitators, the O’Keeffe boys are more than proud to be carrying the torch for Australian rock overseas, reminding the world that Australian bands have a sound that is unmatched anywhere in the world. “Australia’s sound is a culture, as much as Vegemite or a Holden car is,” Joel explains. “It isn’t as recognised yet in Australia but someday will be. From Lobby Lloyd, Billy Thorpe and Johnny O’Keefe to AC/DC, The Angels and Rose Tattoo.

Then Midnight Oil and Cold Chisel, to the Baby Animals and The Poor – this country doesn’t realise how important its rock’n’roll sound is.

What other f**kin’ country has bands like Rose Tattoo? There’s not one. In Australia everyone’s like ‘Yeah, whatever. Heard it all before’ but we saw Rose Tattoo play to 5000 people in a tent in Germany where every single person was singing along to Bad Boy For Love. Yet, here in Australia it’s like 200 people at the Espy. That’s Australia and we’ve learnt to accept it. If you

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“Australian bands have a sound that is unmatched anywhere in the world�

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“I remember the first time we went overseas and all the shows were sold out before we got there.”

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Photo: Amped Photography

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check them out

Website @Roadrunner

play rock’n’roll you’re not gonna be Pink selling out 12 nights at Rod Laver. That’s how it is and when we go to Europe it’s a different story.

When you come back, it cuts you down to size.

It’s good, it teaches you.”

Joel just believes Europe is more receptive to classic rock and roll: “I remember the first time we went overseas and all the shows were sold out before we got there,” he says. “Some of these countries don’t all speak English but they were singing all the words back to you and we thought this is easy compared to Australia where you walk into a bar with all your Marshalls and there’s the guy who looks at you and says ‘You’re not gonna make a f**king noise with that, are ya?’ and he looks like he’s ready to smash you. That’s who you have to impress.

You just got to get in there and go hard, making the biggest noise in the world.”

This is exactly what the boys have done since the start. As children, the O’Keeffe brothers grew up studying Australian rock music and began putting their grand scheme into place of how they were going to follow in the steps of their forefathers. Joel remembers, “When we were kids, we used to watch a lot of interviews from the likes of Cold Chisel and AC/DC, and one of the things Barnesy said was, “We’d be playing these RSLs where people would be eating their dinner so I’d get out and jump on the table and kick their dinner in their face.” Angus Young was also saying something about getting on the bar and kicking a guy’s beer in his face. I remember going ‘Right, that’s

what we’ve got to do!’Now things are a little bit different but I’d still jump up on the bar and kick a guy’s pint in his face and go ‘F**kin’ how ‘bout it?!’ You know, he’s been death staring me as I was stacking up my Marshalls and ten times out of f**king ten, the guy would be going ‘Yeah!’ and getting into it. If we were to go out and play somewhere like Wonthaggi, there’d probably be 20 people in the bar but we’d still go out there and give it to them like there’s 20,000 people in Germany.”

While recording Black Dog Barking, the band found themselves spending three months without a break, working around the clock to deliver their strongest album yet under the guidance of one of rock’s most legendary producers. “We worked with Bruce Fairbairn who produced Aerosmith’s Pump, AC/DC’s The Razors Edge, and some Bon Jovi stuff,” Joel recalls. “Bruce is like the godfather of Canadian producing.”

For the band who had spent a solid year writing material for Black Dog Barking, getting into the studio was more than a relief. “We had around 40 songs and we got it down to about ten,” Joel explains. “We were in the studio seven days a week and we were obsessed – we didn’t sleep. It got to the point where we f**king hated going in there but we loved it at the same time.”

“We never brought out all 40 songs and then picked the best,” brother Ryan interjects.

“We went in there and the first song we worked on was Cradle To The Grave, and we didn’t go

on to the next song until that was done. We had to get that one right; it had to be perfect. Then it was like ‘What’s the next one we’re feeling?’ then we’d listen to a couple of things and then pick one and wouldn’t listen to anything else.

We never dug into them all; it was just what we felt.”

The biggest surprise the old-school fans will notice on Black Dog Barking is the rerecorded and re-written version of Ready To Rock, a track originally recorded in 2004 and released on the band’s long out-of-print debut EP of the same name. “When we got to finishing track nine, it was like ‘Well, what do we need? We need a Ready To Rock so we reworked it and made it anthemic,” Ryan adds.

Anthems are what this band is all about – anthems for the working-class Australian by a working-class band, a band you can drink with at the pub, and a band who have kept the same line-up for over ten years and show no signs of slowing down. One has to ask just how the guys have managed to keep it together for so long?

“We just love it,” Joel says. “We never got into this for the money. I remember the first time we all plugged in; that sound is just so addictive.”

Ryan adds: “When we were little kids, we’d stay up all night talking about starting a band. This was right before the video for Thunderstruck came out. We have always wanted to do this for the rest of our lives.”

We sure hope you do. Australia needs you. H

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words Kimberley Croxford photo Courtesy of Soundwave

NORTHLANE A

Age is no obstacle for Northlane frontman Adrian Fitipaldes when it comes to tackling both the metalcore scene and the world of philosophy. drian Fitipaldes’ voice is alive with excitement as he speaks; his enthusiasm and hunger for life is contagious. A self-described ‘normal dude’ from western Sydney, the 21-year-old fronts Northlane, one of the youngest and most talked about metalcore acts in the country. Recently Northlane were catapulted into the spotlight when their new album Singularity peaked at #3 on the ARIA charts.

“I’m very thankful that everything has fallen into place,” Fitipaldes says. “For me it’s quite surreal. I never pictured myself being a successful frontman. It’s actually quite opposite to my personality. I wouldn’t say I’m solely introverted, but I’m not really loud, I’m not really flamboyant, I’m not outrageous – I’m not your typical frontman.”

Despite his self-expectations, Fitipaldes assumes the role of frontman easily, and remains endlessly grateful for the opportunity to communicate to an audience.

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“It’s hard to feel that empowered when you’re at a desk job five days a week, but when you’re onstage singing to a crowd of people, it can really give a sense of purpose and meaning to your life, especially if you take seriously what you’re sending out to people,” he says.

From as early as the band’s first EP, Fitipaldes has grappled with topics such as religion and politics in his lyrics. Around the time of Northlane’s inception, Fitipaldes’ worldview shifted radically, an experience that has led to his exploration of ‘the big issues’ in the band’s songs.

“For some reason, around three to four years ago now – maybe it was just because I was growing up and watching friends grow up – but people started realising the bullshit the world feeds you,” he explains. “For me personally, religion was something very close to my heart.

I was a practising catholic; I was very devout, I went to church, I sang in the choir – the whole nine yards. I was indoctrinated from a young

age, so I didn’t question it until I became of age, until I learnt how to research and think critically.

I realised that, while I may I believe in something, it’s definitely not what religion was teaching me.

When that happened, it was pretty crushing.

I’d lived my life a certain way for so long and suddenly my mind was in this complete state of dissonance – everything I’d ever known had been turned on its head.”

Fitipaldes says this experience saw him grow as an individual and opened the doors for new ways of thinking: “Once you let go of the lies, you can really start being open to new ideas and looking at those ideas with a different perspective – with a more open perspective, but also with a critical perspective.”

Fitipaldes’ abandonment of Catholicism and ensuing search for truth informed the lyrical themes of the band’s previous releases: EP Hollow Existence, and debut album Discoveries.

“A lot of discoveries are internal,” he says.

ozfeature “I lived my life a certain way for so long and suddenly my mind was in this complete state of dissonance – everything I’d ever known had been turned on its head.”

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‘Quantum Flux’ @iTunes From their new album Singularity

“You have to find out things about yourself – weights and baggage that you’ve kept within yourself – and sometimes you have to let go.

Sometimes you’re fed messages from the outside that don’t necessarily resonate with you and you have to sort out the truth from the lies.”

On the new release, Fitipaldes has shied away from commenting on world issues. Instead, the record is intended to be a celebration of life.

“The new album is less about the problems of the world and more about recognising the beautiful things in the universe,” he explains.

“Quantum Flux and Dream Awake in particular are about being aware of the beauty of life.

We wanted it to be a futuristic album that you can’t really put your finger on, which is sort of mysterious and really out there.”

Fitipaldes says the record not only promotes a reverence for life but also an appreciation of our experience as people: “We’re the most intelligent species on our planet, or so far as we know, so it’s almost like we’re in the front-row seat of a movie. I love animals, but the experience of being human and witnessing the evolution of consciousness unfold is way more exciting than

being a cat or a dog. Being a human being and being able to witness all these crazy things, the good and the bad, is really exciting.”

The album’s title, Singularity, is a reference to a theoretical world order, a time in which we are united in a global sense.

“Singularity traditionally refers to a point in time in the future when humans have reached a level of evolution that’s so far out of our comprehension right now. The universe began in a singularity – well, that’s what is theorised, that the universe all came from one point – so there is a fundamental singularity to the nature of reality and the cosmos. We all are one, we all are connected and we all need to treat each other like another part of ourselves. I think it’s about recognising that your identity goes far beyond where your skin touches the Earth. There’s an inherent unity about the universe.”

Fitipaldes admits that his message that has faced some resistance along the way.

“A lot of people are very sceptical about us all being unified but it’s just the natural evolution of the world and human life,” he says.

“Hopefully when this whole one world thing does happen, we can work out a way to become a more enlightened, peaceful society.”

Sorry, when? Is Fitipaldes so confident that this kind of reality will be realised?

“Well if you’re into that genre of information, there are things already happening,” he says, adding, “I definitely think it’s something we could see the beginnings of within our lifetime.”

Despite dabbling in philosophy and exploring idealistic ideas, Singularity is essentially about embracing what’s real in the here and now.

Fitipaldes says the album is effectively about engaging in life.

“We’re really trying to waken people’s awe, wonder and love for life,” he says, “I think the little things, like being nice to your family friends, is what will help change the world – just caring a little more. There are a lot of people who are very content vegging out in front of the TV, drinking

beer all night, or destroying themselves, rather than empowering themselves and taking on the responsibility of acknowledging that they have a direct impact on the people around them and on the world at large, no matter how insignificant they might feel.

“I’m by no means a perfect human being, but being in this band and studying all these crazy ideas has helped me grow. Instead of questioning the world, I now question myself. I ask myself what I can do to help the world and my friends and my family, as well as what I can do to improve my immediate experience of life.”

The nature of reality, the value of life, and indeed, how to live it are monumental subjects for a bunch of 21-year-old metalcore kids but Fitipaldes says he never feels intimidated because of his age.

“I’m not afraid. I don’t worry about controversy, because a lot of the stuff I talk about, it’s not my words, it’s stuff I’ve researched,” he explains. “I have a deep admiration for science and philosophy and I love great thinkers – great ideas are what really change the world. It’s only those who are willing to be brave, step into the unknown and do wild things that really get somewhere. I think one of the reasons Northlane have had some success is because we are tackling such massive issues lyrically.”

To say that Northlane have seen some success is an understatement. The hype surrounding Singularity, which is only their sophomore album, has been enormous. Fitipaldes says he is proud to be a part of the Australian heavy music scene.

“It’s crazy, mind blowing, nerve wracking and exhilarating. It’s very odd for the band and me to be in the spotlight, but it’s a cool experience.

Parkway Drive is the benchmark – they’ve set the example for the rest of the country to follow and all we want to do is continue the legacy of Australian metal and hardcore.” H

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Whether they cause listeners to fall at their feet in avid worship or to writhe in discomfort like a dog with water in its ear, Australian 5-piece ‘extreme horror death’ arbiters Portal provide an experience not easily forgotten. words Kama Way photos Julianne Pimenta

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ormed in Brisbane in 1994, Portal have eight releases to date, and have toured Australia and internationally, appearing in 2013 with foundational black metal legends Marduk.

An assembly of five personas – Omenous Fugue, Ignis Fatuus, Aphotic Mote, Horror Illogium and The Curator – Portal take the stage with only hands showing. Their heads and faces are entirely robed and slung with fat, rope nooses, or crowned with an imposing wizard’s hat or clock-face sculpture in the case of vocalist The Curator.

Tense ceremonial heaviness pours from these figures to the live audience, and this is strongly reflected in the composition and execution of the music itself, which eludes genre and demands the kind of attentive hypnosis of something terrible unfolding.

Melodies rise and slither, and are mercilessly devoured by a relentlessly heavy and hypnotic storm of complex and articulate riffs, and a guttural, muscular rhythm section.

Assumed by many to be predominantly inspired by the universe of HP Lovecraft, lead guitarist Horror Illogium asserts that this is not

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entirely so. “With every album, we work within the confines of dread, terror and horror,” he says, “each with a different psychology to them.

We only ever had five songs as tribute to the Lovecraft mythos and those were on our first and second albums. Although an influence some 15-20 years ago, I would suggest that we are not Lovecraftian in terms of theme and lyrics. These [songs] are The Curator’s captures of our very own spheres that really need to be recognised for the genius that they are.”

The atmosphere of imminent devastation created by Portal is carried by all audio and visual elements, manifesting not only through the swollen sound but through the on-stage personas and album artwork for each release.

“The feeling of dread and horror excites us,” Illogium continues. “This can come from various sources of media, dreams, night terrors, the death of a close associate. We are always observing and feeding from the cold voids of humanity that gives us chills or slight shock perhaps. The personas manifested themselves unconsciously, perhaps in childhood; it’s a sick side of our mentality that we embrace. We are always the same people; however we can put on

Portal’s co-founders, guitarist Horror Illogium and singer The Curator, came up with the ideas for the unique costumes the band wears citing characters played by Lon Chaney in silent films and H.P. Lovecraft’s era (1890 to 1937) as inspiration.

Despite not being entirely inspired by H.P. Lovecraft, five of the band’s songs do pay homage to the Lovecraft mythos with references to mythical creatures from his works. The songs Sunken and Transcending a Mere Multiverse on Portal’s 2003 album, Sepia, are, according to Horror Illogium, about Lovecraft’s fictional creations Cthulhu and Azathoth and songs Crawling Chaos and 13 Globes on their 2007 album, Outré, refer to Nyarlathotep and Yog-Sothoth.

“The pressure that we put upon ourselves to achieve the tight results we wanted, we made several demos and a mock album recording before we were confident that we were ready,”

sheep clothing to get the mundane operandi completed in order to exist. Segregation is the key.”

The sleeve for 2013’s Vexovoid takes its place in the grim gallery of Portal album artwork, created specifically for the band by the infamous Rev. Kriss Hades of Sadistik Exekution and Nazxul. “We first became associates when Portal and Rev. Kriss Hades played a few shows with Nunslaughter (USA) on their Australian tour in 2003,” Illogium explains. “We always talked about a collaboration at some point, and this came to be for the album cover of Vexovoid – we gave him the concept/direction and he executed it as only Kriss Hades can.”

Not surprisingly, Vexovoid has generated a mix of reactions, including much praise, from overwhelmed reviewers in Australia and overseas. Indeed, one reviewer remarked, “I just don’t have the stomach to endure such torturous and excruciating atmosphere.”

The album meticulously combines the elements explored on previous recordings, reflecting Portal’s dedication to their craft.

“The pressure that we put upon ourselves to achieve the tight results we wanted, we made several demos and a mock album recording before we were confident that we were ready,”

Illogium says, adding, “This is a very time consuming process. We are particular with tones and balance; however, we believe that the final product should never stray from the real sound of the band. We have recorded all of our albums ourselves except for Seepia, and the production has improved and become more potent with each album. The guitars are particularly dry on all of our albums. There are not a lot of effects to make it sound obscure; it is just the chords we choose and the way we play. Vexovoid is the culmination of every Portal recording before it.”

After supporting Marduk and performing with such Australian metal monsters as Denouncement Pyre, Order of Orias, Inverloch and Innsmouth, Portal will again be disseminating dread beyond Australia to play Hell’s Pleasure in Germany and Metal Magic in Denmark, as well as shows in Sweden, Finland and Japan. To experience the creeping dread and devastating sound of Portal in person, catch them later this year at Evil Invaders V in Sydney on 7 and 8 June. H LINKS: profoundlorerecords.com facebook.com/portaldeath

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words Fabio Marraccini photo Courtesy of Riot Entertainment

Aussie power metal legends Lord are back with a refreshed sound that draws from a wide array of influences while keeping the same competent metal nucleus.

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ounding member, singer, guitarist and producer Lord Tim took time to talk with HEAVY about the evolution of the band, the recent album release, and the upcoming tour.

For reasons beyond my comprehension, some people dare to say things like “Aussie metal will one day rub shoulders with European bands” and such.

Wrong! Quantity of releases aside, metal from this great southern land is regularly at the same level, if not better than international examples.

Amidst hundreds of acts worthy of mention, Lord is one to prove that what matters is the approach, the passion, the soul put into music, and not the “made in” label.

Formed out of the remains of previous act Dungeon, Lord quickly reached the top, both as a recording act and a live band.

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New album Digital Lies represents a refreshing change from previous albums, almost as if the band approached it with the intention of just having some fun. “It was actually the complete opposite”, “Lord Tim” Grose says. “It was a struggle; we had been touring non-stop for ten years, including the Dungeon era, so we took a year’s break in 2011 to recharge our batteries. Getting back into writing, and the whole mindset needed to record an album, was actually very difficult.

The material isn’t easy to play either, so the whole six-month period was a bit exhaustive..

The broad variety of influences is even more evident than in previous releases, something that happened naturally according to Grose. “We just love all sorts of stuff in music, from commercial pop music right up to extreme black metal”, he says. “With Dungeon, we were pushing to be more in

the mould of a power thrash band, and were hesitant to throw other influences in the mix.

When Lord was put together, we asked ‘What would we be if there were no expectations about what kind of band we’re supposed to be?’ The core is still what we all love – power traditional thrash – but we’re not scared of bringing in digital elements and screams,” he continues.

“Our odd influences, sometimes heard in the music, can be surprising for some.

I am a massive Duran Duran fan. Perhaps the last thing you would expect from a band like us is that we’re into ‘80s pop music, such as Cutting Crew and Glass Tiger, and most of the electronic elements came from me really wanting to experiment,” Grose adds, certain that this refreshing approach has breathed new life into the band’s music without necessarily changing Lord’s direction.

CHECK THEM OUT

l ate s t re l ea s e

‘Digital Lies’ (Entire album samples) @YouTube

Grose is insistent that this approach is by no means an attempt to follow any recent trends: “With all the work I have to do with Lord and the other bands I record and produce, I don’t really have a chance to listen to anything else. It’s kind of a conscious choice too, as I don’t want to listen to any new bands and perhaps accidentally end up sounding like I’m ripping them off just because I don’t really know their entire catalogue very well. If I go back to bands I completely master, like Judas Priest, I will know if I start sounding too similar, so I can steer away, but we’re really not trying to reinvent any kind of metal, nor are we looking for some kind of new genre breakthrough. We just like finding new ways of telling the story.”.

Social media busy bodies, Lord explore not only the obvious approaches but also the unusual, such as blogging their news to their fans in an open discussion online. “We have a discussion forum where we invite fans to just hang out with us and chat”, Grose says. “There

is this idea that, with bands at a certain level, it’s ‘us and them’. We really don’t see it that way – we’re just another bunch of metal fans that happen to own guitars.

Last but not least, Lord is well known for their remarkable tours, opening slots, and stints in big festivals abroad by Grose remains tight-lipped about the band’s plans for 2013.

“We had to be extra careful this time.

There are many international gigs competing for punters attention. We’ve booked an album tour in Australia and New Zealand, and there will be other things going on that I can’t talk about yet.”

If you’re still not convinced that this band is undisputable proof of the quality that Oz brings to the metal table, get the album and go see them live during this tour. “Get out there and support Australian metal, and Australian music in general,” Grose says. “We have some of the best acts in the world, and if we don’t support them, it will all go away.” H

Digital Lies by

Lord

Dominus Records

review Fabio Marraccini The maturity of this band and their broad taste in metal really shines through in this release.

I know most metalheads frown when they hear the term ‘electronic’, but the so-called dark futuristic elements added as novelties here are subtle, cleverly layered, and suit the whole concept well. This is pushing boundaries without necessarily changing the direction. After all, it still has your quintessential Lord signature of screaming guitars, thrashing power, distinctive vocals, hook-riddled choruses, and a precise rhythm section.

Embrace it with open ears, and you will have the lyrics and melodies tattooed in your brain before too long.

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ozfeature

words Anthony Moore photo Baz Harvey Heavy Rock / Stoner / Metal Perth, WA thedevilridesout.com.au

What could be more appropriate for a kick arse heavy rock band called The Devil Rides Out than to have their debut gig on the 06-06-06. ROCK! With gritty vocals and heavy grooves, The Devil Rides Out are one of Perth’s main stayers. They are the perfect soundtrack to a sun drenched road trip across the desert. Dusty hot air circling in through the open windows and The Devil Rides Out howling out of the car as you head off over the horizon.

The band has a history of solid releases. Between 2007 and 2008 they released three EP’s suitably titled, Volume I, II and III. In December 2009 they recorded their debut album The Heart And The Crown and released it 2010 to rave reviews; a blistering mix of raw guts and attitude.

The Devil Rides Out are looking to do it all again.

Set for release July 1, the band have recorded a new EP that is going to be their heaviest yet. Ranging from dirty blues to bone-crushing metal, they’ve taken their sound deeper and opened right up for what will also be their most open, honest and emotional release to date.

The EP was written in the wake of singer Joey K’s father committing suicide. The title track is a cathartic song for K who wrote it to work through his grief, confusion and anger. He’s been quite open

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with where the song has come from believing that part of the problem with mental illness is that people don’t want to talk about it. The entire Ugly Creatures EP is dedicated to Joey K’s father.

The Devil Rides Out will also be doing a clip for each of the tracks on the EP. A different director will be given free rein to do whatever they choose. The release is produced by the band and Alan Smith (Extortion, Jed Whitey) at Bergerk Studio. They also worked with Smith previously on Volume III and The Heart and The Crown.

The EP features a doom re-working of ‘Watch it Burn’ from their 2010 album entitled ‘Burn Again’ and a cover of the Abbe May song ‘Blood River’.

As well as playing numerous gigs with successful Perth locals like Chainsaw Hookers and The Sure Fire Midnights, The Devil Rides Out have shared the stage with some massive overseas bands like Truckfighters, Fu Manchu, Black Cobra, Mondo Generator, Winnebago Deal, Monster Magnet, Shihad and Clutch. In May 2009 they won the WAMI (West Australian Music Industry) Award for Best Hard Rock / Metal Artist.

The Devil Rides out are Joey K – vocals, Andrew Ewing – guitar / vocals, Royce Uyen – drums and Scott Paterson – bass.

Keep an eye out for The Devil Rides Out on their national tour during the second half of the year in support of Ugly Creatures. H

13 Greatest Songs about the Devil

By Joey K, The Devil Rides Out 1. Black Sabbath - Black Sabbath 2. Black Sabbath - N.I.B. 3. The Rolling Stones - Sympathy For The Devil 4. Iron Maiden - The Number of the Beast 5. Nick Cave & The Bad Seeds Red Right Hand 6. Slayer - Hell Awaits 7. Entombed - Chief Rebel Angel 8. Tom Waits - Black Wings 9. Ghost - Con Clavi Con Dio 10. Clutch - The Devil And Me 11. Johnny Cash - Mean As Hell 12. Spinal Tap - Christmas With The Devil 13. The Louvin Brothers - Satan Is Real c he ck e m o u t

‘Broken White Line’ @YouTube

ozfeature

words Jay Clair

When vocalist JJ Peters quit his job as drummer in high-profile metalcore outfit I Killed The Prom Queen to concentrate fulltime on Deez Nuts, no stronger statement could be made about the relevance of the Melbourne band in the hardcore scene.

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eez Nuts are notorious for their partyhard lyrics and good time vibes and, while Peters believes it’s important for vocalists to get their message across, he also thinks a lot of people take their music and themselves too seriously and he certainly doesn’t want to be one of them.

Living life to its fullest is an attitude that has definitely contributed to the band’s success, while the band’s originality has also played a part – okay so Deez Nuts is not necessarily original in a traditional sense, but more in the way that they are going against local trends.

With the Australian hardcore music scene littered with metalcore bands that are trying to label themselves as hardcore, Deez Nuts certainly buck that trend with their interpretation of a hardcore lifestyle and way of life different to the others. Peters sees a big difference in the music styles within hardcore, but the interpretation of a band’s genre seems to be more about what scene nurtured them during their early years – a prime example of this is Parkway Drive, a band Peters considers to be metal, but who are labelled hardcore

because they came through the hardcore scene.

While there are a chosen few elitists in the heavy music scene who frown upon the style of music Deez Nuts plays, they are vastly outnumbered by fans, which is a good reason why they’re doing so well.

It doesn’t hurt that Peters is an expert in the world of music marketing, having learnt from the experiences he adapts to his current world. With a clearly-defined image, Deez Nuts promotes a message that is crystal clear: if you’re out to party, Deez Nuts are along for the ride.

It is with this in mind that Peters aims to make Deez Nuts bigger than his previous band, I Killed the Prom Queen, with the release of their 3rd full-length album Bout It. There has been a progression on the new album, which the band is touring across Europe at this very moment, but the group remains aware that they’ve built their fan base because of their style and definitely remained true to their party ethic. Bout It is more about polish and quality, and is also the first time the lads have recorded as a full band.

In the past, Peters did the majority of writing and recording himself, but this time it was recorded and produced in the United States

by Shane Frisby (The Ghost Inside, Bury Your Dead and Corpus Christi).

Unfortunately due to international touring commitments, Australian fans will have to wait to hear this album played live. A local launch is tipped for the latter half of 2013 and anticipation is high. If you’ve never given this band a go, Peters believes this album is the place to start – he seems quite pleased with the result of this release and has every confidence in it doing well.

If there’s such a thing as the right time to release a record, this is probably it. Australian heavy music is about to explode, and Bout It should place Deez Nuts right at the forefront of the local hardcore music scene. H

w ebs ite

@www.deeznutshardcore.com

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Arbrynth

Orion’s Fire class themselves as progressive death metal and came together with a love for death metal and progressive music from the ’70s, ’80s and ’90s. Consisting of James Wingate on bass and vocals, Matthew Tooley on guitars and Chris Coupe on drums, fill such a huge aural space for a three-piece. Their track Inauguration is an eight-and-a-half minute journey through a soundscape so diverse that at times it seems to be produced by several different bands, but that’s not to say it’s mish-mash – not at all. Undulating between crushing death metal to spacey ’70s prog and on to some tech death metal riffing, the epic number is just one example of the band’s diversity. Recorded material aside, Orion’s Fire immediately captivate audiences with their three-piece aural might, aided by the fact they play to sequence, something

that’s becoming popular these days but was adopted by early rock and prog bands, The Who, Pink Floyd, Rush to name a few. This approach allows the sounds to spill into one another with ease – it’s bloody huge. By the end of a half hour set my senses were overwhelmed.

Orion’s Fire have hit Albury, Canberra, and Melbourne and intend to get around the country as they prepare to record a fulllength album. If you make it to a show you’ll get a free CD, so hop along people.

– Adam Agius check em out

‘By Forfeit in Colourless Fire’ @SoundCloud

photos by Orions Fire.

Orion’s Fire

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‘Arbrynth’ @Bandcamp the four members share vocals responsibilities – resulting in a superb variety of both male and female cleans and harsh vocals, often with two or three occurring simultaneously. At the very end of 2011, they dropped their debut, a self-titled full-length album. As well as a few older tracks and live favourite The Raven, the album sees the band move in a darker direction. Flute and violin make subtle appearances and new track Words of the Wind shocks and impresses, heading in a mellow Porcupine Tree-esque direction while still remaining undeniably Arbrynth.

Despite it being fantastic, that after several years of existence, they finally have some recorded material, it’s the live scene where they really shine. The dynamic vocals and contrasting sounds are amplified tenfold, and they have significantly tightened up their performance in the last twelve months. With even newer material in the works, and the band looking to boost their live presence, Arbrynth are an act to keep an eye on.

– Mitch Booth

Blackwater

Departe The result is a monstrous sound that’s horrifically dark and occasionally teetering on the edge of pure noise. Writing for their debut full-length has commenced, but it may not see the light of day until mid to late 2013. Despite it being a while away, it will surely be worth the wait. This more atmosphere-focused metal is something that, outside of the doom scene, is a bit lacking in Australia. Encircling Sea have been doing it brilliantly for a while and Nontinuum’s recent EP is hard to fault, but Départe will be a more than welcome addition to the group.

– Mitch Booth check em ou t

‘Citylights’ @Facebook

photo by Mares

Back in 2011, a new band featuring members of Separatist, Meticulous Despoilment and Redemption Denied emerged, called Ørannis. Citylights, the one track they released, was (and still is) the definition of the word intense. The dense, luscious black metal hinted at the twisted style of Deathspell Omega, with a touch of The Amenta. The harsh vocals are absolutely unholy and the cleans are superb.

Since then, the band have ditched the face paint and changed their name to Départe. And as shown on their recent east coast tour supporting New Zealand’s dissonant death metallers Ulcerate, being named after a Rosetta song is a very fitting choice.

Their new material shows a move further away from black metal (despite Citylights hardly being the traditional style in the first place) and into some form of atmospheric, blackened sludge. Think Dodecahedron and Wolves In The Throne Room meet Neurosis.

If there’s one thing that hasn’t really caught on in the Australian metal scene, it’s the whole folk metal genre. Thankfully though, there are a small handful of bands embracing those sounds. One is Melbourne’s Arbrynth, who have gone in a slightly different direction than so many others. There are no bouncy, beersoaked drinking songs, or overly dominant traditional instruments. Instead, the band weave their folklore into a style of music that sounds so much more natural, which would explain their preference for the label ‘forest metal.’

While the metal parts of their sound are rooted in progressive and melodic death metal, that would be simplifying things.

There’s a focus on light versus dark, with an abundance of clean guitars and songs that are constantly evolving. They flow from lush riffs, through melodic leads, into Celtic-influenced clean guitars – and back again. The different elements intertwine – fading in and out so smoothly that it takes some serious concentrating to actually keep track of it all. You’ll rarely experience simply a ‘heavy’ or ‘light’ part, it’s almost always both at once. Three of

c h ec k em ou t

Little did Tyson Osewald and Jack Crawford know that standing in line at a Soilwork gig would signal the first of a series of events that would help establish Melbourne melodic metal outfit, Blackwater. Dutch man Fjaar de Haan, relatively new to the country, was standing behind them and was overheard by the two muso’s discussing himself a vocalist. One conversation led to another and an invitation was offered to de Haan to attend a rehearsal.

The more time they spent with the avant-garde de Haan, who brought his European influence into the mix, Crawford, Osewald and drummer Milein ‘Blixa’ Schulze started to drift away from groovier nu metal styles and embraced a darker, melodic way of playing.

Blackwater are still at very early stages of their career and were made younger still when the final piece to the puzzle, bassist Angus Arundel, was recruited two years ago at the ripe age of sixteen.

With a full lineup, the band threw themselves into rehearsing and songwriting and went on to release their

self-titled three-track EP. Their musical influences range from Emperor to Lamb Of God and together they forge their own progressive melodic material with a twist on other more generic acts deriving similar influence.

Building an audience is probably harder to do hailing from Melbourne than in any other city in Australia. The vast range of outstanding bands with established audiences makes it almost daunting for up-and-comers, but through word of mouth and sheer determination the band have walked away from successful support slots with a range of local bands at some of Melbourne’s premier venues.

They may centre around dark themes, but the band sees nothing but a bright future ahead.

– Vix Vile c h ec k em ou t

Blackwater @Facebook

The Deep End The Deep End are a five piece from Melbourne who describe their sound as powerhouse pub rock. They’re renowned for blistering live shows and delivered one to a full house at the launch of their 2011 EP Your Shout at Melbourne’s legendary front bar at The Espy.

Earlier this year they signed a worldwide distribution deal as well as releasing their debut album Cop This. Things are certainly picking up momentum at a rapid pace for these lads They started out doing AC/DC covers, but have since gone on to create their own formidable rock songs and the band

cite their main influences as being AC/DC, The Poor, Airbourne, Guns n’ Roses, The Darkness and Motorhead.

The Deep End are hardworking and passionate and HEAVY suspects you’ll be hearing a lot more from them in the near future.

– Lep Beljac check em out

‘Bigger. Better. Badder’ @YouTube

Bury The Truth

They say it was beginner’s luck.

When your first gig together sees you win your local Battle of the Bands competition, you know you’re onto something good. That’s exactly the fate that was bestowed upon Shepparton based metal group Bury the Truth, who have since carved themselves a reputation as one of the hardest working and most well-known metal acts in regional Victoria.

The band list acts including Parkway Drive, As I Lay Dying and Conducting From The Grave as some of their biggest influences. Frontman Dean Cathie’s vocal range is similar to most death metal vocalists – channelling Alexi Laiho one minute and sounding like a supercharged version of Gollum the next.

Bury the Truth tick many of the boxes associated with death metal acts – crunching riffs, guttural vocals, pounding drums etc. – but the band’s music also includes tastes of punk and core sounds.

This is best observed on their track Temples which – after beginning like a headbanger’s call to arms – develops

into a power chord driven chorus and a melodic solo, which sounds like it came out of an American power-pop songbook.

Bury The Truth released their debut album, Reunite, at the end of November last year. Reunite follows on from the band’s 2011’s EP From Nothing To No One and is the band’s first release with new drummer Jack Van Zetten, who is credited with taking their music in a faster and more technical direction.

The band made their way around the country in January to promote the album and supported Northlane, In Hearts Wake and Endless Heights.

Get into the pit at a show near you and check out an emerging group who hail from the bush produce tunes that are anything but peaceful.

– Kiel Egging check em ou t

‘Poseidon’ @iTunes

Diprosus

Imagine blending the monstrously heavy riffs of Crowbar or Down with the fury and in-your-face production of golden-era Pantera, topping with the taste for avantgarde of Gojira or Mastodon, and spicing with an authentic Aussie passion for music.

The result of such gut-wrenching mix would be close to what Diprosus sounds like.

Hailing from Melbourne music city, this four piece has only one goal in mind: to unleash their powerful approach to what has been making metalheads tick for about 40 years, the riff. While their music is surprisingly well mixed and produced for an independent and relatively young band – with massive bottom end, yet clear vocals and drums – their emphasis on a riff-driven potpourri of all things brutal is quite obvious.

The three songs available online certainly prove this point, and will please those with a taste for the mildly refined and brutally groovy metal. At some points, especially in Children of War, they even nod respectfully to death metal, with growls and faster passages. But the tempo changes and

melodies present in all songs available, and particularly in Diprosus Flavour, reveal that this mob has been in touch with more recent trends in the metal genre. Additionally, the relentless riff massacre and alternating breakdowns found in Stirfried, the stand-out track so far, proves their goal is for real.

A full-blown five track EP is set for release and should be out by the time you read this.

To back up such release, they will be playing several gigs around the local underground scene. If you dig being bombarded by mind-blowing riffs, shaking your skeleton franticly in the mosh pit, and looking yourself in the mirror later to see if your limbs are still attached to your body, go check them live and get their album – satisfaction guaranteed.

– Fabio Marraccini c h ec k em ou t

Diprosus @SoundCloud

New Jack Rubys

Sometimes it’s hard to tell if the information you receive is correct or not and after asking New Jack Rubys drummer Doug Palmer a few questions, I got enough in return to make the Lord Of The Rings Trilogy look like a 3 minute piece of non-fiction. So let it be known some of this may be true, some may not, but you can definitely be sure of one thing… New Jack Rubys kick arse!

Named after their drummer’s ten pin bowling team, the Gold Coast’s New Jack Rubys have been described as sounding like everything from the Cosmic Psychos to Jesus Lizard, Mudhoney to the Beasts Of Bourbon. Their music is gutsy and honest with beads of sweat pouring from its brow.

Since releasing their debut album Death To The Weird in 2007, they’ve released a few singles and now their latest full length, CLAMS with Skritch at the helm in the studio. “In the end the new album was recorded and mixed over a three year period and became like a sort of slow, unstoppable Automaton. It chewed up music industry professionals,

cash and goodwill in equal measures, leaving none standing in its path. As creators, we could do nothing but grit our teeth, apologise for its manners and pay its drink tab.”

So what motivates them? “I think our motives are unclear even to us, but making music that’s powerful, energetic and fun is a good enough excuse to get it done and if we can excite some other folk into going insane for an hour or so all the better. Otherwise we’ll settle for love, fame and money.”

New Jack Rubys are Paul Lewis (guitar, vocals), Steve Palmer (guitar, vocals), Andy B (bass, vocals) and Doug Palmer (drums, vocals).

Their new album CLAMS is out now on CD and digital download, vinyl release later in the year.

– Anthony Moore c h eck e m o u t

‘Rubber Wing Thing’ @YouTube

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photo Lep Beljac

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Malignant Monster Thrash/Death Perth, WA facebook.com/malignantmonster

There are times when the breakup of a band can actually result in a good thing. At one stage or another, members of Perth’s Malignant Monster also played in Pathogen and vice versa. Both bands suffered from various line up changes which culminated in Pathogen eventually calling it a day for good and Malignant Monster being held back from progressing in the direction they wanted to go in. After years of uncertainty, vocalist Cain Cressall finally has things back on track and has a group of musicians equally as passionate about the future of the band. Each member is completely committed to their instrument and what they bring to the table.

Where many would have given up, this just spurred Cressall to forge on at an unstoppable pace. During those times, he took sole responsibility for the writing process and this enabled him to write more than he ever had.

Those that have had the privilege of seeing Malignant Monster live have seen the mastery each musician brings to their stage shows added by the intense energy exuding from Cressall. If Alice Cooper and Kind Diamond ever had a child then Cressall would be more than the bastard that spawned from it. Not vocally, as Cressall has a more guttural style, it’s the presence he commands. He can captivate an audience to the point of mesmerising them. There’s a fire in his eyes that pours out pure evil. His passion for

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the dark side, for the ugliness and perversion in this world gets to be released on stage and in the video’s the band has produced..

In the studio, Malignant Monster have just released their second full length Yours In Murder, the follow up to last year’s Prelude To Murder ep which incorporates their energetic melding of thrash and death. Guitarist Lynton Cressford’s ferocious tight fretting far outweighing his youthful looks. Each member has their own unique style and it all gets incorporated in their sound.

Touring wise, other projects band members are in have sometimes been a hindrance for them. Cressall as featured in HEAVY before, is also lead vocalist for Sydney’s The Amenta, respected drummer Louis Rando, besides the tons of Perth bands he plays in, also tours regularly overseas with Singaporean black metal masters Impiety and Cressford axes for Entrails Eradicated so getting them all in the same state at times can be difficult for the band to venture out of their home state together. With the solidity though of the current line up, rounded out by bassist Dave Sandstrom and Jarrod Curley on guitar, the setbacks of the past can see the band finally take their brutal sound further.

They see the isolation of being a band from Australia as a motivator and rather than let it hold them back they treat it as an advantage especially now that extreme music is becoming more accepted and the rest of the world is taking more notice of our local acts. H

l ate s t re l ea s e

words Vix Vile photo Jess Matthews Photography

yours In Murder by

Malignant Monster

independent

review Vix Vile Listening to Malignant Monster’s long awaited full length release Yours In Murder is akin to someone throwing you into a whirlpool of dirty water and turning on spin. The end result is you come out filthy and grimy but strangely feel cleansed.

Coming in at just under 40 minutes, vocalist Cressall spits out pure hate at the listener backed by a shredded thrash attack leaving you gasping for more.

The ferocious attack from all members will leave you dripping in sweat before you’ve even moved a muscle and you’ll be climbing back into that whirlpool for another cleansing. c h ec k e m o u t

‘Back In The Icebox’ @YouTube

c h ec k em out

Exclusive to HEAVY Magazine @YouTube

Hailmary words Jay Clair photo J-FFoto.com

Rock Perth hailmaryband.com

The hardest part of creating a successful band is staying together. Hailmary have managed to be part of the live Australian music scene going on eight years.

Having overcome that first step, they are now poised to be one of Australia’s next big things in the Australian hard rock arena.

Nothing quite beats a solid rock band with an amazing vocalist. Hailmary is one of those bands. With an amazingly gifted front man/guitarist in Kevin Curran, this band has the potential to mix it with any of the top tier bands, not only in Australia but worldwide.

Any fan of grunge pioneers Alice in Chains will definitely appreciate this band as Kevin has some similarities to the vocal stylings of original singer Layne Staley. Although the musical similarities are apparent, Hailmary provide their own flavour of rock, which has been compared to the grunge sound of the early ‘90s but with a modern edge. Hook driven vocal choruses are the key to this bands appeal. Hailmary was always bound for good things. In their first year on the live scene, the band

won the 2006 WAMi (West Australian Music Industries award) in the heavy rock/metal category with a demo version of Drag in Drag Out, a song that later appeared on their first release.

The band released debut EP Lottery of Life in 2008, where a further two tracks were nominated as finalists in the 2007 and 2008 WAMi awards. In 2009, the band released their second EP, A Million Miles and Days, which was their first experience recording with renowned producer Jeff Tomei (Jerry Cantrell, Smashing Pumpkins, Corrosion of Conformity).

Following the recording, they had the opportunity to complete their first shows in the United States. The highlight of this tour was a gig at the Kennesaw State University.

Hailmary has recently released debut album Choice.

Path. Consequence. Solution. The album was recorded in the Unites States, again with Tomei at the Cock of the Walk Studios in Atlanta, Georgia, and has been very well received. The decision to enlist Tomei has paid off; the production of this release is fantastic, really representing a band that takes their music very seriously.

Getting frequent radio play on both traditional and online channels has helped Hailmary secure a slots on Rock the Bay Festival, and also to support some of Melbourne’s best heavy bands, including Electric Mary, King of the North, Bugdust and Bronson. The band is an amazingly solid live act backed by one the country’s best rock vocalists. Combined with their musicianship, live show and the quality of release, I wouldn’t be surprised if Hailmary ends up being the next big thing. H

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l ate s t re l ea s e

SUBTERRANEAN DISPOSITION by

Subterranean Disposition

Hypnotic Dirge Records

review Mitch Booth

Subterranean Disposition

words Mitch Booth photo Sean Denver Doom Melbourne facebook.com/SubterraneanDisposition

Back in 2007 a band from Melbourne named InSomnius Dei released their one and only album Illusions of Silence. Following the release, bassist and vocalist Terry Vainoras (Order of Chaos, ex-Damaged, ex-Earth, ex-Hellspawn) was inspired to contribute further to the work that guitarist and also-vocalist Mark Kelson had written for that album however their other band, The Eternal, simply took up too much time. In 2009 Vainoras left The Eternal, with those Insomnius Dei demos still lying around.

2010 saw the demos revisited and re-recorded sporadically at Toyland Studios, with mastering taking place the year after. And finally, in 2012, thanks to Canadian label Hypnotic Dirge Records (also now the home of Sydney’s Lycanthia), the album saw the light of day.

It’s perhaps that long gestation that has resulted in Subterranean Disposition being such a stand-out hour of music, and a very promising sign of things to come. Or it may be that, as stated in a past interview,

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Vainoras listens to a lot of jazz, noise, soundtracks, country, golden era New York hip-hop, and the list goes on. That’s not to say you’ll hear any phat beats on the album, but there’s a lot more to it than just its funeral doom roots.

Sure there are lot of big, plodding riffs, but there’s also an unexpected turn into industrial territory, and psychedelic touches elsewhere. One track features a rather odd but fantastic use of female vocals, while another has saxophone, not to mention that the album beings with a bunch of apes screaming.

Despite ultimately being a solo project, Vainoras has recently recruited a line-up of his favourite musicians to perform the album live; Christophe Delcourt of Away The Cinders, Shaun Bryndzia of Canyonaero and Retch Bile of Broozer. Depending on the show, Heaven The Axe’s Phoebe Pinnock and Lycanthia’s Megan Tassaker made appearances to handle the female vocals as well.

With such a stellar list of musicians involved and Subterranean Disposition taking so long to come out, it’s nice to know that, on a hard drive somewhere, there is already an entire second album in rough demo form. For now, it’s time to play the waiting game. H

Subterranean Disposition’s debut album has everything required of a funeral-meetsmelodic-doom album. There are monstrous, crushing riffs, eerily clean moments and a layer of darkness spread over the top.

Vainoras is as talented at deep growls as he is at melodic cleans and generates true vocal diversity by throwing in harsher shouts and what is almost spoken word as well, plus an assortment of other stylistic influences.

Unlike so many albums these days, this album is a body of work in which each track truly does have its own identity.

c h ec k e m o u t

‘The Most Subtle of Storms’ @Hypnotic Dirge Records

l ate s t re l ea s e

PROMO 2012 REVIEW AVAILABLE FREE FROM hadalmaw.bandcamp.com It may only be two tracks long but Hadal Maw’s Promo 2012 is a devastating listen. It’s a bit Meshuggah, a bit Eryn Non Dae, a bit Vildhjarta. Both Shadow Caste and Merchant of Aeonian Pulse are equal parts technical and atmospheric with a touch of groove, which is pretty much the best possible combination when it comes to tech death.

The guitar work alternates between huge Gojira-esque grooves and technical runs, with some (thankfully) varied drumming backing it all up, and Aaron Grice’s growls are perfectly suited. With exceptional production really amping up the intensity, this promo screams for the repeat button. Make sure nothing fragile is nearby. c h ec k e m o ut

Hadal Maw words Mitch Booth photo Ian Ritter Technical Death Metal Melbourne facebook.com/hadalmaw

Hadal: the Hadal zone (named after the Greek god Hades, god of the Underworld), the delineation for the deepest trenches in the ocean; Maw: the symbolic or theoretical centre of a voracious hunger or appetite of any kind.

Never has a name been so fitting. Hadal Maw’s brand of technical death metal is as dense and suffocating as it is technically impressive, a la Meshuggah. While they only recently became known to the public, the band has been in the works for a few years now, beginning when House of Thumbs bassist Nick Rackham started writing material back in 2010. Rackham, who plays guitar in Hadal Maw, held vocal auditions the following year, eventually recruiting Aaron Grice of Swimming With Sharks. Six months later, Alarum’s Rob Brens took the

drummer’s stool and the trio commenced work on debut recordings and a film clip before completing the line-up in mid-2012 with the addition of Jim Luxford (Flatstick, Arcane Saints) and second guitarist Ben Boyle (A Million Dead Birds Laughing).

While it may be an exaggeration to use the phrase ‘all-star’ when it comes to local death metal musicians, Hadal Maw is such an exciting combination of talent that it’s hard to see it not working, really.

Towards the end of 2012, the band’s released a promo on Bandcamp – possibly the greatest music-focused service anywhere on the internet – as well as a video for Shadow Caste, directed by the proving-to-beconsistently-awesome Col B Cadell Photography and Video, otherwise known as the previous vocalist for Brisbane’s The Schoenberg Automaton. Promo 2012, as it’s so artistically titled, is only two tracks long but if the cuts are anything to go by, these guys could be big – it’s world class.

Hadal Maw hit the live scene this year. H

‘Shadow Caste’ @YouTube

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l ate s t re l ea s e

Disentomb words Christian Doherty photo Lachlan Fernley Brutal Death Metal Brisbane facebook.com/disentomb

Sunken Chambers of Nephilim by

Disentomb

independent

review Christian Doherty When I first came across this album I couldn’t believe that these guys were Australian.

Channelling the great brutal death metal acts from around the world, particularly Disgorge (US) and Defeated Sanity (GER) these ten tracks are an aural onslaught from start to finish.

Clocking in at less than 30 mins, this album will make your head spin. Beyond guttural vocals, solid and precise drumming backed by a heaving bass, inventive and complex riff and incredibly tight arrangements and performance are the order of the day for this monster album. Check it out if you haven’t already. c h ec k e m o u t

@Facebook

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Disentomb plays a style of music you might not expect to come from the beautiful sunny shores of Brisbane, Queensland. Instead of a laid back group of surfies strumming away on acoustics, these four masters of brutality outlay some of the most intense death metal you will ever hear. Relatively new on the scene, having formed in 2009, Disentomb is fast becoming one of Australia’s premier acts in the metal scene. They have been on the up and up since they released their debut album Sunken Chambers of Nephilim in 2010. The album was released through the Japanese label Amputated Vein records off the back of just a two track promo from the previous year and without having played a live show. This shows the potential that this band has.

Once the album was unleashed upon us, the band notched up some quality shows around Australia showcasing their sound and devastating live show that would soon land them overseas to play with some of the genre’s most highly regarded acts. After playing alongside so many quality acts and in front of some of the most hard to please fans in any genre, Disentomb held their own and impressed the many who witnessed them do Australia proud.

Since returning home from their overseas tour

they have barely had time to rest before heading in to the studio to record another two track promo released a few months ago, played more shows across Australia with death metal legends Cannibal Corpse and Bastardfest and sign to US label Brutal Bands for a multi album worldwide deal.

The future of this still young band is looking brighter and brighter every day and the anticipation of their second album, which will be released in 2013, is growing. The band is incredibly hard-working and one of the tightest bands you will see, especially considering the complexity and technicality of their chosen style.

While this music style may be a little heavy for some, Disentomb should be at least witnessed once on the stage doing what they do best because they truly are a sight to behold. Many a person has been heard to say that while they aren’t fans of the general brutality of a lot of these bands, they found Disentomb to be one of the best bands they have seen. This speaks volumes for just how incredible these guys are at what they do.

Expect more big things from these guys in the years to come because they are quickly becoming the next band to take Australia’s sound worldwide and make people recognise that Australian acts can mix it with the best.

Whenever you get the chance to see these guys live, make sure you do. You will not be disappointed. H

Whoretopsy c h ec k e m o ut

‘Nature’s Pocket’ @YouTube

words Christian Doherty photo Marc @ Svartwerk Brutal Death Metal/Slam Melbourne facebook.com/Wtopsy

Fairly new to the Australian scene is a band that has been making some serious waves already, both here and overseas. Since their inception in 2011, Whoretopsy have improved in leaps and bounds and are a very serious contender in the sometimes saturated and evercompetitive death metal scene. While channelling bands such as Devourment, Abominable Putridity, Short Bus Pile Up and even death metal titans Suffocation, the band is definitely carving out their own sound and niche within the extreme music realm.

Whoretopsy released their debut album They Did Unspeakable Things in 2012 through the Torture Music record label, and it saw some moderate success. Live shows around Melbourne also helped the band to build a solid reputation in a very short period of time.

After making a name for themselves and with an album under their belt, the band then got the chance to head overseas and play with death metal pioneers Cannibal Corpse in Thailand. Not bad for a band who are really only now just starting to come into their own

While founding member and guitarist AJ was furiously penning the group’s debut album, the band decided to get back into the studio to record a follow-up EP. Isn’t She Lovely stands as a collaboration between all the band members, and was recorded, mixed and mastered by Roman Koester (Boris The Blade, ex-The Red Shore) at Complex Studios. The EP shows a much more mature and crushing sound, and has been backed up by Whoretopsy’s intense live show – devastating super tight, the band’s performances are mesmerising, forcing those in attendance to stomp their feet and bang their heads.

Whoretopsy’s reputation is growing daily and they recently completed a successful tour of Asia that included a spot on the Hammer Sonic festival in Jakarta where they played alongside the likes of Obituary, Epica, Cradle of Filth, Cannibal Corpse, and fellow Australian deathmetal brethren, The Amenta. The band also supported US brutes Dying Fetus and Putrid Pile on the Melbourne leg of the Supreme Slaughterhouse tour.

If you are into heavy, slamming death metal then pick up a copy of Whoretopsy’s album or EP, or just get out to a show and watch this band command the stage like seasoned veterans. It’s hard to believe they have been around less than two years, but hopefully these guys will put Australian death metal on the map in a big way. H

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Entrails Eradicated l ate s t re l ea s e

words Mark Lennard photo Jess Mathews

Dark death metal Perth, WA entrailseradicated.bigcartel.com

Viralocity EP by

Entrails Eradicated

INDEPENDENT

review Mark Lennard Unleashed upon us in 2010, Viralocity is an incredible lesson in how to play the f**k out of your instrument. Technical sweeping riffage, gravity blast drumming and gutturally demonic vocals are flawlessly delivered to the listener. Entrails Eradicated’s style is a path less travelled in Australia, especially to this masterful extent, so it’s no wonder the band’s live appearances are met with astonishment.

Fans of the intense ‘barrage of technicality’ delivered by bands like Origin will love Viralocity and be left begging for more. c h ec k e m o u t

‘Viralocity’ @Facebook

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So picture this. You start with a vision to write brutally heavy and technical songs at home, but as things progress you put together a lineup.

Your band records an EP and on the day of its release you play your first live show – at the Bali Extreme Metalfest no less.

Founding member and guitarist/vocalist, Jim Parker (Claim The Throne), guitarist/vocalist Lynton Cessford (Malignant Monster, ex-Gallows For Grace), vocalist Tarren Whitfield (Visceral Mutation, ex-Grotesque), drummer Ben Craig (Arterial Hemorrhage, Blowtorch Abortion) and bassist Josh Wasley (ex-Gallows for Grace) deliver an intensely fast and technical form of brutal death metal. Priding themselves on pushing the boundaries of extreme – and with a serious pedigree in the fold – the band steered clear of being the show opening ‘new guys’ in the local WA scene and instead immediately aimed at playing interstate to get a reaction to their talent from the outset.

Anyone who caught last year’s Cannibal Corpse tour would have witnessed Entrails Eradicated at their best. Corpse bassist, Alex Webster, has reportedly been a fan of the band’s Viralocity EP since its release in 2010 – touring the country with a

true pioneer of death metal who admired their work was an honour the band won’t soon forget.

Punters’ reactions to Entrails Eradicated at the Cannibal Corpse shows ranged from pit action to sheer awe, with aspiring musicians studying the fretboard gymnastics and drumming prowess on display. The tour was a major success for the band, expanding their fanbase and acting as a foot in the door for future opportunities.

Entrails Eradicated are not a band to follow the latest genre trends. The band spent last year fine-tuning material for an impending full-length album, which you can guarantee will prove that the boundaries of extreme are set to be pushed.

As a taste of what’s to come, a free online single, Cadaverous Inhuman Form, has been made available. It was mixed and mastered by Chris Donaldson (Cryptopsy) who will likely be called upon to lend his talents to the full project.

Aiming to release the album early this year, the band will then be equipped with a product to introduce them to the world.

Entrails Eradicated intend to take their brutal music to foreign shores. Plans to visit the US are well underway and a promising tour for mid this year is currently being hashed out. If it eventuates, it could be the first step in a running leap for the band when it comes to touring overseas. Their sights are also fixed on potential European ventures and those sought-after summer festival spots.

One thing’s certain, Entrails Eradicated definitely have the chops to make it happen. H

l ate s t re l ea s e

Psychonaut words Vix Vile photo Emanuel Rudnicki Horror metal Perth, WA facebook.com/psychonaut.aust

Western Australia’s Psychonaut named their first album Masters of Procrastination in 2004, so one could easily assume the band have been idly sitting around and procrastinating for eight years. Well, that’s how long it took them to release their follow-up album, Shock ’Em Dead (2012). But nothing could be further from the truth. Multi-awardwinning frontman, Mark De Vattimo (he’s twice won best guitarist at the Western Front Music Awards) takes his role as head of the band very seriously and it was lineup changes, a common delay that plagues most bands, that actually caused the hold up.

De Vattimo had a strong vision for where he wanted the band to head and until he got the right mix of members to bring his vision to life, there was no way he was going to release anything substandard.

Once finding the right drummer was sorted (they’ve gone through a few over the years), De Vattimo and co.

Shock Em Dead could focus on finally finishing their record.

And what a records it is. A true homage to all that is metal and horror, the band have tipped their sweaty hats to some of the classics of both genres in a melting pot of mastery. Combining the two styles together allows them to weave their breathless fusion of power, thrash, speed, death, black, prog and good old-fashioned classic rock into songs that will sit well with lovers of horror and sci-fi. Psychonaut know all too well that the ‘culture of death’ can sell.

With the release and a steady lineup, the band can go back to focusing on extensive touring again.

Psychonaut are regulars at all the premier Perth venues and local festivals. Over the years they’ve managed to earn local supports with the likes of Death Angel, Exodus and Finntroll.

The band now feel the time is right to start conquering the world and it’s their plan, once logistics are sorted, to head over to Asia and Japan.

With so much happening for Psychonaut in the next few months, let’s hope it doesn’t take them another eight years to give us more of their crazy music. H

by

Psychonaut

Firestarter Records

review Vix Vile Shock ’Em Dead pays tribute to ’80s horror and sci-fi classics and could be a horror movie soundtrack on its own.

To think that Psychonaut have recorded a joke album here would be a mistake – a lot of well thought-out writing has gone into the process.

Thrash Metal Zombies, one of two live tracks on the release, tells the story of the infamous four zombies on Slayer’s Live Undead album cover. Another standout is the Lemmy Von Frankenstein track, which is about a warped Lemmy building women in a filthy lab. Shock ’Em Dead is raw, dirty metal done right. As the band themselves sing, ‘there’s no false metal here.’ c he ck e m o u t

‘Darklord Rise’ @ReverbNation

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SLAYER Photo by Lep Beljac NORTHLANE iewarbie.com e © www.carb Photo By Carbi

words Anthony Moore & Damo Musclecar

The annual beast that is Soundwave has rolled through town once again, leaving a trail of heavy music lovers both exhausted and elated in its wake. Two of our writers, Anthony Moore and Damo Musclecar, shoot the breeze about their experiences at metal’s biggest day.

AM: Soundwave 2013 was strong right from the start.

DM: For sure. With such a great line-up of bands, it’s no surprise that it sold out as quickly as it did. I started my day off with local band Party Vibes, who had the toughest job of the day – getting everyone into the groove for what was to follow. Still, they delivered and got the party underway, showing no signs of weakness and letting everyone know what their wellearned spot on stage one meant to them.

AM: I started with Portland stoner rockers Red Fang, who’ve built quite a following – the crowd was pretty big considering it was one of the first bands of the day, and Red Fang impressed, delivering their brand of hairy rock with conviction [...and not a clean-shaven face was seen anywhere - Ed].

DM: Ya, it was huge, chewy riffage, and the Fang’s sound was punishing. A great set by a band that has become a hot item almost overnight. Let’s hope we see them back on our shores again soon, this time in a headlining spot. Speaking of big reputations, Fozzy have

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LINKIN PARK Photo By Carbie © www .carbiewarbie.com

METALLICA Photo by Olivia Reppas

.com ANTHRAX carbiewarbie rbie © www.

Photo By Ca

METALLICA Photo by Olivi a

Reppas

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probably had to prove themselves more than the average band. I mean, when your vocalist is none other than the WWE’s first undisputed champion Chris Jericho...

AM: That’s pressure.

DM: As a frontman, Jericho may not be the best singer but he sure as hell is a damn good entertainer. He had the audience eating out of the palm of his hand.

[Maybe boring singers can be shuffled off for a season in the wrestling ring. I can think of a few I’d like to send – Ed] AM: I didn’t see Jericho but I did see Anthrax. After 32 years, they’ve still got it.

The energy of the band was nonstop, perhaps buoyed by the injection of Jon Dette on drums and Shadows Fall axeman Jon Donais on lead guitar. Founding guitarist Scott Ian was typically mind-blowing, but who would’ve thought otherwise?!

DM: Yeah, they played some classics alright – Caught In A Mosh, Indians, Antisocial – and how about their cover of ACDC’s TNT?!

The crowd just ate it up. I was super impressed with Kingdom of Sorrow too. They had a mosh pit of epic proportions going ballistic for them, and probably the biggest circle pit of the day. Punters kicked up a dust storm,

literally. These boys will be sadly missed as they did announce that they would not be coming back to Australia again, not because of any ill feelings but simply because the band is a parttime pursuit for them and their schedules don’t allow for much touring. It’s a shame as they were one of the most intense bands of the day.

I then raced over to catch some of everyone’s favourite djentlemen Periphery, who really brought in a huge crowd that hung off every soaring note and brutal riff – three guitars never sounded so good – before wandering over for The Wonder Years who, after Periphery, sounded every bit like a band of pop punk kids who actually wished they played metal. Plenty of meaty metallic riffs in there, and the crowd really got into it, chanting and singing along to every word.

AM: For me, it was all about Orange Goblin, who hit the stage on fire, going so hard in every song. They were clearly enjoying themselves.

DM: Orange Goblin! They were sooo heavy. Huge, fat road riffs with so much volume and power that it was like a convoy of trucks running through your front window and continuing down the street.

AM: Yeah, one of the most impressive bands of the day for sure. Ben Ward would

have to be one of the greatest frontmen a band could wish for. Sylosis were also impressive from the get go. Hailing from Reading, UK, the group’s slightly-familiar-yet-still-unique blend of thrash metal had solos that would even cause Yngwie Malmsteen to break into a smile.

Guitarist Josh Middleton’s lead was perfect and it’s easy to see why many are tipping this band as the next big thing.

AM: By that time I was over on the main stage with Kyuss Lives!, who were using this Soundwave tour to say goodbye to their current name before returning home as the newlybranded Vista Chino. They played the usual Kyuss classics and also a new Vista Chino track, Dragona, which still sounded very Kyuss-like.

John Garcia’s voice is giving him his best years yet, seeming stronger and more powerful than ever before and, while some might have thought the absence of Nick Oliveri was going to be an issue, Corrosion of Conformity bassist Mike Dean stepped up, easily handling the low end requirements with ample capability.

AM: Then there was Danko Jones, who is nothing if not an amazing leader of a band – part singer, part guitarist and huge-part charismatic comedian, Danko delivers in spades, and the band’s high energy and catchy

F**KED UP ewarbie.com Photo By Carbie © www.carbi

.carbiewarbie.com Photo By Carbie © www

A PERFECT CIRCLE Photo by Lep Be ljac ANTHRAX Photo By Carbie © www.carbiewarbie.com

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TOMAHAWK Photo By Carbie © www.carbiewarbie.com

tunes had everyone in the crowd rockin’ out with smiles on their faces. This is party music, plain and simple.

DM: Yeah, man. If there’s one thing Jones does well, it’s engage with his audience. Jones really should get into stand-up comedy. He not only had the audience in hysterics but even the security started cracking smiles when he directly joked with them.

AM: A little different but still high-vibe was Californian Celtic punk band Flogging Molly, who filled the stage with so much infectious energy that even the most hardened of punks could be seen ditching the sneer to break into the occasional jig.

DM: Haha. I was catching Slayer at the time. Jon Dette was back again, putting in a stellar performance to replace Dave Lombardo – never easy – and Gary Holt handled Jeff Hanneman’s guitar spot as if it were his own.

Sure, it was only two original members, but the band showed no signs of lacking the power and intensity of the Slayer live show we all know. They really played the classics too – Dead Skin Mask and Angel of Death sounded great.

AM: Then came O’Brother...

DM: O’Brother!!

AM: Yeah, O’Brother. To say this band is jaw dropping is an understatement. Doomheavy, bottom-feeding guitars and crunchy bass notes one minute; eerie, atmospheric soundscapes complete with requisite fog machine the next. Quite simply, mind blown.

DM: Definitely.

O’Brother was Soundwave’s best-kept secret. On record they’re a blend of nice melodic atmospheric noise

but live they are a full-volume powerhouse, blending the melody and instrumentation of Mono with the deafening drone of SUNN O))) and adding vocals. It was loud and brutal but packed with blissful harmony. It was a really intense performance and they are a band who deserves the attention.

AM: Back on the rock train, it may be 2013 but, after only a few bars of Duff McKagan’s Loaded, one could be forgiven for thinking we were all at the Whiskey a Go Go, circa 1986. This is no bullshit, just balls-in-your-back-pocket rock’n’roll with non-stop energy and bravado.

DM: I saw Polar Bear Club, who have such a unique sound and style in their music that hearing it live was really something else.

Cranking out tunes off their latest epic, Clash Battle Guilt Pride, the crowd embraced it all and sang loudly to every word, over the music and in total unison. It was quite a mesmerising moment.

AM: Unique is definitely a word I’d use to describe Cypress Hill as well. Predictably, the smell of wacky tobaccy permeated the air as everyone’s favourite dopeheads sang to the massive crowd, “I want to get high, so high.”

Smooth and steady booty shakin’ ensued before I, and many other bleery-eyed punters, headed over to catch The Sword, a band who hails from Austin, Texas, and who bleeds Black Sabbath yet rides above comparisons to reel you in with strength of songwriting.

DM: Wanted to see them but watched F**ked Up from Canada instead, one band who love their audience and aren’t scared to show it. Vocalist Pink Eyes (aka Damian Abraham) spends most of his time in the audience, rather

than on the stage, and the sense of camaraderie is honourable.

AM: I guess that brings us to Metallica.

DM: I guess it does. Impressive. How many early classics did they play?! And the crowd was on fire, belting out not only the words to every song, but the notes of every solo too.

AM: Yeah, over two-hours and they played Master Of Puppets, Sanitarium, The Four Horsemen, Damage Inc., Harvester Of Sorrow, Sad But True, For Whom The Bells, Sanitarium, Nothing Else Matters and more, before finishing with closing staple Seek And Destroy. [Noticeably absent were songs from Death Magnetic, which I’m sure pleased many – Ed.] Metallica are definitely one of those acts, so well-rehearsed and battle hardened, so tight and note perfect, that you’re never allowed to forget that you’re witnessing metal greatness, no matter how big a fan you are.

DM: No one could have been unhappy with the set they played. For a band with over a hundred songs in their repertoire, they still know what the fans want to hear and always deliver the goods – a great finale to an incredible day of music and good times.

AM: Yup, in the end, it was a massive day.

My personal standouts were Sylosis, O’Brother, Red Fang and Orange Goblin, but there were so many good bands I also missed. It’s just impossible to see every band. To me, the true sign of a good festival is really more about having an awesome day, catching up with friends and seeing bands you love, as well as those you’re just discovering. On all those counts, I give this year’s Soundwave a huge tick. H

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PinUps

W EB S ITE

www.mercerrock.com @iTunes

Brian Mercer E

words Anthony Moore images Brian Mercer

“I suck at guitar. I have hands like forks.” And that is how Brian Mercer got into poster design.

ven though the South Jersey artist didn’t attend art school as he “was too busy at the time skate boarding and running around like a fool for any education to really take effect“, it seems he was destined to be an artist. His mother is a painter, his father a carpenter and artist in his own right and his brother, Kevin, is also a poster artist, designer and illustrator.

Mercer started out doing flyers for his own as well as friend’s bands but says “it was really evident early on I wasn’t going to be Eddie Van Halen. When my band broke up I still wanted to be involved with the music I really liked so I continued on doing posters for bands.”

He’s inspired by “the next gig. Being able to do something I haven’t done before. Making all the square pegs fit into the round holes.”

The images are typically dark and the bands he creates them for are suitably heavy. The themes are almost post apocalyptic with skulls and imagery exploding outward, which

lead to thoughts of death and decay, yet there is beauty within; amazing line work, at times symmetry in the designs and always a great feeling of balance with a strong sense of perspective. Mercer’s designs are powerful and direct your eye to where he wants you to look.

His style has grown from his early influences including the music he first got into like Black Sabbath, AC/DC and Led Zeppelin. “I’m striving to be able to convey visuals with my own voice.” With his approach changing over the years, lately he’s been working off photos for reference. “It usually starts with loose sketches of where I want to put things or how I want a poster to move.

From there I move over to Bristol board and start fleshing them out.”

Mercer does all of the printing himself and much prefers the more traditional approach of silk screening. “It’s a warmer more organic process. Analogue. Offset has no soul to me.”

With poster collecting becoming more and

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more prevalent, he sees things perhaps more straight-up than others. “Depending on what side of the fence you are standing on, the music business is a mess or the best it’s ever been. Meaning with the advent of the download there is nothing for a music fan to actually hold in their hands. CDs are very small and were always a terrible format. Vinyl is making a bit of a comeback but other than that there really isn’t a format for a band to express what they do visually and get it into their fans’ hands. I think people want to hold on to memories of a great show they saw.

Posters fill those needs.”

Where does Mercer see this going in the future? “I’m not sure really. There will always be a need to advertise a show or happening.

I’m gonna keep making them because I feel they serve a purpose.” H Brian Mercer: mercerrock.com Kevin Mercer: thelargemammal.com

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LITA FORD

Since the break-up of the legendary all girl rock group, The Runaways, guitarist Lita Ford has had quite a successful career fronting her own solo band. words Damo Musclecar photo Mark Weiss

N

ow having released her eighth studio album and her most personal work to date, Living Like A Runaway, finds Lita baring her soul in an intelligent and highly inspirational piece of work that may just be her finest hour yet. She’s excited not only by the positive feedback and great reviews but also because she and her band are finally returning down under to kick out the jams.

“I can’t tell you how excited we all are to come and play Australia,” Lita confesses, “We are so happy. We’ve got a great band. We’re just kickin’ some serious ass right now. It’s really a godsend with the new record and the guys I’ve got in my band. It’s a real powerful band.”

Ford is in great spirits considering the rollercoaster ride she has been through since the release of Wicked Wonderland in 2009. Battling through her divorce from Nitro singer, Jim Gillette, Living Like A Runaway shows Ford baring her soul and opening up to her audience with one of her most powerful records to date. “I did really empty out all my aggressions and my feelings into this record.

The whole album tells a story. It takes you on a journey. I think there’s a lot in this album for a lot of people in many different ways. You know, just growing up or having a bad day at the office, it’s all in this record. Along with a lot of great guitar riffs.”

Writing an album is something Ford prefers to take her time with in order to get the best results and the writing of Living Like A Runaway was no different. “It took us about a year to write that record,” explains Ford, “Gary Hoey is the producer on that record and we pretty much locked ourselves away for one year in his studio and we just wrote and recorded and wrote and recorded. We threw away a lot of stuff. We wanted everything to have a feel and a vibe to it. I wanted that.

I wanted to be able to send chills down your back or make a person cry or make the hair on your arm stand up and that’s what this record does. If we didn’t go there when we were writing it then we knew it wasn’t right, it wasn’t correct so we would just put it on the backburner and move on.”

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Lyrically, Living Like A Runaway is some of Ford’s best and most passionate work and she too is also quite proud of the way her story has been told through the songs. “The lyrics on the album are so good. We wrote with Michael Dan Ehmig. He was my old songwriting partner. I think it was Stiletto when I joined with Michael Dan so he’s been with me for quite a few years now and his lyrics and what we did together, we came up with the most amazing lyrics. He’s a real godsend.

Between the three of us, Michael Dan, Gary Hoey and myself, we pretty much did the whole album with just the three of us. Gary played bass, I played percussion and we both played keyboards. We didn’t bring anyone in from the outside to play on this record because they couldn’t cop the right feel for the record so we got rid of them. The only person we used was Matt Scurfield on drums. He came in for three days and played the drum tracks. We used The Uptown Horns on The Bitch Is Back. We open the shows with that.”

One of the strongest moments on the album is the song Mother; a heartfelt song Ford is most proud of which she wrote for her children who her ex-husband has custody of and she rarely gets to see. To help tell the story, Ford enlisted the help of The Runaways bassist, Vicki Blue. “We just finished a video

“I never got an answer. It used to tick me off. I used to feel like we were just puppets on a string.”

for Mother. It was filmed in a Joshua Tree desert out here in California and it’s a very spiritual place. The video tells the story of the song and it’s very touching and heartwarming. There’s no way anyone is going to watch it and not end up in tears. It really is a very powerful and phenomenal video. It’s very cinematic. Vicki also did the documentary on The Runaways (‘Edgeplay’) and she also works with different cinematographers. One of the cinematographers she used, Polly Morgan, did some work on the most recent Batman movie. She came in and did some time lapse photography and it’s a really beautiful video, not your everyday type rock video. Just a beautiful piece of work. You have to see it.”

There has been much talk lately about a reunion of The Runaways and whilst Ford would love it to come to fruition, she feels that Joan Jett and her manager, Kenny Laguna, don’t feel the same way. “I just don’t think their hearts are into it,” admits Ford, “Honestly, I don’t want to speak for them but I think it’s something in the past and not the future.

I don’t see it happening, unfortunately. I’d love to do it. I’m a workaholic.”

The hype surrounding The Runaways was brought on again with the release of the Hollywood ‘biopic’ released in 2010 aptly titled, The Runaways, to which Ford admits to have never seen. “I know the actresses that did play Joan Jett (Kristen Stewart), Cherie Currie (Dakota Fanning) and myself (Scout Taylor-Compton) were a little upset with me because I didn’t see the film. I don’t really want to see it because I don’t think it’s an accurate description of Lita Ford. I mean, I was always one to ask questions. I was always the one wandering how much money did we make at the gig tonight. I wanted to know what the hell’s going on. I wanted to see the contracts. I wanted to see how much money we made off merchandise and I never got any answers from anybody. I was always one to ask these questions and as a teenager, nobody would respond to me. I never got an answer.

It used to tick me off. I used to feel like we were just puppets on a string. The managers would put us out there and we would play and come back with what, a couple hundred

59

“Whatever your heart tells you is right. Follow what is inside of your heart and don’t let anybody tell you that you’re wrong because in rock’n’roll, there is no

bucks in our pocket? ‘Here’s your per diem for the week’ and I just thought ‘this is not right!’.

That’s why they tried to portray me as a bitch in the movie because I was always the one who was always pushing for stuff. I wanted to be a guitar player, I didn’t wanna f**k around.

I wanna play guitar. That’s what I do, that’s what I am. I think what’s wrong with the film is that they should have given it a different title. I think that would have made everything different. It’s not really a Runaways movie. It’s more one-sided. I just don’t think they should have given it The Runaways title. It’s not really about the group that much, it’s more about Joan and Cherie’s side of things.”

The Runaways was based largely on Currie’s autobiography, Neon Angel. With Ford feeling that the movie was one sided, the question has to be asked if there will be a Lita Ford autobiography. “I do have a book coming out and the book will explain a lot,” announces Ford excitingly, “I’ve got a lot to tell. The book will hopefully be out this year and it is called Living Like A Runaway. It’s got a lot of stories.

I’m pretty far into the book right now, about a third of the way into it. I’ve still got a couple of thirds left to go. It will be distributed through Harper-Collins which is a great company and I love Harper-Collins. The people over there are wonderful. I’m excited for it.”

In Motley Crue’s best selling autobiography, The Dirt, bassist and chief songwriter Nikki Sixx tells of a strange and kind of freakish story from when he was living with Lita. They were practising black magic and studying the occult when objects were moving around the room with knives and forks levitating.

Ford reminisces, “I don’t remember any forks but I know Nikki was very much into black magic and, so was I actually, and even now

60

there’s still strange things, and this is no bullshit, there is strange things that happen, unexplainable things and I really believe that (at times) it feels like something is watching over you and making things happen. I know Nikki always had a vision of Motley Crue and what he did to make Motley Crue become Motley Crue is something that he had in his heart and his mind. He brought Motley Crue to life and he did it in a way that is dark, like ‘the devil in my head says I’m drawn to the dark side’ and Nikki’s got a devil in his head, for sure. In a good way though. He’s a good man and an extreme talent. He’s a leader, not a follower, and so am I. The two of us together, we got up to some pretty freaky stuff.”

Being in the public eye and also the frontperson for so many years, at 54, Ford still feels the pressure from the media and the music industry. “For some reason I always feel like there’s pressure on me for everything. They want you to look good. They want you to sound good. They want you to play good.

I don’t want to give anybody any reason to criticise me for anything so I work hard at playing guitar and I work hard at just trying to be a front person. I don’t want to give anybody any reason to say ‘oh Lita’s got fat’ or ‘Lita’s too skinny’, or whatever the flavour of the month is. It’s always something. But playing guitar, I think now after playing for so many years I’m able to have another guitar player on the stage and I still get the acknowledgement that I am a guitar player. I don’t need to be the only guitar player. After The Runaways broke up, I was the only guitar player in the band. Now I feel I don’t actually have to do that and I can have a back-up guitar player so I can front the band better. We do both, we do our leads and then there’s moments where I focus on

the vocals. I gotta say that my guitar playing is my number one priority. It’s getting those licks down.”

The playing is where Lita Ford shines through and over the years, Ford has not only become a household name but also a role model to younger female fans who wish to play guitar.

Ford is quite proud and honoured to wear that tag. “When I was young and a teenager growing up learning how to play guitar, I didn’t have any female role models to look up to. I only had men like Richie Blackmore, Michael Schenker, Johnny Winter, these were my idols. Now I feel like there are women out there playing rock’n’roll like Orianthi, myself, you know? There are female role models that can play so it’s a real honour to be able to be in those shoes and have made the path for other people that want to play.”

For someone who has been playing music since the 70s, Ford seems very grounded.

She’s been through it all and doesn’t appear to be hanging up the BC Rich anytime soon.

For those who wish to follow in her footsteps, Ford’s words of wisdom reiterate her beliefs and the road she travelled to get where she is today. “I would say to follow your heart,” advises Ford, “Whatever your heart tells you is right. Follow what is inside of your heart and don’t let anybody tell you that you’re wrong because in rock’n’roll, there is no wrong and there is no right. There are no rules in rock’n’roll. There’s no way to do it wrong and there’s no way to do it right. Follow your heart and that way you become original and become yourself. Instead of trying to be your idol, you become the leader and not the follower.” H

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61

Armed with chaotic musical arrangements, admirable integrity, powerful lyrics, and political convictions, Jess Koch is challenging perspectives while saving the world one guttural scream at a time. words Kimberley Croxford photo Melanie Kuhn

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hat began as curiosity and a natural thirst for knowledge became an enduring resolve to take a stand on social and environmental issues. For vocalist Jess Koch, her passion for music and determination to effect positive change in the world are intertwined.

Voltera is one of Melbourne’s most genrediverse alternative bands. Fronted by Koch, the group tackle some of today’s significant world issues using loaded lyrics, striking and often disturbing artwork, and the band’s confronting slogan ‘Save the world, kill yourself’.

Sociable, vibrant and smiling, Koch is assured and energised as she talks about how her band became a vehicle for activism.

“I started making music for the same reasons most people do – I liked it,” Koch says. “ I’m a bit of an artist, and I was attracted to the scene. The political stuff just followed, from being educated and improving on my thinking.

Originally, I completed a science degree but I recently went back to study sociology and the environment and that’s just opened up my mind again.”

The expression “Save the world, kill yourself” was the catalyst that saw Voltera really embrace activism, by solidifying Koch’s position on the band’s main concern: overpopulation.

“An ex-band member was wearing the slogan on a t-shirt,” Koch remembers, “She said it was from the Church of Euthanasia, so I looked that up. The slogan isn’t to be taken literally. The Church of Euthanasia isn’t

62

something I’d recommend – it’s a shocking, controversial group – but they were being very environmental about overpopulation way before it started becoming a socially-recognised issue.

Because overpopulation is the major underlying factor of all environmental problems, it really rang a bell with me.”

Koch says overpopulation is an issue that causes people to shy away.

“It’s still a bit taboo due to the implications of solving such a tremendous problem,” she says. “People really don’t want to hear what we have to say – it’s like pushing a massive piece of shit uphill. Maybe I missed my calling as a plumber or dung beetle.”

While Koch acknowledges that the issue’s complexity and magnitude makes it difficult to navigate, she hopes people will begin to consider the environmental ramifications of a rapidly increasing population, and its effect on inequality.

“Overpopulation ties in with inequality because, in the western world, our environmental impact is greater,” she explains, “The carbon footprint of a middle-class Australian is much higher compared to, say, a typical adult living in Sudan. In certain parts of the world, we live well outside our environmental means.”

By advocating strongly on controversial issues and sporting such a contentious slogan, the band run the risk of alienating certain audiences.

“I don’t worry about alienating people because the purpose of Voltera is to get

conversations going,” Koch admits. “ The idea is to be polarising so people will talk about these issues.”

Koch says initiating discourse is also how she continues to actively learn about the issues the band support: “We learn from opposing views. Talking to people will either improve your arguments or weaken them. I’m constantly meeting people and having debates at parties or after shows [and] I always walk away feeling stronger or feeling like I have to research more – that’s the journey. I like to learn, so I learn.”

But Voltera aren’t all talk. The band also contribute a considerable amount of their merchandise money to charity, which must make things tricky at times – surely breaking even in the music industry is tough enough?

“Not to sound too Pollyanna about it, but I’m not in it for the money,” Koch says modestly, “I never want to own a house and I don’t want to be rich. If we’re lucky enough to make a difference, if we can change a few people’s perspectives, wow – that’s my dream.”

Koch says donating to the causes she sings about helps her justify pursuing music.

“I often battle with the idea that instead of using the band to make the cash for charity, it might be more morally consistent to get my hands dirty and work for an organisation that’s achieving these things directly,” she says, “but part of me knows attitudes must change before behaviours. If I can touch a few people through music, maybe I can make an impact.”

By financially supporting charities as well as speaking out, Koch wants to distinguish Voltera from bands that parade as political acts but don’t follow through.

“It angers me when bigger, internationally recognised bands sing about wars and inequality, make big bucks then take the money and run. It’s almost like a reversal of the Robin Hood thing,” she says.

But Koch definitely needn’t worry about being compared with such acts – her dedication towards addressing overpopulation and inequality is unshakeable, even when there are difficult life choices to be made.

“I’m not going to have a baby,” she reveals, “It’s a not a choice that’s for everybody, but options like adoption should be considered.

Adoption is made so hard for everyone and it’s extremely difficult to adopt from overseas.

Again, this is where overpopulation and inequality meet – if we can adopt a child from overseas more readily and easily, we can try to disperse some inequality and reverse some overpopulation.”

And where does Koch find the strength to make such personal decisions based on her political orientation?

“Having lost my mum, I’ve seen death close up,” she discloses, “I’ve also seen how easy we get it. It’s never a nice thing but people on the other side of the world are dying a lot harder and dying a lot worse. We live in one of the most liveable countries in the world, so it’s easy to forget that other people are suffering.

“Also, I study these things. Becoming educated and seeing what’s out there in the

listen now

The Knuckles @YouTube From the upcoming album Coordination

world gives me a lot of motivation, because I can’t get rid of some the images I’ve seen. If more people were educated about the world we’d be able to make more of an impact.”

Voltera’s current charity focus is Survival International, an organisation that works to protect tribal people and their way of life. Koch says that we should not only protect tribal and indigenous people to preserve their rich cultures, but that we should also learn from them when it comes to reversing environmental damage.

“Indigenous people are able to move through environments without leaving a huge impact. If we keep draining every resource out of the earth, learning something from this way of life may be our only chance of surviving in the future,” she urges, adding, “These people and their knowledge should be protected as living history and as the prime example of human evolution. They adapt to nature as best they can, while we adapt nature to fit our own convenience. If evolution means that the strongest adapt to their surroundings, are we not de-evolving by adapting nature to us at the overall expense of our earth? People that argue ‘no’ are usually clinging to idea that progress will save the day. The very definition of progress

needs to be examined, as well as our attitudes toward each other and the environment.”

Voltera’s latest musical venture, and their most ambitious endeavour to date, centres on these themes. The band recently released three EPs, which will be combined into an album, Coordination, in the middle of this year.

“Each EP corresponds to a mapping coordinate and highlights social and political issues that relate to the indigenous people of that country or continent,” Koch explains.

The EPs address overpopulation and living standards in India, admire the customs of the Mayans in South America, and confront issues that Aboriginal communities face in our own backyard.

“The second EP is titled the coordinates of Uluru, because we don’t properly acknowledge what’s going on in the middle of our country,” Koch says. “I have friends who help inform the legislation that goes on there. A big point that they’re missing is that we need to allow indigenous people to go back to the way they used to live on the land – we might need to learn from them one day – [but] there are a lot of issues going on there, I’m not ignorant to that.”

Koch expresses her convictions through abstract, artistic, and metaphorically-rich

lyrical content. While proud of her lyrics in an artistic sense, she often struggles with whether the band’s messages would be better received if communicated more directly.

“It’s a battle for me, between being artistic and communicating for a purpose,” she says, adding, “I’m trying to bring them together.”

The importance of creating art for art’s sake isn’t lost on Koch either and she also acknowledges that something must be attractive aesthetically to interest people in the first place: “Through art, you’re trying to glamourise causes that people would otherwise just ‘like’ on Facebook and move on. Things need to be interesting in an artistic sense, otherwise they can become dry like a lot of other social/ political messages.”

Why should Koch choose between creativity and communication at all? Art and activism appear to be one of the world’s most natural combinations.

“Artists are generally more in touch with these things, because that’s the purpose of art,” she agrees. “I always say, ‘Science is the how, religion is the why, and art is the what.’ You need art to comment on all of this.” H

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metalrewind

Armoured Angel

words Simon Lukic photo Darren Sutton

Back in 1982, an unassuming band emerged from the nation’s capital to create an underground legacy that is anything but ordinary. That band was Armoured Angel.

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aving begun life as Metal Asylum, the band were soon renamed Armoured Angel in 1985. The first stable line up consisted of founding members Rick Wayy (vocals) and Glen ‘Lucy’ Luck (bass) as well as Roman Powell (guitars) and Dave Davis (drums). This line up soon committed the Baptism Of Fire demo to tape in 1985. At this stage Armoured Angel were an extension of the New Wave Of British Heavy Metal (NWOBHM), a far cry from the thrash/death metal they are known for today.

The band soon fractured and in 1987, Luck ushered in brothers Joel and Matt Green (vocals/drums and guitars respectively) to create the classic Armoured Angel line up.

It also marked a change in style towards thrash. Armoured Angel issued their second demo, Wings Of Death in 1989 and is arguably one of Australia’s finest. Wings Of Death featured many highlights, with Madame Guillotine a particular standout.

The Communion demo followed in 1990 and it showcased an even heavier band, one that was shedding it’s thrash influences for a darker, death metal approach. Armoured Angel had delivered once again, with the title track and the punchy My Fist Your

64

Face becoming immediate fan favourites.

In 1991 the band created Metal For The Brain, Australia’s first heavy metal festival. The event was organised to assist Alec Hurley – a friend of the band, who had been assaulted in 1990, rendering him brain damaged and permanently disabled from the attack. Metal For The Brain soon became a major annual event that they organised until 1996. Alchemist took over until 2006, when the festival closed its doors for good.

1991 also saw a vinyl re-released of Wings Of Death via on the English label CCG, while Polygram Records Australia, offered the band a deal via their subsidiary Id Records. The pair issued Armoured Angel’s first EP, Stigmata in 1992 and it drew on the heavier direction of Communion. The band had now fully embraced death metal, setting Armoured Angel on its new musical path.

Despite partnering with a major label, Armoured Angel maintained their underground appeal. The union, however, did boost their profile. It’s quite incredible to imagine today, but in 1993 the band played the Big Day Out in Sydney. They would do this again in 1996 when they played the Melbourne leg. Support slots with Morbid Angel, Bolt Thrower and Carcass followed as well as nation wide touring.

In 1994 Armoured Angel issued the Mysterium EP. It remains their most well known release, due in part to the video clip for the track, Enigmatize, which generated a lot of late night interest on Rage. Armoured Angel followed this up by venturing overseas for the first time to play select dates in Germany and the UK. Despite claims that they toured the US, they didn’t.

The time was ripe for a long awaited debut full length, but it was not to be. Armoured Angel did enter the studio with Killing Joke mastermind Jaz Coleman for work to only stall and grind to a halt. A promotional tape simply titled Demo 1995 did eventually surface, but for Luck and the brothers Green, Armoured Angel had run its course.

Luck reactivated the band in 1998 with the help of Yuri Ward (guitars/vocals) of Psychrist fame and Steven Luff (drums). Together they issued the band’s debut Order Of The Sixth Angel in 1999 via Warhead Records. The music was another evolution for the band, as they opted for a chugging, mid paced death metal stomp akin to Bolt Thrower, with a shadowy thrash metal backbone. The rebirth didn’t last, with the band folding later that year when Luff decided to depart.

In 2007 word about a possible compilation christened Trisagion surfaced. It was to consist

of all the Green era material, including Demo 1995. The trio had reunited a year earlier to remaster the tracks, but it would be another five years until Abysmal Sounds would release the compilation under the new title of Hymns Of Hate in 2012. Absymal Sounds would also gain the rights to release Armoured Angel’s entire back catalogue in various formats.

Hymns Of Hate has been treated with the respective it deserves. The presentation is of highest order and the remastering, gives songs once dead, new life. Demo 1995 offers a hint of what could have been and is an essential piece of the Armoured Angel puzzle. Heavy and atmospheric Demo 1995 shows that Armoured Angel were spreading their wings without sacrificing their sound.

Armoured Angel will always be remembered as one of the major players of the Australian extreme metal scene and, while they were not alone, they did lead the way. Hymns Of Hate is a fitting testimony of the legacy they have left behind and is indispensible - not for the underground credibility that some seek, but for the music. H

Armoured Angel will always be remembered as one of the major players of the Australian extreme metal scene

HEAVY’s Damo Musclecar scours the globe in search of metal’s forgotten gems.

JET BOY AUTOGRAPH Feel The “Loud AndShake Clear” (MCA, 1988) (RCA, 1987) listen now

‘Loud And Clear’ @YouTube

I

really need to have words with Melissa Gaves. I’m not sure where she is today but we need to have a sit down. Why? That’s a very good question. You see, while in Amoeba Records in Hollywood sometime last year, I was scouring the bargain bins for one-dollar records when I managed to pick up some classics by Vixen, Krokus and these guys, Autograph. Coincidently, all three records have the name Melissa Gaves written on them in biro.

Now, firstly, writing on your record covers isn’t cool. Secondly, why the hell would you unload such albums of awesomeness?

Thirdly, and this is completely unacceptable, what was Amoeba Records thinking when selling these for a measly dollar? I am completely dumbfounded as they’re worth at least $1.50.

On the plus side, Melissa’s careless act had me acquiring some much-needed gems to add to my collection, and Autograph’s Loud And Clear is one such record that needs to be remembered.

The album’s title track kicks off with a bang and we’re off into Bon Jovi meets Def Leppard territory, but when it gets to track two, Dance All Night, shades of Bad Medicine will flood your memory banks in the best possible way – this song slays. In fact, it’s one of my favourite cuts on the album, and dancing all night is something I tend to do repeatedly whenever my housemate is at band practice – I can do a bitchin’ moonwalk into a backspin.

She Never Looked That Good For Me is alright, I guess. It’s a bit repetitious and lacks the gusto and machismo of following track Bad Boy, which is an obvious attempt to get up close and personal with fans as vocalist Steve ‘Plunk’ Plunkett gives an insight into his badass lifestyle. Just the title alone is enough to tell you that Everytime I Dream is indeed the album’s token ballad, and it’s pretty bad. So bad that even if I were lucky enough to catch these hard rockers in concert, I still wouldn’t raise a lighter to

it. I would, however, still hug my girlfriend and make out with her during it though… if I had one.

Side Two really gets underway with the good times and party vibes with She’s A Tease, a stock rock track with clichéd ‘80s lyrics and some ripper guitar work, while Just Got Back From Heaven appears to be the sensitive side of Autograph. Can you guess where Heaven was? That’s right, her arms.

See, it’s not all sex, drugs and getting down and dirty. Well, not until you get to the next song, aptly titled Down And Dirty.

With a chorus that had similarities to the chorus of Twisted Sister’s I Wanna Rock, truth be told that this song goes nowhere, not unlike Autograph’s career. It must have been tough writing the follow up to such mercenary tracks like Blondes In Black Cars, That’s The Stuff, and their big-time commercial success Turn Up The Radio, but not everyone can ride the wave forever.

Autograph tried though, but even writing an overly-commercial tune like More Than A Million Times wasn’t enough to get the regular airplay they needed to sustain their careers.

Autograph finish the album with the gut-busting, street-talkin’ powerhouse of When The Sun Goes Down, which is a fistpumpin’ classic from the school of Night Ranger meets Def Leppard. It makes sense as the band did get their name from the Def Leppard tune Photograph – true story, apparently.

While Loud And Clear does have a couple of dead spots, the majority of this record is decent rock’n’roll. Sure, it’s cheesy, and the band photos on the cover are laughable, but as an album, there’s some solid gold to be found on here, specifically Dance All Night, which really is a killer track.

As I played this album, whilst eating KISS popsicles, I began thinking to myself that maybe a serious chat isn’t really what Miss Gaves needs from me. Maybe it’s a thank-you because, after all, her throwaway decision has made me sonically richer. H

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metalrewind

Intellectual, outspoken and deliberate – but still entirely punk rock – Greg Graffin is one of rock’s overachievers.

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words Rod Whitfield photo Myriam Santos

reg Graffin’s career is indeed legendary. For almost three and a half decades he has fronted one of America’s greatest punk rock acts, Bad Religion.

The band have just released musical masterpiece number 16.

“After 16 albums, you might call it a ‘Bad Religion miracle’ that we’re still making what I would consider good records,” Graffin says proudly.

It is pretty amazing stuff, but Graffin’s achievements don’t end there. He has also released two solo albums, has a PhD in zoology

66

and geology, lectures at the University of California and has published four books. You’d have to place him up there with someone like Bruce Dickinson as one of the greatest rock’n’roll overachievers of all time.

When he speaks about the new Bad Religion record, True North, it’s obvious that Graffin, now pushing 50 years old, is still excited to be doing what he’s doing.

“Occasionally during a string of albums you get some that aren’t as strong as others,” he says, “But this one, I think, is as strong as anything we’ve ever done and it all just happened so naturally… I think it’s a true testament to the fact that we’ve never really

stopped improving over the years.”

Recent times have been important and eye-opening for Graffin and the band and have inspired a lot of the new record’s themes.

“We started reaching a milestone in our lives,” Graffin reveals, “We realised our kids are now at the age that we were when we started Bad Religion. Watching them go through life and contend with the things they’re dealing with in modern society, it’s not all that different to what we had to contend with. It made for a personal album, because our songs really express a challenge, an honest challenge we think every human being has to face as they try to find truth in this world.

l ate s t re l ea s e

True North by

Bad Religion

EPITAPH Records

review Tom Hersey Since their late-career upsurge that began with 2007’s New Maps of Hell, each new release from Californian punk stalwarts Bad Religion has been an exciting take on their established melodic punk sound. True North is a continuation of this ‘golden years golden run.’ The album takes the band’s trademark sound (their vocal harmonies, Brett Gurewitz’s punchy leads and their fantastically economic song structures) and throws them in with enough new stuff to keep everybody interested.

Whether it’s the strains of rockabilly in ’50s themed Dharma and the Bomb, the tight hardcore whirlwind of vanity, or the down-tempo melancholy of Hello Cruel world, with each of its 16 songs True North offers up a fresh, exciting twist on quintessential Bad Religion.

“Everyone’s been expecting a song from Bad Religion called F**K You and we never delivered it.”

c h ec k em ou t

‘True North’ @iTunes

[True North] is a metaphor that kept coming back to us. Not only the title track, but other songs on the album, are about finding truth, about a journey we set out on when we were the same age as our kids now.”

The first single lifted from the album is titled simply F**k You – you can’t get a bolder or more in your face statement than that.

“Isn’t it funny?” Graffin laughs, “When people ask me what’s the song about, I say ‘I really think that it took me over 30 years of songwriting to finally be able to express my feelings.’ You’d think that it should be the title of a song that appeared in our ‘classic’ period.

I’d written a tune that was pretty catchy and a lot of fun and I kept humming it. I didn’t have the title or the refrain and ‘F**k you’ just kept coming back to me. So, I said ‘of course that’s what belongs there.’ Everyone’s been expecting a song from Bad Religion called F**k You and we never delivered it.”

Graffin is quick to follow up and clarify that the anger in the song, and in himself, isn’t necessarily destructive anger, but more of an observational thing.

“It’s not a nihilistic song,” he explains, “It’s

more analytical. It’s more about the emotional inconsistencies of human beings… Anger is not really the right word. I think the more you live in this world and the more you observe, the more you see things that aren’t right.

I guess my level of frustration in mankind has not diminished. I think ‘anger’ itself is too explosive and defused – it’s not pointed enough. I think we’re more analytical in what we do, [but] I think the sound of Bad Religion has always been very aggressive.”

Despite his multiple decades in the business, Graffin remains enthusiastic about his career and the music industry. It sounds like he has plenty of creative juice left in the tank.

“I don’t feel that old. When I play sports and my bones are aching the next day, that’s when I feel old,” he laughs, “But when we’re performing it feels as natural as ever. And the truth is, when a band becomes part of your life, it’s like a family. You don’t say ‘wow can you believe this family’s been getting together at Christmas for fifty years, that’s incredible!’ You say, ‘well, this is our family, it’s dysfunctional and now it’s time to carve the turkey.” H

67

PinUps

words Lep Beljac

Sean Jackson Melbourne’s Sean Jackson has been drawing since he was a small child, and tattooing for almost 20 years.

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e works from the illustrious Tattoo Magic in Fitzroy, which is a much-respected and revered shop, partly thanks to him!

Before branching off into tattoo art, Jackson was inspired by great artists like Escher and Van Gogh. These days, his main source of inspiration comes from other tattoo artists, particularly those he knows personally.

“I could name some well-known tattoo artists but, in reality and in every-day influence, it would more likely be the friends and colleagues I have in the tattoo industry whose work I really admire,” he says.

Jackson is in the fortunate position of being able to choose the work he does, a luxury he wasn’t afforded when first starting out. These days, when a bright-eyed and bushy-tailed youngster comes in wanting a neck tattoo as their very first ink job, Jackson will turn it down.

“When I first started, I didn’t really feel like I had much choice, whereas now I really choose what I do,” he says.

When the subject of global recognition is broached, Jackson lets out one of his

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trademark giggles and calls the whole thing embarrassing and silly, citing other artists more deserving. It’s this sort of humility that has made him a favourite amongst Melbourne’s inked elite.

Jackson is appreciative of his clientele and when recalling his favourite tattoos, he recognises the client themselves being a part of those.

“There’s the regular sort of clients and you get a bit close to them and get to know them, and it all sort of mixes together a bit,” he explains.

The KISS piece that is featured here was inspired by a long-lost sketch recently unearthed during a clean out of Jackson’s quarters at Tattoo Magic. Eight years ago, a client asked for a KISS zombie tattoo that never ended up happening, but he kept the sketch and adapted the idea for an exhibition.

“Normally when you look at something from eight years ago, you hate it,” Jackson says, “but I thought, ‘Oh, I have to redo that.’”

Prints of the KISS artwork can be purchased from hawnyhacken@hotmail.com for $50 ($10 postage in Australia) H

James Young

industry insight

WORDS Jay Clair

As the co-owner of Melbourne’s Cherry Bar, the visionary around Cherry Rock festival and Cherry Fest, and the manager of two independent labels, one could say James Young is a very busy man.

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ith over 30 years of involvement, Young’s delight and excitement about new discoveries in music is inspiring.

Young’s experience across a wide variety of fields has been an asset to him and his success. Prior to being one of the power brokers of live music, he has had a decorated career as a lawyer and the program manager and a broadcaster for 3RRR Radio. He also had a successful advertising business which he sold after eight years giving him the capital to buy his favourite bar in the world, the infamous Cherry Bar; a dive bar in Melbourne’s CBD which held the benefit of guarenteed entry. “Life’s too short not to love what you do” explains Young wisely. Words that hold much value within music culture.

You either love it or you don’t.

Cherry Bar is without a doubt one of Melbourne’s, if not Australia’s most iconic music venues. Playing host to rockstars and punters alike, the Cherry Bar’s ingenius idea of changing the street’s name from Corporation Lane to AC/DC Lane has definitely paid off financially in one of the bar’s cleverest marketing ideas yet. Young puts the bars success down to the fact

the venue caters to two separate groups of people. With most live shows finishing around 11:30pm, the bar attracts a second wave of people heading in to finish off their nights, sometimes along with the band they had just been to see.

During peak times such as the Soundwave Festival, Young has found himself busy entertaining the likes of Metallica, Anthrax and Tomahawk, just to name a few.

With music venues constantly under fire from residents in newly erected highrise apartments, Young plays a major part within the music community as the voice of live music to the Victorian government standing up for the future of live music. The governments new laws revolve around the “agent of change” principle or what is simply know as ‘who was there first’.

It should be pure common sense. If a

residential complex is built in proximity to a live venue, the environment is changed and the residents have to adapt to the surroundings. Any costs involved in improving sound proofing the

complex are no responsibility of the venues. On the flipside, if a new live venue is to open near a residential area, the venue must take all steps to ensure that sound levels do not exceed the allowed limits. With any luck, common sense will prevail.

As a band manager, Young’s idea of selection is quite simple: choose bands that he actually loves.

Taking a different road to the standard industry business model of taking on bands that they see commercial viability in, Young advises “Why would you want to look after a band you don’t even enjoy?”

The rhetoric rings true, especially when speaking with Young; a man who has invested his heart and soul into something he truly believes in. Music venues will always face challenges but the love for music itself will never die. We shall overcome. H

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industry insight WORDS Rob Brens

Industry Insight Steve Lagudi

A list of bands such as Exodus, Sepultura, Napalm Death, Ill Nino, Mayhem, Shadows Fall, Five Finger Death Punch, Kittie, and God Forbid might sound like an oddly mixed metal compilation but it’s only the start of the extensive resume of sound engineer Steve Lagudi.

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rom his humble beginnings of working with Metallica on their fan club, he’s mixed to an audience of five drunkards all the way up to oceans of fans totaling 80,000 plus. Name a major festival or venue in the world; he’s probably mixed at it. Aside from his hectic touring schedule, he’s also achieved success as a recording engineer, something not many engineers can say they’ve done. His success has been in part due to embracing the digital technology available today and utilising it with his old school principles.

“I’m completely mobile,” says Lagudi, referring to his recording capabilities “just a couple of weeks ago I did the live recording of Testament’s live DVD and CD. Nowadays with recording budgets going to shit, it’s affected budgets significantly, so it’s cheaper for me to go to one place as opposed to four or five people coming to me where they have to spend money on lodging and food. I can pretty much fit anywhere. I find I get better results because they’re at home.”

Like many great engineers, Lagudi is living proof that there’s still a place for the recording engineer in today’s home studio driven metal scene. He definitely does not condemn the range of accessible quality recording equipment that’s available to

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musicians, but he does caution that it’s difficult to replace hard earned experience behind the desk.

“It’s great that the computers are faster and that the interfacing has improved because of technology, because now you’re getting better sounds with digital.” Lagudi begins “The flipside is because everyone has a laptop or a little Mbox, they think that they’re an engineer or a producer. Anybody can stick a microphone in front of a guitar cabinet and record but that doesn’t mean it’s going to sound good. I tell a lot of these guys that the Mbox is cool for getting your ideas down, but unless you know the fundamentals of engineering, how it works and knowing the capabilities of what your system is capable of doing, you’re limited.”

Lagudi doesn’t believe in engineering secrets and won’t begrudge anyone who endeavors to pursue recording from home.

The opportunity to share his knowledge isn’t just something he enjoys indulging in, it’s also been something that has furthered his career. He even took the opportunity to share with HEAVY what has helped develop the sound that has earned him a reputation that has kept him working constantly.

“I spend more time teaching people how to record properly than I do actually engineering”

reveals Lagudi “I like microphone and air movement. Whether it be drums, bass, guitar or vocal, it starts with the source. If I can get 90% of the way there just by what the instrument sounds like by itself in a room, then the next step is finding the right microphone for it. I want the sound just by picking the right microphone for it, not sitting there carving stuff afterwards because when you start doing that, you start changing the phase of an instrument and it just becomes a big f**king mess.”

However, don’t get him wrong.

He’s not a stone age Luddite, longing for the return of the old ways. The digital age has brought about many useful tools that has presented many new sounds and streamlined a lot of processes, however to him it’s the console

that’s his instrument and is what gives him his voice, just like any musician.

“Pro tools is a tool, it’s not a creative correction” Lagudi warns, “Every console has a sound, a colour. Any record from the 80s, that’s the sound of an SSL. Here we are in 2013 and now music sounds like this because of the digital age. The console is definitely an instrument, just like the preamps, the outboard gear and the microphones; it’s all part of what you’re hearing.

It all ties in, the players, the strings, everything. That’s the exciting thing about music, there are infinite possibilities but we’re only sticking in this little box.

We got here today by trying stuff out, my war cry is I don’t want to sound like everybody else.” H

industry insight WORDS Jay Clair

Graham Nixon Resist Records

I

nitially Resist Records founder Graham Nixon is heralded by many as the godfather of hardcore in Australia. A pioneer within the DIY music world who has managed to stay afloat throughout the decline in music retail, thanks largely to his store’s genre-specific nature.

Initially Resist Records grew in prominence due to it specialising in hardcore music. This got the attention of consumers, bands, distributors and record labels, who were into that style of music and Resist became a hardcore heaven of sorts. Hardcore is known for its strong cultural bond, hence why launching such an idea wasn’t such a crazy idea after all. As the store moved into the realm of record labels, and then incorporated artist management, touring and promotions, challenges emerged. There weren’t many booking agents and promoters around the time who dealt in hardcore music. It was a steep learning curve for Nixon and his cohorts, involving much legwork to get the touring and promotion side of the business off the ground.

While the traditional hardcore sound evokes bands like Minor Threat and the Bad Brains – a dirtier, thicker and heavier form of garage punk with monotone shouts or frenetic screams for vocals, heavily distorted guitars and a non-traditional approach to pop songwriting structures – there are many bands today who refer to themselves as hardcore despite using many metal techniques.

Nixon has no issue with this at all but does think they are “in denial of what they are trying to do”. He admits that much of Resist’s current roster no longer folds down the line of traditional

hardcore, but that these bands are still writing music that stems from the hardcore scene.

Ultimately, however, when putting line ups together, Nixon looks for bands that not only fit the bill stylistically, but those that also bring people to shows.

It is this advice that Nixon offers to aspiring bands today: “There’s no point in setting up a tour and not promoting it”.

It seems like common sense, yet unfortunately bands find themselves disgruntled and disheartened by the exercise of gig promotion.

Even though there are more DIY promotional opportunities for bands in today’s high-tech society than ever before, there is a lot of noise out there and bands need to be aware that simply slapping a full-page ad into the street mags or spending hundreds of dollars on Facebook advertising isn’t always the answer. Bands need to be smarter about how they spend their money and never forget grass roots music marketing, such as bill poster and flyer campaigns.

Nixon is a stickler for planning, and stresses the importance of promotional timing, as people in today’s society have a lack of time.

Long-term planning is critical in getting things done in time, and allows for effective promotional campaigns.

He also points to networking as another key area that needs attention, and there is no finer example than Parkway Drive, the biggest band on

Resist Records – a stalwart of the heavy music industry in Australia with a diverse business structure; initially a retail store-front, then expanding to become a record label, and an artist management, touring and promotion company. the Resist Records roster. Before they were Parkway Drive, those boys were in different bands.

Over time, they helped out countless bands by setting up shows in Byron Bay and giving bands a place to stay. By the time Parkway was ready to launch, the band members had built up a network of promoters and bands

that made it easy to organise national tours with prominent bands. Resist had never dealt with bands further north than Newcastle, but took a chance on Parkway because Nixon saw the group’s potential. Admittedly, he never imagined the group would become an international phenomenon. H

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strings & skins bass

Words Drew Dedman Technique This involves focusing on all of the physical aspects of playing the bass: left-hand dexterity and strength; various right-hand techniques (see HEAVY issue #5); slides; hammer-ons and pull-offs; harmonics; correct technique and more – basically, anything that is of a physical nature and related to the instrument. It is important that new techniques are practised slowly and that you are constantly looking to perfect the movements of your hands. You want to minimise movement and maximise strength, and learn to keep your hands completely relaxed – filming yourself then watching it back to evaluate technique is one way to be sure you’re doing it properly.

Feel The best way to develop feel or groove is to get into a rehearsal room with a drummer and just jam. If this isn’t an option, then play with a drum machine or jam along with your favourite albums.

Of course, learning to play the drums is a great way to develop feel but not always the most practical option when you’re supposed to be practising your bass.

While jamming with a drummer (recorded or live), focus on the kick and snare and adjusting your note length and placement to match – if the bass and drums aren’t locking in together, then the song just isn’t going to work, no matter what

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Practice is important; however, practising correctly is something we often overlook or don’t completely understand. With the multitude of distractions we have in our daily lives, it’s often hard to set aside an hour or two a day solely for the bass. When you do sit down, using the time in the best possible way is critical.

the feel of the music. This is the difference between playing ‘along with the drums’ or playing ‘with the drums’, and you want the latter.

If you are struggling to lock in, try making a beat by drumming on the table and then singing your bass part over it. The ability to play bass mentally without having the instrument in your hands is extremely important (see below).

Musicianship Learning a second instrument – guitar, piano, drums, tin whistle or anything – will help your bass playing and make you a better performer. Study styles of music you would not normally listen to, or even those you dislike, and dissect these tunes to understand why they’re ‘not you’. Is it the melody? Is it the tempo or feel?

Perhaps it’s even the vocals. Why do this? Too often, people write off music because of pre-conceived notions or because it’s not the “in thing” at the time, but good melodies and good bass lines are found everywhere.

Remember to challenge yourself constantly to expand your musical taste and knowledge. Learn to evaluate every musician you hear as there is something to be learned from everyone, even if it’s just what not to do.

Music Theory Music is your life, and music theory is your language. I can’t stress

strings & skins bass

“the most innovative and influential instrument in modern music history.”

the importance of music theory enough. Scales, keys and chords can be an absolute snore-fest at the best of times, so it’s important to approach music theory with some goals in mind.

Improvisation and spontaneous expression are skills that give bands, and especially bass players, a certain edge. Free form jams are where these skills are learnt.

Singing parts in your head as you play is one way to develop the ability to play everything you hear in your head note-for-note as it happens. Sure, it takes a long time to play everything exactly, so don’t stress too hard – you have your whole life to perfect it.

Scales, chords and keys are your tools, so learn them inside out, always practising them slowly, perfectly and preferably with a metronome. Using these tools in a jam environment, or to create interesting lines, is what it’s about, so put your theory knowledge to work wherever possible.

Know your instrument’s history Bass culture is amazing – we are lucky enough to have such a young instrument that has probably been the most innovative and influential instrument in modern music history. When Leo Fender first started mass-producing electric bass guitars and amplifiers that were loud enough for the low rumbles to be heard, people started to dance, to jump, to move, and to be hypnotised by the sounds of rock. For the last 50 years, there have been some amazing bassists pushing the boundaries of the instrument (see HEAVY issue #1 & #2). Ask yourself who is your favourite band/player?

Who do they list as their major influences? Grab albums by those artists and inhale them. Then find out who they list as influences and grab albums by those artists and inhale them again. With every step further down the rabbit hole, you’re learning more.

Practising without the guitar Our brains have astonishing visualisation capacities, and this can slash learning time in half – try and see scale shapes as patterns on the neck; mentally play bass lines, picturing and feeling yourself playing them; think about your band’s songs, running the lines in your head; memorise not just your own parts but those of the guitars, vocals and drums as well.

If you’re out and about with time to kill, just start practising music in your head.

If you want to get good, start right now. Strap on the bass, and never let it go. Hell, fry up your breakfast with the bass on (Hendrix style), and think about your bass every moment you can. Your bass day starts today so get practising and rock. H

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strings & skins drums

WORDS Rob Brens

Layering Fives: A mixed bag.

After waking in a cold sweat from a nightmare about working on Gojira’s Liquid Fire from last issue, I thought looking at other songs that utilise those nifty groups of five might help me sleep – either that or more nightmares, I guess.

L

et’s start with a basic groove.

Liquid Fire is a more advanced example of odd grooves as it involves layering two different time signatures. If that’s the kind of territory you’re seeking, it’s important to have a good feel for each time signature you plan on layering.

Soundgarden’s By Crooked Steps lives up its name with a stuttering pattern indicative of a broken record. Drummer Matt Cameron should be credited as a huge part of Soundgarden’s commercial success; his style is effective in navigating the band’s odd timed riffs and delineating them in such a way that they become accessible while still interesting.

The riff here could be considered 5/4 but one way of getting around odd time signatures is to break them down into smaller groupings – counting this as a 2/4 bar followed by a 3/4 bar should give it better flow. I’ve only included two bars here to help you get the feel (example 1). As you’ll hear in

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the song, there are plenty of little variations and embellishments played around the groove, so have fun jamming on this once you get comfortable with it.

No article on layering time signatures would be complete without referencing Meshuggah.

It’s not just a token mention either, as these guys are responsible for influencing many bands to integrate odd time signatures into metal.

Here, I refer to The Mouth Licking What You’ve Bled from the Chaosphere album – in particular, the verse (example 2). The groove in itself is quite challenging but what makes it a headache is that it remains in 4/4 timing without there being anything in the groove to imply this. You may be able to get the basic pattern up to speed, but the key here is being able to feel where each new bar of 4/4 begins, otherwise you’ll be just hammering away until the vocalist starts glaring at you.

Get comfortable with the pattern first, then play it while

counting “One, two, three, four” over the top. As with the previous issue, I’ve only included the first five bars, at which point the pattern cycles again anyway. Otherwise, everything is played in a 16-bar form just like a regular rock song. Easy, right?

Too easy, you say? How about Tool’s title track from their album Lateralus, which employs the same technique as the previous example but in 6/8 timing? The bonus here is that the guitars maintain their respective riffs in 6/8 so you really get to hear the overlap as the drums and guitars weave in and out of each other.

Learning the basic pattern in five is a relatively simple task, but it’s maintaining the feel in 6/8 that makes it challenging. The snare is a good focus point; you should be hearing it landing on a different beat in each bar, as you’ll see in the transcription (example 3). Once again, get the basic pattern down and then try counting “One, two, three, four, five, six” over the top. As

before, I’ve only included the first five bars of the cycle but this one is based around a 20-bar form.

The important thing to bear in mind when dealing with these concepts is intention. All of these parts are constructed to achieve a desired effect. Whether it’s Soundgarden’s bent take on a fat-rock groove, the utter chaos of Meshuggah’s frenzy in five or Tool’s aural kaleidoscope, you can be sure it was all about what was sounding good in that moment, as opposed to how they were going to impress their mates with their mathematical abilities.

This is an important consideration when delving into technical music. In the meantime, learning to navigate concepts such as these will give you a phenomenal grasp of timing, allowing more freedom to play more outside of the square than usual... and after all that, I think a nap might be in order now. H

strings & skins drums

1

2

> > > > y y yœ y y y y 5 . ã4 .œ œ œ. > > > 4 .. yœ y y œ y y≈ yœ ã4 œœ œ œœ œ

> > > y y y y y y 㜠œ œ œ œ œ œ œ œ

> > > y y y y y y ã œ œ œ œ ≈ œ œ œ œ œ œ

3

y y y y y 4 .. œ œ œ œ œ œ œ ã4 œ œ œ œ œ œ œ œ > > > > > > y yœ y y y3 yœ y 3 y y 3y y yœ3 y . 3 œ œ œ. œ œ. œ œ. . > > > > > y œ y y œ y œ œ y œ y y œ y œ œ y œ y y 㜠œ œ œ œ œ. ≈ œ œ œ ‰ œ œ œ . > > > > > y y > y y > y y >y y > y y > œ œ œ œy œœ yœ y œœ œy œœ œœ y œœ œy œy œœ ≈y œœ œœ œy œ y y ã œ. œ œ œ. œ œ œ ≈ œ œ œ ‰ œ œ > > > > > > > > > y y y y y y y y y y œ œ œ œ y œ œ 㜠≈œ œy y œ yœ œ œœ y œœ œy y œ œ y œ œœ œ œ œ œ. ≈ œ œ œ ‰ œ œ œ . > y y > > .. > œ œ œ 6y y œ y y œ y œ y œ œ y œ y œ ã 8 œ œ œ. œ œ œ. œ œ œ.

o - o o - o o 6 .. y y y y y y y y œy y y ã8 œ œ œ œ œ ‰ ‰

o - o y y y y ㌠o y y y y 㜠œ œ

> -y ãy œ ≈

o yœœ œ

o - o o> y y y y y y y y y yœ œ œ œ œ œ ‰ ㉠‰ J > o o - o y y y y y y y y ã œy . œ œ .. œ œ Œ J

-y yœ œ

o yy œ y

> oy -y o -y oy yœœ . y y yœœ yœ yœœ . y yœ œ œ œ Œ o -> o o yœ yy yy yœ yy yœ yy yœ œœ œ œ œ≈ œœ œœ œ . Œ > œ y y œ y œ y œ œ œ œ ‰ œ œ œ

> o -y y yœœ y œ œœ . œ œ

- o> yœ y y œ y œ œ œ. > œ y œ œy ≈ œ

© Rob Brens

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strings & skins GUITAR

Vibrato: Shake it like a man!!

bad-ass Paul Gilbert said in the past that the two biggest Words Doug Steele Guitar challenges for guitar players are vibrato and phrasing. Let’s fix half

V

ibrato is a legitimate guitar technique that is totally ignored. Why? I have no earthly idea. It is the only technique where you can play slow passages and still let the listener know, “Hey, I got this. Let me massage your eardrum with some nice, slow, wide vibrato”, and not, “I drank 40-billion cups of coffee and I sound like a nervous meth addict on speeeeeeedd.”

Yuk. If my ears had a mouth, they’d puke.

So, how can we fix this? Easy.

Listen to players with brilliant metal vibrato. Get on your laptop and type “George Lynch in the studio” into YouTube. Right there is five minutes and forty seconds of perfect vibrato for metal lead playing. You can even stop there if you like – I totally ripped off George’s vibrato, and guess what

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of that equation right now.

I get complimented on the most?

Yep, my tush.

Good vibrato is nice, wide, slow, controlled, and consistent all over the neck. Other examples of good vibrato are Andy La Roque, John Sykes, Zakk Wilde (his is pretty extreme) and Eddie Van Halen, as well as some of the newer guys like Per Nilsson, Wes Hauch, Andy James and Martin Goulding (his shit is wider than the f**king ocean).

Technically, vibrato is common sense – shake the lowest four strings downward (toward the floor), and the B and high E up (toward the ceiling). Bend and release the string slow enough to where you can almost count each bend.

You can attack any specific vibrato note in one of two ways: if you’re in the key of E minor, you

can bend the D note (B string, 15th fret) up to the E note, and shake that back and forth, or you can go right to the E note (B string, 17th fret), and shake that bad bitch from there. Either way will bring prosperous results.

You should be able to use vibrato with any finger as well.

Using the first finger alone will be the hardest, but it can be done.

The second finger can also use the first finger for support s well, and so on. You’ll probably find that the third and fourth fingers usually work best.

Good vibrato also makes pinch harmonics last longer and sound meaner, and at the end of the day, isn’t finely-tuned aggression what we’re really all after?

NOW KILL IT! H

Dotted Lines Words Amanda Mason, Lawyer, Dwyer Bruce Legal

Defamation

These days with all the newfangled technology like the internet, especially Facebook and Twitter, it’s incredibly easy to make a defamatory statement and then transmit it to half the universe at the click of a button.

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acebook and Twitter are defamation minefields because posts are often made on the spur of the moment, without consideration and fuelled by emotion. This is magnified by the convenience of being able to post status updates and tweets via mobile phone. Just because a status update or tweet is only going out to Facebook friends or to three Twitter followers, it doesn’t mean that it won’t be considered defamatory and you’d be surprised at how many times something said on Facebook finds its way to the person it was said about.

Can a company be defamed?

Under defamation legislation, the defamed party is only eligible to sue if they are an individual, an unincorporated business, an incorporated company with less than 10 employees or a not-forprofit company. An unincorporated business is usually run by a partnership or a sole trader, whereas an incorporated business is a company, also called a corporation.

You can tell if an Australian business is a company because it will have an Australian Company Number (ACN) and will usually have Pty Ltd or Ltd at the end of its name.

What is defamation?

For defamation to occur, some sort of statement (made in writing, orally or even a drawing) must be made to at least one other person where that statement imputes something about another party (the defamed party) that would lower the defamed party’s reputation or cause them to be ridiculed, avoided or despised by the average person. The defamatory statement doesn’t have to be published in a magazine or newspaper - it can be made verbally; posted on Facebook, Twitter, in a blog, on a website; it can be emailed or sent by letter or made via pretty much any other available form of communication. The more people that can see or hear the defamatory statement, the worse the defamation will be and the more damage the defamed party will suffer. That’s why it’s dangerous to make defamatory statements on the internet - just one click of a button and the defamatory statement can be shared with millions of people and then those millions of people can share it with millions more.

What if the party’s name is not used?

Provided that the average person would understand who the statement was referring to, then it will be considered defamatory.

Is defamation different to slander and libel?

Prior to changes to the law in 2006, libel was a defamatory statement made in written form and slander was a defamatory statement made verbally, but now those distinctions have been abolished in Australia and any defamatory statement, irrespective of whether it’s written or spoken, is referred to as defamation.

What if the statement could have multiple meanings or refer to multiple parties?

If the average person, using the normal meaning of the words, would understand the defamatory imputations then the statement will be defamatory, irrespective of whether it was intended to have a different meaning or if the statement could have referred to more than one party (eg. two people with the same name or a collective reference such as the members of X band can all sue for defamation).

What if the statement is true?

The fact that the statement was true is a complete defence to defamation, but it has to be proved that it is true.

What if the statement is an opinion on a matter of public interest?

To protect freedom of speech, a defamatory statement that is an honest opinion concerning a matter of public interest is protected by the defence of honest opinion (sometimes called fair comment); however it must be clear that it is a comment or an opinion and not a statement of fact and also that it was not actuated by malice.

The statement can be prejudiced,

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provided that it is an opinion honestly held by the party that made the statement and is based on material that is substantially true.

Some examples of matters of public interest where an opinion will be considered honest opinion include opinions stated in relation to the government or public services and reviews or comments on things like books, music, movies, restaurants, art, sports etc.

Are there any other circumstances where it’s okay to make defamatory statements?

In the interests of allowing people to communicate honestly and openly there are certain circumstances where a defamatory statement can be made and the defence of absolute or qualified privilege will apply.

Absolute privilege The defence of absolute privilege applies to circumstances where freedom of speech without fear of defamation is considered to be more important than damaging a party’s reputation. These circumstances include parliamentary and court proceedings, whistleblowers and

communications between spouses.

Qualified privilege Qualified privilege usually arises in situations where it is another party’s interest to receive the defamatory statement, for example discussing an employee’s performance to an employer or when giving a reference to a potential employer, but the defence of qualified privilege will only be available if the defamatory statement was honest and not malicious. If the defamed party can prove that the statement was made for an improper purpose or that the person making the statement knew, or did not care, that the statement was untrue then this proves the existence of malice and the defence will be unavailable.

So, before bad-mouthing someone online, serious consideration needs to be given to whether the statement could be defamatory, and if it could be, an assessment of whether the delightful satisfaction of publicly naming and shaming someone is worth the potential risk of a defamation law suit.H

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shrapnel

shards of metal

words Jon Stockman

man Jon Stock Although there might still be a few people who believe musicians are capable of making a fortune these days, the majority of people have abandoned the old stereotype that paints musicians as wealthy rockstars and replaced it with ‘the struggling muso.’ Truth is, there’s a really small percentage of people in bands that actually make enough money from music to do nothing else – the rest usually have a second source of income.

Apart from selling your soul, selling out, or selling drugs, there are a few other ways to survive.

Being a guitar/drum tech for bands touring through your city or driving around international bands, for example, are a couple of ways to earn some cash. The hours are usually rough, but they pay you in real money. Other less glamorous jobs are available, telemarketing for one.

It’s less than ideal, but you can always gain some extra exposure by playing a recording of your music down the line to the 300th person to hang up on you that day. Some people like temp work, which varies week-to-week and can involve anything from construction to nude modelling.

Others go one further and work fly-in fly-out on a mining site and coordinate the bulk of their gigs to land on their time off.

It’s pretty tough – I still don’t know anyone who’s been able to keep it up for more than a year.

Still, to some it’s more appealing than

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playing in cover bands. Some musicians see this as an act of heresy, but I guess it depends on the music you choose to play and how seriously you take it. Also, doing cover band work leaves you with a fair amount of free time to concentrate on your own music.

Some musicians provide music lessons, but this usually requires a weekly meet up with students, so anyone doing a lot of travelling doesn’t really qualify.

And if all else fails, die-hard, purist musicians with no ‘job’ also manage to find ways to get by so that they can dedicate all their time to rock’n’roll. While going down this path usually involves the dole, it’s simple lifestyle choices that cut serious expenditure and really make it do-able.

Firstly, don’t own a car – let your richer band mates pick you up for rehearsals and use public transport. If you’re a smoker, officially become a casual smoker who frequently bums and is perpetually quitting.

Casual drinkers adopt a similar practice to this. Even easier (if you’re not a slave to your vices) is becoming straight edge – or just put your liver into hibernation until when your career takes off. Live with your parents until you get that break and when they’re sick of you milking their good will, go round for dinner as many nights of the week as possible. Also worth considering is becoming a vegetarian, it’s much cheaper and you can actually grow stuff if you’re onto it. Beats entering cash competitions in Dolly Magazine. H

ISSUE 6 1 Orpheus Omega - The Deconstruct 2 Witchgrinder - Boneyard 3 Bronson - Weapons of Mass Destruction 4 Blood Luxury - Beckon the Call 5 Hailmary - Yellow Light of Death 6 System of Venus - Dancing in Hells Garden 7 Devil Rides Out - Burn Again 8 Gutter Tactic - Roulette 9 Dead Deities - No Sense 10 Sedulous Rouse - From her to modernity

Witchgrinder

It’s not them it’s you…

Every week on Distortion, I ask for people to send me their music for consideration. Those that know me know that I’m a huge advocate for Aussie music. In fact, I think the first article I wrote for HEAVY outlined a bunch of Aussie bands to look out for – we create some of the best metal there is!

So, how do you get airplay for your band?

Well, I hate to start with the bloody obvious, but having a decent song is paramount. If the production is rubbish and the quality low, you’re not getting anywhere. If this is what you wanna do with your life, invest in it, invest in yourself and make it special.

Don’t settle. I don’t know why anyone would send through low-quality stuff but, believe me, they do... and it goes in the bin.

Also, don’t just send a CD by itself.

Include a simple cover letter. It doesn’t have to be fancy. Introduce who you are, and include a bio that says where you’re from and when you started, lists your discography, any upcoming gigs and any international support slots you’ve had. Sell yourself! You’re trying to make an impact and this is your chance to stand out from the pack and get your stuff listened to first. As an example (and you don’t

have to go to this length), Melbourne band Blind Munkee sent me through a pack containing a little torch with their name and emblem on it, a comic, sticker, and albums. These guys are trying to get noticed, and they did – I was showing it to everyone in the office.

Have an online presence. I can’t stress how important this is. Every bastard is on Facebook these days so, at the very least, have a page dedicated to your band and keep it updated. Time is important to everyone, so the ability to grab info on a band with just a couple of mouse clicks is crucial.

The internet is essentially a free resource. Exploit that shit!

Finally, don’t waste your time sending metal music to people who simply won’t play it as you’re just throwing your hard work away. Get it in front of people who can actually do something with it like Andrew Haug, myself, the good people here at HEAVY, and any other bands.

Ours is a widespread community so use it wisely.

Send stuff to me, C/O Triple M, 257 Clarendon Street, South Melbourne, check out Vic, 3205.

M Distortion I look forward toTriple hearing what you got, @Facebook Australia. H

Goddess

Hair and Makeup Artists for your Alter Ego

www.goddesstar.com Leesa 0408257304 Lanie 0431137111

Photography by Angela McConnell - Bike from Victory Motorcycles

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hi-rotation album reviews

Vela by

The Schoenberg Automaton

Circle

Construct

Altered State

Blood Brothers

Nuclear Blast

Century Media

Century Media

Independent

by

Myriad Records

Amorphis

by

Dark Tranquillity

TesseracT

Bronson

Progressive metal Helsinki, Finland amorphis.net

facebook.com/ theschoenbergautomaton

review Tennille Secomb

review Sheri Tantawy

review Dale Noble

review Sheri Tantawy

From the very first listen, Amorphis’ Circle album draws you in. First song Shades of Gray is immediately massive and enticing, vocalist Tomi Joutsen’s almighty opening death roar threatening to strip paint from the walls, but the momentum is short-lived as the album flattens out into a collection of folk-driven ballads. Circle undoubtedly has good moments – the black metal elements on tracks like Nightbird’s Song are particularly enjoyable; Narrowpath has an evil campfire goblin sound that will please fans that enjoy the band’s Finnish mythical themes.

Overall, the production of the album is excellent and there are some really catchy melodies interspersed with a few less memorable moments. Not a high point for the Finnish masters but not a low point either.

Dark Tranquillity have released their long-awaited tenth studio album. Each song is anthemic, deeply emotive and melodically balanced with the sweet contrast that has been prominent in the quintet’s sound.

What makes Construct different from its predecessors is its pace, remarkably slower and full of groove. The focus here is on the songwriting and Jens Bogren (Katatonia, Opeth) delivers a clean, polished mix where every nuance is vibrant. The piano has a dominant presence and Mikael Stanne is one of the few vocalists whose performance and delivery is never compromised.

In the end, Construct is a heavy album but not a fast one. Rather, it is the next logical step for the melodic death metal giants after 20 years of musical brilliance.

TesseracT’s latest LP Altered State is a sprawling encapsulation of all things transcendental and transmigratory. The British proggers’ sophomore effort is essentially a single fifty-one minute piece, separated into four main movements (Of Matter, Of Mind, Of Reality, Of Energy).

As expected, there are a myriad of polyrhythmic grooves and disjointed guitar melodies to sink your teeth into, while new addition Ashe O’Hara’s vocals provide striking moments of clarity amidst the controlled chaos of the music and the layering of vocal harmonies and counter-melodies are, at times, nothing short of breathtaking.

Despite the complexity of the arrangements, nothing ever gets lost in the mix – the production is clean and every instrument has ample space to breathe. Altered State is a truly moving album.

Blood Brothers has raised the bar for the melodic hardcore/ metalcore/crossover genre. This release is tight, polished and so well-written. The angelic trills of guest vocalist Kim Ward feature on stand out tracks The Dispossessed and Blood Brothers, offering a gorgeous layer of delicate cleans that both harmonise beautifully with guitarist Gary Horn’s clean mids and compliment lead vocalist Jay Clair’s solid, heavy-vocal performance.

Crunchy melodic guitars are all go, go, go, and the undeniable popping groove is so punchy and crisp on this record that I kinda wanna throw down.

th e stand o u t

the stan d out

th e s tand ou t

c h ec k em ou t

the s tan d o u t

‘Arecibo’ @YouTube

‘Shades Of Gray’ @YouTube

‘For Broken Words’ @YouTube

‘Vile Creation’ @iTunes

‘Vivez sur vos pieds​.​.​.​.’ @Bandcamp

Absolute insanity. That is the sound of The Schoenberg Automaton who seem, at any moment like they could just snap, sending their instruments in all directions. Then again, what else would anyone expect from a band with a song titled Ultimatewhirringendmachine?

Channelling the erratic nature of math and the moshability of hardcore through a technical death metal filter, these Brissy boys have released an album that is not only an enthralling listen, but is also impressively catchy considering the schizophrenia of structure at play here. The musicianship is mindblowing, the album is well-balanced, and the production is spot-on.

It always seems wrong to describe an album as perfect but, in this case….

Progressive Metal Milton Keynes, UK tesseractband.co.uk

by

Technical Death Metal Brisbane, Australia

review Mitch Booth

Melodic Death Metal Gothenburg, Sweden darktranquillity.com

by

Groove Metal/Metalcore Melbourne, Australia facebook.com/bronsonmusic

WWW.HAILMARYBAND.COM

TANacious Rox Management

CHOICE  PATH  CONSEQUENCE  SOLUTION

DEBUT ALBUM AVAILABLE NOW OR HAILMARyBANd.BANdCAMP.COM

80

“A band bent on creating strong, heavy rock songs with meaning, dynamics, fat grooves and a touch of atmosphere” – Heavy Mag “A magnificent album by anyone’s standards, get a piece of them while you still can!” – 100% Rock Magazine “Each track justifies repeated airplay - catchy riffs and memorable choruses.

A must have for any radio presenter!” – Dando, Torrent This!

“One of the most solid debuts we’ve heard in a long time!

They’ve taken a wide range of influences and shaped them into a sound that is very unique.” – The Hard Rock Show “Fascinating album full of light and shade.” – X-Press Mag

hi-rotation album reviews

Veto

Chaos Reborn

Heart of Oak

IV

Century Media

Independent

Season of Mist

ATO Records / Shock

by

Heaven Shall Burn Melodic Death Metal Saalfeld, Germany heavenshallburn.com

by

Internal Nightmare Death/Thrash Metal Melbourne, Australia internalnightmare.net

by

Anciients

Progressive Rock/Metal Vancouver, Canada anciients.com

by

The Bronx Hardcore/Punk California thebronxxx.com

Cop This by

The Deep End

Independent

Rock Melbourne, Australia thedeependrock.com

review Sheri Tantawy

review Josh Voce

review Tom Valcanis

review Riley Strong

review Dale Noble

Engineered by Tue Madsen, Veto is what you’d typically expect; polished and clean metalcore from a band who’s been making listeners sit up and take notice for a while now.

What Heaven Shall Burn do, they do well – from big melodic breaks to swooping passages of blast-beat madness with the occasional two-step infused breakdown thrown in.

The 11-track double-CD boasts stunning artwork, iconic to the fight for social justice dating back to the 13th century and these important political themes are explored in full on this release from a contemporary perspective.

Stand out tracks include Die Stürme Rufen Dich, featuring a guest stint by Rob Franssen and Dominik Stammen (Born From Pain), and Land Of The Upright Ones – both songs are unrelenting.

A FEROCIOUS BLEND of death metal, new wave American metal and old school thrash, Internal Nightmare have unleashed upon the world their debut full-length album, Chaos Reborn. The album is seamlessly put together, with intense drumming and pinchharmonic driven riffs. The band’s technical prowess is showcased on tracks like Rancid Cremation while the demented, MorbidAngellike guitar solo on Born To Hate reflects their ability to generate mood and atmosphere. Theatre Of The Absurd fails to capture the intense rage and energy of the previous tracks but all is forgiven when the pummelling aggression of Profuse Bleeding kicks in.

Chaos Reborn is a well-crafted slab of modern death metal and is sure to earn Internal nightmare a place among Australia’s heaviest.

When a giddy A&R presumably burst into the executive board meeting (at the pub) proclaiming to have “found the next Mastodon” in Anciients, he was partially correct. Rub its woolly down and feel cheap faux-fur between fingers. Anciients brazenly pilfer from Mastodon’s magnum opuses Leviathan and Blood Mountain, harvesting their swaggering heavy blues riffs, rocketing bellows and petrifying snarls, while bruising doom and acoustic flutterings fill the cracks in-between. The band’s musicianship is near faultless, lobbing guitar firecrackers at their own feet. Throw thy gauntlets toward sloppier axemen; your claim is strong and true. Unoriginality aside, taking them as they are, Anciients is huge, solid stuff.

The Bronx are heavy. They may not look particularly heavy, their artwork may not appear heavy by any stereotypical standards and they are guilty of writing musical hooks so good that you will be humming them in the shower but mark my words they are heavy. Right from the get go the fourth release from the Californian five piece comes out sonically swinging, Matt Caughthran’s signature throat gurgling screaming vocals border on the cries of the insane whilst somehow balancing on a knife edge of audibly sung melody.

Ten years of releases haven’t diminished the menace and ‘straight from the streets’ quality of the band’s tone, IV easily sounds as hungry for blood as their previous efforts. There are two types of heavy appreciating music listeners out there, Bronx fans and the deaf, buy it.

You won’t come across a band as unashamedly Aussie as The Deep End in a long time.

The Melbourne rockers’ debut album Cop This is a raucous, beer-soaked testament to living loose delivering boisterous anthems and fistfuls of riffs.

Though, while undoubtedly rockin’, there’s nothing amazingly groundbreaking here. Is the AC/ DC influence clearly prevalent?

Yes, but when those familiar hooks and the mainstays of yesterday’s rock are delivered with such youthful bravado and reckless abandon – who cares?

With Cop This there are no bells and no whistles. This is classic rock’n’roll – without the chaff.

t h e stand o u t

‘I Stand Before Gods And Conquer’ @YouTube

check em out

th e s tand ou t

c h ec k em ou t

c h e ck e m o u t

@Website

‘Heart of Oak’ @Bandcamp

‘Youth Wasted’ @YouTube

‘Bigger. Better.

Badder.’ @iTunes

81

words Amanda Mason

sies What a Bunch of Pus s generator, then I don’t

If this book isn’t a total metal chick moistnes ra know what is. The Metaldudes Cats Book is the brain spawn of Alexand up g snugglin y adoringl dudes metal strong, big, feature Crockett and will to their fluffy, little, feline companions. The book aims to challenge manly, metal stereotypes while supporting no-kill cat shelters. Crockett intends to self-publish and, despite still being in the fundraising stage, it has al already received support from bands like Cattle Decapitation, Municip Waste, Morbid Angel and Skeletonwitch who have all volunteered to have their photographs taken with their furry cat babies.

Glenn Danzig’s Wicked Pu ssycats

Seeing as we’re already on the topic of metal dudes and cats, now seem s the appropriate time to discuss Glenn Danzig cat mem es. If you aren’t aware of this Dan zig kitty phenomenon, it appears to have started when Glen n’s purchase of kitty litter sparked the kind of curious discussion normally reserved for Lady Gaga’s mystery penis. Since then, the kitty litter photo has made its way to meme generator s, with comedy gold captions over the photo such as “I’ve got something to say, my kitty did a poopy today”. Building on the mem e, some technical wizards have also mocked up fake albu m covers and recorded novelty cat song s and now it has reached the lofty heights of the art worl d with this adorable print by Jason Clar ke, available from US $15 at society6.com/thisisjason/.

Metalachii go

together like Metal and mariach ing rainbows, poop orn unic a and h orot Gorg isn’t a fun it that n mea but that doesn’t d’s first combo. Metalachi claim to be the worl debut r Thei . band achi mari and only metal mariachi album Metalachi: UNO includes O’ Mine, covers of Crazy Train, Sweet Child a Prayer.

Run to the Hills and Livin’ on t this Someone should tell Old El Paso abou those flat because with Metalachi on the ads bottomed tacos will sell themselves!

Townsend n i v e D y r acto The Fear F ct a tour bus for e eight weeks on us, decided j t o en sp r t ec P oj Farty and the Devin Townsend Prand, in a stroke of stinky genia whopping

Fear Factor late last year ks resulting in dulge strialist Tour o of those wee tw r fo es lly, you can in on the Epic Indu rton -o-rama. Fina rts on their ph rp Bu fa r bu of ei s th ic om st tt rd ou co to re ful anal ac en second bo ht te ir lig ing th de ud e d cl th an in e s timate with e tour bu four minut sires to get in r people on th deo coming soon. de he ed ot ng 16 ra e de th your with e’s a vi umpet, along worse?), ther d - there C. Bell’s ass tr d, even better (or maybe I, but be warne 5O G Fz hr Zf comes an /w be lf, be it se u. re m ut fo hi yo y be Dev YouTube at n listen to ca on o u di yo au at e th th s Check out ass Epicloud any aromatic g them in. are only so m u’re breathin yo at th e in ag im hard not to

82

Arse-trian Death Machin e

I’m sure there are a quite a few ladie s and men alike that wouldn’t mind a piece of As I Lay Dying and Aust ralian Death Machine’s Tim Lambesis’ arse real estate and that dream may come true for two lucky folk. Lambesis recently laun ched a fund raising campaign to raise money for a third Australia n Death Machine album and in return for making a contribution he offered a variety of once in a lifetime rewards like personal training sessions with him, punching him in the stomach and even getti ng your initials tattooed on his badonkadonk. How much for a plot of land on Tim’s muscular derrière you ask? Well, my friend, if you had of been on the ball you could have been living the Ame rican dream for just one easy payment of $5,000, but alas, now it’s too late because the campaign has closed. Oh well, you’ll just have to look forward to the album instead.

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B L A C K D O G B A R K I N G The new album

M A Y feat. the single ‘Live It Up’ Also available 2CD limited special edition 84

1 7 airbournerock.com au.roadrunnerrecords.com