Highwire Daze Magazine Issue 126

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I RON MAI DE N,HAMME RF AL L ,CAPT URE ,CAVE I N,COMMUNI CANT , CONQUE ST , DI ANE&T HEDE DUCT I BL E S,T HEHARDWA Y , J OSI ECOT T ON, L I Z Z YBORDE N,MA T TSKAJ E M,T HEOCE AN BL UE ,SHANECRUMPOF AL E SANAANDT HEI VORY , SUZ Y , SWE VE DRI VE R, T UL I P , ANDMORE . . .

PHOTOS BY ERICA VINCENT

HIGHWIRE DAZE HIGHWIREDAZE

TABLE OF CONTENTS

STAFF STAFF

Publisher Highwire Daze Magazine A General Partnership Editor-in-Chief Kenneth Morton Managing Editor Danny S. Pasley Senior Photographer Jack Lue Contributors Kenneth Morton Bret Miller Talia Farber Cover Art by Yannick d’Assignies

INTERVIEWS WITH . . .

DAVE ELLEFSON OF MEGADETH ......................................................... 10 PHIL LANZON OF URIAH HEEP ............................................................ 14 DEMONS & WIZARDS ........................................................................... 16 HAMMERFALL ....................................................................................... 18 LIZZY BORDEN ....................................................................................... 20 SUZY ........................................................................................................ 22 JOSIE COTTON ........................................................................................ 24 TULIP ....................................................................................................... 26 EVOL WALKS .......................................................................................... 30 SHANE CRUMP OF ALESANA AND THE IVORY .................................. 32 CAPTURE ................................................................................................. 34 CAVE IN .................................................................................................... 36 CONQUEST .............................................................................................. 38 THE OCEAN BLUE .................................................................................. 40 COMMUNICANT .................................................................................... 42 MATT SKAJEM OF TELL EVERYONE ................................................... 43

of Smart Works INTL. Cover Photos By Jack Lue Graphic Design Tyler Heath

HIGHWIRE DAZE 827 N. Hollywood Way PMB 419 Burbank, CA 91505-2814 www.highwiredaze.com e-mail: ken@highwiredaze.com Opinions expressed within this publication do not necessarily reflect those of the publisher. All rights reserved. Nothing may be reproduced in whole or in part without the express and written consent of the publisher.

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LEAH MARTIN-BROWN POSTER ..................................................................... 28 ALBUM REVIEWS ............................................................................................... 53 CONCERT REVIEWS .......................................................................................... 44 SKETCHES BY THE EDITOR ................................................................................ 6 BRET’S RAMBLINGS ............................................................................................ 8

September/October 2019

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Sketches By The Editor Remembering Eddie Money and Ric Ocasek (Eddie Money and Editor Ken Cell Phone Photo by Natalie Camillo)

At press time, the passing of both Eddie Money and Ric Ocasek of The Cars profoundly affected the music community with posts all over Facebook recounting memories of both iconic performers. I remember seeing videos of Shakin’ by Eddie Money and Drive by The Cars all over MTV when I was younger, definitely enjoying the songs and not knowing I would eventually cover both artists at Highwire Daze Online. In 2011, I reviewed The Cars’ final album to date Move Like This, and was subsequently declined for their Hollywood Palladium show a few months later.

You gotta roll with the punches I suppose. I still love that final album and all of the memories Ric Ocasek and The Cars left for me.

And now on to Eddie Money – the amazing, humble money man. I would see Eddie Money and his band twice – the last time performing Ride For Ronnie 2017 at Los Encinos State Historic Park in the San Fernando Valley. It rained most of day at the outdoor event, and all of my interviews I prepared for one by one were not taking place. Then suddenly I received a text from Natalie Camillo who worked at Adrenaline PR at the time. Eddie Money was in the back stage area and ready for my interview. Out of all the bands, I did not prepare for an Eddie Money interview – he was the biggest name on the bill and I just didn’t think it would happen. But it did!

What a very funny, down to earth gentleman Eddie Money was. And how sadly ironic that my interview with Eddie Money was at a benefit for a cancer foundation – a horrible disease which has taken the life of Ronnie James Dio and so many others! When asked about making an appearance at Ride For Ronnie, Eddie Money would state, “Well I did a lot of shows with Ronnie back in the day. And I’m into motorcycles. People don’t realize this but I like heavy metal music. I just do. Iron Maiden, Black Sabbath, I mean come on. Rainbow with Ronnie Dio, it’s good stuff.”

My 10 minutes interviewing Eddie Money in the rain remains one of the highlights of my journey with Highwire Daze. His kids were also in The Eddie Money Band – Dez and Julian on guitar and drums respectively – as well as his daughter Jesse on co-vocals. They all toured constantly within the last few years, cementing the legacy of their very famous. much beloved father. Even during our interview, Eddie Money wanted to talk about his son Dez’s band and I was all ears. He was very proud of his kids. To the Money kids thank you for bringing your dad’s music to a whole new generation of fans. My thoughts are with the Money kids during this difficult time.

Eddie Money and Ric Ocasek may be gone from this crazy place known as Planet Earth, but their music will live on forever.

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September/October 2019

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Bret’s Ramblings Chats with Adam Franklin of Swervedriver Interview by Bret Miller Photo by Steve Gullick Swervedriver are on the verge of another round of dates in the States, following their March/April 2019 tour with Failure and have released the Think I’m Gonna Feel Better / Reflections single on vinyl and digital. Get it now on their Bandcamp page. Think I’m Gonna Feel Better is by Gene Clark and the Gosdin Brothers and Reflections by Diana Ross and The Supremes, both from 1967. Swervedriver’s full-length Future Ruins was released earlier in 2019.

Originating in Oxford, England in the late 80’s, the band members that became Swervedriver grew up surrounded by music. In my 2017 interview with singer/guitarist Adam Franklin, he recollected hanging out in Supergrass and current SWD bassist Mick Quinn’s family basement listening to Sweet and Hawkwind. Musicians are fans too and it stands to reason that the music that one grew up with would become fertile ground for their own music to grow in. Swervedriver do have a few covers out there but it is Franklin’s solo work that shows his love for the works of his idols and are worth looking up his discography. While many SWD fans who are musicians will mainly focus on the pedals and instruments, it is worth exploring the past, the soul and DNA in their music as well.

I picked Adam’s brain about covers and the failed Pledgemusic campaign. Thoughtful as always, this is what he had to say.

You’re about to release a couple of cover songs. Why were they chosen and what does it say about you as a music lover and creator?

I don’t know exactly. Sometimes you hear a song and just decide it would be cool to cover. I dunno what it says about us other than we must have exquisitely good taste!

Are there elements of these bands you’ve covered in any particular Swervedriver song?

I think the Gene Clark song is interesting because the title is similar to some of those by his ex-band The Byrds and we’ve treated this recording more like a sort of grungy Byrds cover. Meanwhile there’s a track called Big Sur on my solo record Spent Bullets where I borrow a line from the Supremes song Someday We’ll Be Together, possibly my favourite song by them and a song which became a song of hope for troops coming home during the Vietnam conflict. Also the title of the second track on Future Ruins - The Lonely Crowd Fades in the Air - comes from a misheard Supremes lyric.

What is your favorite cover you’ve done? Favorite cover someone else has done?

I have a ton actually, perhaps I should release them all some day.

I’ve done covers just to get inside songs and see what’s happening.

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There’s the instrumental track on Pet Sounds, Let’s Go Away For Awhile - I have a pretty good version of that.

Scott Walker songs, Bob Dylan songs, I suppose it’s like getting under the bonnet of a car if that’s your bag and seeing what’s going on. Of covers I’ve released, I loved that Bowie/ Lemmy seven inch that Club AC30 put out - everything from the sleeve to the music, that was a nice piece of art. https://adamfranklin.bandcamp.com/ album/iron-horse-born-to-lose-thursdays-child Who would you like to cover in the future?

I do have something in mind but I’m not telling. We did a John Barry cover and a Piero Picciolini cover during the Future Ruins album sessions, and a couple of others.

Future Ruins had a rocky release. What venue might you use in the future to finance and release your next full length album? I got my vinyl in the mail, thanks!

Well the album didn’t have a rocky release in terms of the work that the labels put in. Dangerbird did a great job in the US and the album sold quicker over there than any of our other releases and it’s been great having Mogwai’s label Rock Action on board in Europe along with our longer-standing Japanese and Australian partners Vinyl-Junkie and Poison City.

But of course the Pledge campaign has been a complete fucking nightmare and I doubt that the people who were gambling with money that was not theirs put any mind to the psychological stress this placed on all the artists they ripped off as well as the fans who put faith and honest, hard-earned money into supporting artists they love.

It’s been really fucking stressful for me personally because I feel a responsibility towards each and every person that pledged but we couldn’t afford to continue haemorrhaging money in trying to fulfil everyone’s orders, especially since Pledgemusic already stole tens of thousands of dollars from us. We still have to honour the guitars and the fuzz pedal orders though.

And the thing is, crowd funding is actually a great way to bring your art directly to your fanbase in whichever field it might be but Pledgemusic may have largely broken a lot of that trust I would imagine, unfortunately. There are other sites though or perhaps people can cut out the middle man?

Anyway, heads will roll.

Are there places on this upcoming tour you haven’t been to for a while?

Good to know there’s a Jersey show this time.

Future Ruins is out now and along with the covers single, Swervedriver have also made available the My Zephyr, The Hitcher and Why Say Yeah singles digitally on Bandcamp.

September/October 2019

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DavID Ellefson of

Megadeth Photo by Jack Lue

An Awakening of Sleeping Giants:

A Chat with David Ellefson of Megadeth Interview by Ken Morton Photo by Jack Lue David Ellefson is the legendary bassist behind the thrash metal monolith known as Megadeth. He has also recently released Sleeping Giants, an epic collection of songs recorded in the past with other artists such as John Bush of Armored Saint and David Glen Eisley of Giuffria - now reawakened for the entire world to encounter.

In this exclusive interview, Highwire Daze chats with David Ellefson about his Sleeping Giants recording and recent More Life Than Death manifesto co-written with his business partner, radio personality and music journalist Thom Hazaert. Other topics include Dave Mustaine’s recent health scare and the future of Megadeth, winning a Grammy at long last, and a whole lot more! Read on…

Tell me a little background on the song If You Were God on Sleeping Giants and working with John Bush of Armored Saint.

If You Were God, it was interesting. I was on the Countdown Tour. I got into this kick of going out and just going to music stores and picking up some fun guitars.

I’m not really a guitar collector per se. I kind of buy things I like to play more than anything. And one of the guitars I bought was this Dean Flying V. And Dean, at that time, I don’t even think was a company anymore. I think they’ve long been defunct. And I was a big fan of Dean as a teenager. And I found this guitar. And it had a cracked neck. Just kind of beat up. But I took it back to my hotel room on the Countdown Tour. And I wrote all the music for that song. And so I brought it in to Pat Schunk a couple of months later. He wrote the lyrics.

And I said, “Man, you know, John Bush would be fucking awesome on this.” And that vocal you hear of John.

That’s literally John at 10 in the morning. Just woke up.

Came over to Pat’s studio and sang that lyric. And it sounds fucking awesome!

How did those two songs with David Glen Eisley come about?

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So Pat Schunk was in a band with David Glen Eisley called Dirty White Boy. It was kind of this sort of interim band, sort of post-House of Lords, post-Autograph band. And Pat was a guitar player, a keyboard player.

So he was kind of the man in the middle on that one.

So we hired David to sing on half a dozen songs back in that writing session that we did. And he’s really good at some of the just straight ahead melodic rock stuff. I mean he’s such a crooner. He kind of has this David Lee Roth meets Michael Bolton kind of voice. He’s a great balladeer. He could really drive the hard rock stuff, a great singer, just a cool guy, total fucking rock star. It was just really great to work with him.

In your recent book More Life And Deth, you talked about the Big Four shows. One of the bands, Slayer, is now playing their final shows. How do you feel about one of these Big Four bands calling it quits? Or do you feel it really is quits?

I think it’s quits for them. But I think sometimes, when you put it away, you step away and you start to miss the stage or you maybe get a perspective into a different foray of your life - cuz I was like that. I mean Megadeth disbanded back in 2002. Obviously, far too young in our age. And we were not at all prepared for that disbanding. And that was something Dave had to do, because of personal reasons. But, look, two years later, Megadeth was back together again even though I didn’t come back to it (at the time). But it was you know what?

Three years later, I ended up coming back to the group, because, look, I missed it. I mean it’s just what we do and especially since we formed the bands that have this cultural relevance that the Big Four bands have.

So how is Dave Mustaine doing? And are you working on a new album with Megadeth?

Dave is doing really well. And yes. We’re all in touch.

And I speak to him every week or so. And we have just kind of been letting him go through his treatments. But yes. He’s doing well. We are optimistic about it. Not completely out of the woods but just to give him his space right now to go through the treatment process and everything.

We’ve been working on the new album. 2018 was most11

ly just writing riffs and ideas and collecting all those.

And then 2019 was the soundboarding and putting those together and getting the demos and pre-production together for that. And where we are at now is we’re pretty much ready to go in and, actually, start tracking and recording the album. But we shut everything down so Dave could do his treatments. And then as soon as everything goes according to plan, we’ll be able to get to studio and get started again sometime this fall.

Where is your Grammy at right now that you won for Dystopia with Megadeth in 2017?

It sits at home I’m, actually at my house in New Jersey right now. But my house back in Arizona, it sits in my home there at my little music work station that I have in my office. That’s where it’s at. And it hasn’t moved since [laughter].

Did you ever think that Megadeth would win a Grammy?

I just remember the first time we got nominated which I think was in ‘91 for Rust In Peace. And that was the first of the 12 nominations and the first, I guess, 11 that we didn’t win the Grammy for. But I tell you what.

It’s always exciting to be nominated, because, ultimately, you’re being recognized by your peers. And the Grammys are still the gold standard in our business by which all else is measured. It’s basically like winning an Oscar. It’s of the highest level. So it’s always great just to even be nominated. And just to be even invited to the 12

party is just a thrill. And to win, of course, that’s great, too. But just a nomination is just an awesome feeling.

Do you have any messages for your fans or for Megadeth fans who are really in this right now?

I just really thank everybody for their support. I’ve had a wonderful career both in and out of Megadeth. And, of course, Megadeth is the well-spring from which all of it has flowed. I’m just very thankful to the support for us over all the years. We don’t plan on shutting down anytime soon. I think we still got some years ahead of us and another great record in the works. Just thank you for your patience for some of the stuff that we’ve been going through the last year or so, health matters. But we’re locked and loaded. And we’re ready to go and ready to pull the trigger.

https://megadeth.com/ http://www.davidellefson.com/ September/October 2019

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The Seismic Reveries: Phil Lanzon of Uriah Heep Interview by Ken Morton Photo by Jack Lue 2019 has been a busy year from Phil Lanzon of the almighty Uriah Heep.

Not only did they do a full on national tour with the Metal Gods Judas Prient, by the Uriah Heep keyboardists somehow found time to record his second solo album. Entitled 48 Seconds and named after the devastating 1906 San Francisco earthquake, the cinematic tapestries found within are absolutely stunning to behold.

Highwire Daze recently caught up with Phil Lanzon to discuss the reveries of 48 Seconds, touring with the legendary Uriah Heep, and other seismic topics.

Read on…

How did the recent Uriah Heep tour go with Judas Priest and what were some of the highlights for you?

Really the highlights was the entire tour because everybody, every show we played - obviously the majority of the audience for Priest, but there were also a lot of Heep fans there. But we won over the Priest audience very, very quickly after one or two songs. They were going crazy and giving the devil sign, and that’s a pretty good sign for the metal audience. It was like that just about every single day of the entire two month tour. We were blown away by it really. It was a fantastic tour, very well matched, with Priest and Heep. So, it was all around very, very successful indeed.

Is there any overall story or concept behind the entire, behind the album title 48 Seconds? The one song is about an earthquake.

It was about the San Francisco earthquake in 1906. Basically it was an idea I had for many years. But it all started when I was a kid and I read a book about it. I was quite enthralled and I wasn’t really particularly into earthquakes at all, but something about the story resonated with me. Over decades I’ve had to contemplate writing the song connected to the event and never really achieved what I really wanted to do with it, until now. So with the new album, I pulled the song idea out and I came up with something that seemed to work. You know, put real characters into the story so that the listener can relate to things a bit better when people’s names mentioned.

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Have you ever been in an earthquake yourself?

No. Well, from this part of the world we don’t get them, but I did experience a very small tremor. So five or six years ago where I live, I lived right by the sea, by the coast. It was about-I think about 30 miles away. This is very, very small tremor and I actually witnessed the feeling and peculiarity of how bizarre that feeling is. Now, of course I’ve never experienced an earthquake real, but, you know, I can never see that happening.

Hopefully I never will. But you guys probably have.

Oh, here in Los Angeles, yes, a few, more than a few.

I know, I know.

Tell me about the song Face to Face and your overall thoughts on this age of social media.

Yeah, I think it’s pretty clear in that song. You know, I don’t want to sound like an old fart ven though I am. [laughter] It’s the old man telling the kids what to do syndrome. I mean, we were all kids once and we did we did things that were model and contraptions. You know, we did this and we did that - and our parents were, “What the hell are you doing?” I’m doing exactly the same so it’s history repeating. But, I do see a definite movement away from a normal human being. The children of the day and the young folks, not the really young ones but you know, it seems they get a hold of a mobile phone, and their lives change.

The problem I think we have is we’re creating a nation of young September/October 2019

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people who have no attention span whatsoever. That is a dangerous thing - very, very dangerous for the future.

That’s how I see it. I’m not alone, of course there’s a lot of people would see it too, and just the world I put in the song, you know, it might resonate with somebody, you know.

I remember when there was no social media. What did we all do back then, you know?

Phil: What the hell are we doing? That’s crazy. Really is crazy. We had other interests. I mean, I played my music, I played an instrument, I learned how to do that. You know, other kids learn their instrument or they played football or that’s what we did. Then this comes along and there’s kids bumping into lampposts now because they’re looking at the screen. It did happen to me. In fact, it was yesterday. My son is very ill at the moment.

I had to send a message to him on my old fashioned mobile. I was actually texting it to him, when a young girl almost ran into me because we were doing the same thing. I just went, “Oh my God, what are we going to do? How are we going to end up like this?” We’ll end up walking off of cliff tops with this thing in our hand, you know.

You and Bernie Shaw were in a band called Grand Prix back in the day. He was let go from Grand Prix.

How awkward was it at first to work with him again in Uriah Heep?

It wasn’t really awkward at all. I mean time had gone by. A lot of water was under the bridge. I’d gone off with Sweet in Australia for two or three years, recorded with them. And with Heep - we wanted somebody who had the vocal range and there wasn’t any - apart from the chap we took out for America with us who didn’t work out too well. There was nobody else on hand that we could think of, and so with Bernie we gave it a go.

So he came back, and that was that, and everything was fine.

When you look back on those three Grand Prix albums, would you think of them now?

Oh, I mean production wise -- I rest my case. Yes, there are some good songs on there for sure. I mean, it would be so wonderful to actually have the time and the energy and the finance to go in and re-record a lot of it, or maybe even remake a lot of it.

But I can’t see that happening. It’s a bit too big of a job. Leave it to somebody else.

It’d be fun to see like a Grand Prix reunion with both singers (Bernie Shaw and Robin McAuley) but, who knows?

That’s never going to happen, I’m afraid. Yes, a lot of fans all around the world have been saying, wherever we travel, you know, any chance of a reunion thing and I just, “Oh no, it’s not going to happen.” Too much else going on you know, that we don’t want to regress. You go forward, you know.

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What’s up next for you and Uriah Heep?

Contiuing, we’ve got lots more on-- we’ve got two shows again of August. We got a very unusual show in Gibraltar on the first weekend of September, then we got a whole tour of Scandinavia in October, going out to South America at the end of October, early November. We’ve got a couple of British festivals in December. It’s Christmas and then we start up again the 10th January to do a big tour of Germany with Nazareth and Wishbone Ash. Then moving on into February we’ve got the Rock Cruise out of Florida. There’s a whole tour of Russia all end of March, April. Then it’s festivals through next summer. And then we’re celebrating the 50th anniversary. So there’s not much really.

As you approach 50, you’re just sitting on your laurels...

Just twiddling my thumbs and looking out to sea...

https://www.phillanzonwordsandmusic.com/ http://www.uriah-heep.com/ 15

Demons & Wizards:

Casting A Heavy Metal Spell At The Wiltern Theater Interview by Ken Morton - Photos by Jack Lue Demons & Wizards made their way into the Los Angeles area, performing in the Southland for the very first time.

Founded by Hansi Kürsch of Blind Guardian and Jon Schaffer of Iced Earth at the dawning of the new millennium, Demons & Wizards unveiled two albums – a Self-Titled endeavor in 2000 and Touched By The Crimson King in 2005. On the verge of recording a brand new magnum opus, Demons & Wizards performed for a sold out house at The Wiltern Theater in Los Angeles. Prior to the absolutely mesmerizing set, Highwire Daze interviewed the co-conspirators of Demons & Wizards to find out a whole lot more about their heavy metal spells and this North American tour of a lifetime. Read on…

What you are both looking forward to the most about these US Tour dates of Demons & Wizards?

Hansi: It is an amazing feeling. We have never played here.

We have some good shows ahead of us. It was about the right time to do so. Demons & Wizards did the first album in 2000 and the second album in 2005. We never made it to the US. And last year when we were offered Wacken, we just said well maybe it is a good chance for us to add some shows here. And we were very surprised by the response we got then.

Jon: I feel the same way. It’s been an exciting time for us, because the momentum of the project that we do together – obviously it’s just grown through the years – instead of the other way. Especially since we didn’t tour on the second album – if people would forget – but they don’t forget clearly. it just got more and more desirable – and I think even to our surprise – how desirable it is. But it’s a blessing – it’s cool!

When you look back at the two Demons & Wizards albums, what do you think of them now?

Hansi: I feel very proud about them and I also think that they are absolutely timeless. If you didn’t tell me that they were that old, listening to it – especially the remastered versions – I would not even think about it that they were that old. When I recall how we produced them and how we recorded them, it’s like not a few minutes ago, but it doesn’t feel like 15 and 20 years – not at all.

And there’s rumors that there’s going to be a third Demons & Wizards album on the pipeline…

Jon: There’s no maybe – it’s happening! We’re getting close to being finished. At the end of this tour, we go to Tampa, and Hansi is going to sing a few more songs. We’re going to split the days between that and mixing – we gotta do some back16

ing vocals there. We hope to be really close to a good spot in the mixing by the time we leave there in late September.

And we’ll sit on it for a bit, give our ears a break – check it in our own environment and make any tweaks – send it off the mastering. In the meanwhile, artwork is being done. February 2020 – we don’t have an exact date yet – but that’s the release.

Interestingly enough, Uriah Heep is going to be one of the bands on the cover of the next issue of Highwire Daze. Of course we all know one of their biggest albums was called Demons & Wizards. I was wondering about the name Demons & Wizards - did you get that from Uriah Heep or are you influenced by them?

Jon: It was a discussion that I was having with my ex-wife about. Once Hansi and I wrote that song Our Last Sunrise September/October 2019

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together – we had been friends before we knew we could write songs together – and we had this song and we were like “wow, this is cool!” Some period of time went over before we decided maybe we should do something with this. A while had past, and I was like “You know, we’ve got to think of a name that describes Hansi and I – our personalities.” The funny thing about the differences in bands – these guys would always smile in their photos and were more lighthearted – and they did a lot of the fantasy lyrics. And we were always really dark and evil and writing about horror and very anti-religion and establishment and all that stuff. I was like “It’s gotta be Demons & something.” And she said “Demons & Angels?”

And I said “Hansi’s not an angel. But he is a wizard.” I was like “that’s it!” And I called him – within probably minutes – and he loved the name too. Of course we know the Uriah Heep album, and it immediately came into my mind when I thought of the name. But who cares? There’s been a lot of bands who’ve been named after band’s album titles and songs or whatever – even some that I’ve written, there’s bands named after that – so that’s cool. But it fits for us – it’s just like a thing that really works – and we’re both are a little bit of both.

Will we see any more Demons & Wizards tours in the New Year?

Hansi: That is up in the air. We’ll do the album for sure. It’s going to be accomplished within this year, and then it’s going to be released in February – and then we will discuss whether there will more shows for Demons & Wizards or not. We certainly will go forward with the album and we will do it as fast as we can, but we have obligations. But the future looks bright, and I would not mind having another few shows with Demons & Wizards, but we have other obligations as well of course.

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HammerFall:

Dominion Time on the Sunset Strip

Interview by Ken Morton - Photo by Jack Lue

HammerFall performed a special record release show at The Whisky on the Sunset Strip, premiering selections from their just unleashed Dominion manifesto as well as many other songs from a vast career as purveyors of classic heavy metal. The very special night included guest appearances by Howie Simon (Jeff Scott Soto, Graham Bonnet Band), Neil Turbin (Anthrax), Michael Spencer (Flotsam and Jetsam), and Bjorn Englen (Yngwie Malmsteen/ Dio Disciples). Prior to the epic HammerFall set, we caught up with guitarist and founding member Oscar Dronjak to discuss their various shows at The Whisky and the brand new album Dominion on Napalm Records!

What are you looking forward to the most about this very special show at the world famous Whisky a Go Go on the Sunset Strip?

The first time we played here was ‘98, so it’s a long time ago. But then we didn’t do anything here for several years. Then we came back, I’m not sure if the next time was 2017. Now, of course, this is a third time in three years. So it’s been a couple of shows here. This is the release of our new album. We’re trying to treat this as a release party, even though it came out three weeks ago.

We wanted to make sure that this is a unique experience for people, because we’re coming back with Sabaton next month at The Wiltern. But that doesn’t mean that you can skip today, because today is going to be a totally unique experience and we have some guest artists. We’re going to do some fun stuff today. So I am looking forward to it a lot.

You mentioned your first time here, I think it was 1998 and you were here with Death, actually. What were your memories of that tour and of the show here at the Whisky in particular with Death?

That tour was our first time I ever went to the U.S. Of course growing up, you hear about it, you see the movies and you ask yourself, “Is it the same as in the movies or the TV series or not?” You never know. But it was a really fun tour. Kind of hard because we went first and we’ve never done anything like that since then. But we did two weeks of recordings in Hamburg.

Then we went right on tour for about five weeks in Europe. Then we went directly over here to the U.S. and did a full tour over here with Death. So we were gone for like two and a half, three months. After that tour, we all said we’re never doing anything like that again. Split it up a little bit is much better. But the tour over here was fun as hell. We became really good friends with the guys in the band in Death, because we shared the bus with them. Nobody knew that obviously, but this happened to be Chuck’s last tour as he got diagnosed with cancer after that, I think just a couple of months later or so.

You’re coming back here with Sabaton in a few weeks, what are you looking forward to the most about that massive tour?

Well, the thing is, we’ve done our own tours now twice, two years in a row, but Sabaton is the much bigger band. So for us now it’s a way for us to reach out to a new audience. I think we can safely say that if you like Sabaton, there’s a pretty strong chance you’ll probably like HammerFall as well. Basically, as, like any support or special guests on any tour, we’re trying to reach out to the new audience, because I think that we have what it takes to please people. We’re a pretty well-oiled machine by now. We’re really looking forward to it so it’s going to be fun, especially with Sabaton. We know these guys. They were actually our special guests back in ‘09 in Europe. So now the roles are reversed.

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Tell me a little bit about the song We Make Sweden Rock from the new album Dominion.

It was an idea from Joacim (Cans - lead vocalist of HammerFall).

And it’s not us – HammerFall’s not making Sweden rock. It’s our whole heavy metal genre of Sweden that started in 1969, because a band called November started out back then. And it kept going in the 70’s, and then the 80’s exploded – and then the 90’s exploded even more with all of the death metal bands. And so the song title is referring to all of these bands. It’s all of us together – we make Sweden rock – is basically what it is.

HammerFall has been going since 1993 and you’re like 11 albums in. What do you think has kept you so passionate about HammerFall and heavy metal music after all of this time?

I guess part of the reason is we didn’t pick this genre – this style of music because we thought it would be a path somewhere. We picked it because we absolutely love this type of music – and there were no ambitions – when we started in the middle of the 90’s, when you said “Oh yeah, I’m going to play heavy metal, I’m going to tour the world and I’m going to do this and that,” everybody would just write you off as a lunatic because it didn’t work like that back then. And we said “We don’t care. We’re not doing this for anybody but ourselves. And we want to write the best music that we can in the best way that we can just to fulfil our own dreams.”

And we’ve achieved our dreams now. And I think this passion comes from a lifelong love of heavy metal music. We started listening to it when we were young kids, and once we realized this was the music for us, there was nothing else.

Do you have any messages for Los Angeles HammerFall fans?

Yes, we played here on every tour that we’ve done. There weren’t that many before 2017. Our tours have had their up and downs, but LA has always treated us very well – and that’s why we’re here today at the Whisky again. So thank you LA. You rule!

Be sure to catch HammerFall with Sabaton at The Wiltern on October 11th!

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Lizzy Borden Rocks The Wiltern

Interview by Ken Morton Photo by Jack Lue

Lizzy Borden made a grand and epic return to Los Angeles, opening for Demons & Wizards at The Wiltern! Performing songs from each album from a vast and brilliant career, including the recently unveiled My Midnight Things, Lizzy Borden and his dynamic band enraptured the auditorium with an exhilarating live performance. Prior to their opening day set of the tour, we caught up with the one and only Lizzy Borden backstage for an interview to find out more about the current happenings of this truly adventurous performer.

What are you looking forward to the most about this tour of North America with Demons and Wizards and Tyr? Such a great but unusual line-up...

To me it’s very interesting. I mean I’m not familiar with both bands but I have been doing my homework and listening to what they’ve done. I think I wrote that we’re compatible but incompatible. So it’s one of those hot-water, cold-water things. And I think it’s going to be really interesting.

To me, it’s one of the most interesting pairings that I’ve seen in most tours. Cuz especially North America, it’s always the same sort of sounding bands playing together. So when you can get these three different bands that don’t really sound alike together in North America and give fans one long continuous show throughout the night, I think is going to be amazing.

Is there any overall story or concept behind that title, My Midnight Things?

To me, everything I write, I want to be open to interpretation. So I’ll leave those doors open. I want it to be open to interpretation.

So when people say, “I think I know what that album was about” or “I know what that song’s about,” I usually say, “Yeah, you’re right!”, even though it wasn’t what I was thinking. And that’s what I like. I mean if you could have a completely different interpretation than what I was thinking, that’s what I’m trying for.

So I always leave those doors open. But overall, I really wanted it to be everything you think it would be.

Who’s is currently in Lizzy Borden?

We have the brothers Julian and Steffan Salas (bass and guitar), and we have Gray Trainer on guitar, and of course Joey Scott in the drums.

What do you think is making you and long time member Joey Scott work so well together after all this time?

It’s because we’ve been on the same page. We grew up on the same music. So if I write something, he automatically knows what to play to it. Because he already knows what I was thinking and I’m usually mixing and matching. So most of my influences are so 70’s. So obviously, I can’t recreate that sound and I don’t want to, but I also want to mix metal with the rock. So when I’m 20

playing back and forth trying to figure that out, which is a very hard line to go. ‘Cause when I go too rock, then it’s not enough metal, and if I do too metal, it gets very boring. So I wanted to try and figure out how to just thread that line and Joey always knows what to play because he grew up in the same stuff. He knows what I’m trying to attempt.

What do you think have kept you so passionate about Lizzy Borden and doing the music since 1983?

Well for me it’s a challenge to make these records. To me, it’s strange, like I don’t even start writing until I have at least 80 bits. Because once I go into it, it’s like, I’m not even sleeping at night cuz I’m trying to figure out how to put the puzzle together.

So I purposely don’t work on a record continuously. I work on bits and pieces and ideas, little things, little notes. I saw a thing about Woody Allen and that’s the way he writes his movies; he writes on little notes until he has so many notes that he can coherently start to put it together. And that’s kind of what I do too. Cuz if I start with one note and try to add on to it, it’d be a disaster. So that puzzle is intriguing and it’s a challenge, and it’s something that I love. And the live shows are, to play through the decades, when we started in the early 80’s there was a certain fan base. You go through the decades and they get younger and younger and younger. At first, they got older, older, older, older, and then they started getting younger and younger.

Last year in Europe, it was all early 20’s. It was shocking, you know? No one told us, you know? We’ve been out there waiting for a certain 80’s crowd and you get nothing but young kids going crazy. And they go crazy for songs that you don’t expect.

I just threw songs in that, ah let’s play this one, all of a sudden it’s a hit single or something! So yeah, those experiences are the reason why I still do this...

Be sure to catch Lizzy Borden at the world famous Whisky A Go Go on October 31st!!!

September/October 2019

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The Debut of

SUZY at CrüeFest Hollywood Interview by Ken Morton – Photo by Glen Willis Suzy Wilson may be 62 years old, but she is sure to melt your face off with her own stunning brand of heavy metal. One of the organizers of CrüeFest Hollywood, her band Suzy made their glorious debut at the annual fundraiser, presenting a thunderous opening set at the Whisky on the Sunset Strip. Suzy Wilson has performed with the likes of Rob Halford of Judas Priest and has an EP of hard rocking tunes on the way in October! A day after her dynamic set at CrüeFest, Suzy sat down with Highwire Daze magazine to discuss the band’s very first show, her involvement with CrüeFest, performing with the various members of Judas Priest at Rock And Roll Fantasy Camp, and more…

We are here with Suzy at The Coffee Bean on Sunset, right down the street where she made her live debut at the world famous Whisky kicking off this year’s edition of CrüeFest. What was that experience like?

Doing a debut performance at the Whisky was pretty awesome. Although it was pretty stressful because I was also the person who was in charge of the event. During sound check, people kept coming up to me asking me to take care of problems. So we had kind of a little trouble getting our soundcheck done. Once my performance was over, then the night went really well. It was pretty awesome. I’ve played there before, but I’ve not ever played with my own band and my original songs – so that was pretty cool.

A lot of people may not know this, but you have played the Whisky before with none other than Rob Halford…

Twice. I played there twice with Rob Halford – also with Richie and Scott and Ian from Judas Priest as a part of Rock And Roll Fantasy Camp. They are really awesome guys – real sweethearts – not your typical rock star ego trip person. They’re just down to earth and really nice and sweet. And they even recognized me the second time I performed with them. It had been a year since I had seen them, so that was pretty cool too. I have also performed there with Paul Stanley and that was fun too.

How many years have you been involved with CrüeFest?

I’ve been directly involved with CrüeFest for about 11 years. I 22

was around when it was originally incepted. When the idea for it came about I was around – I just wasn’t able to attend until 2007.

And then after that, I got involved with the actual planning of it.

I worked in PR and event planning and all that sort of thing professionally for a lot of years, so they kind of needed some help in those areas. The first year I ran the box office and I wasn’t really involved with the early planning. And I got there, and they handed me all these wadded up pieces of paper with scribbling on it – and that was the list for the box office. And I was like “Oh no no no, this is not going to happen.” I have a spread sheet that is alphabetized now.

How many times did your band rehearse before the performance at CrüeFest?

Twice.

Twice? Was that scary at all to go on after only rehearsing twice?

Maybe a little bit. My friend Matt Starr from Mr Big and Ace Frehley put together the band for me. Unfortunately – but September/October 2019

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fortunately for them, two of the guys who were to be in the band – they got picked up for tours so they had to back out. And the other people they tried to find also got picked up for tours. So I called on two friends of mine who I knew but who I hadn’t played with before. It was kind of like Fantasy Camp where you walk in. I walked in and I had never really played with these guys – and I didn’t know part of them. But they were all really top notch musicians. I told Paul Gervasi – our guitar player – that it’s either going to go really well or it’s going to be absolutely horrible. (Much laughter). And it went really well. The second night we actually finished up rehearsing early, we just kind of sat around because we had paid for the room for three hours – so might as well hang out for a bit. They were all really good guys and I would love to play again with them at some point.

Who were the band members that played at the CrueFest show with you?

Paul Gervasi - Guitar Erik Himel - Guitar Bobby Abarca - Bass Mike Dupke - Drums Also my collaborator - Norman Matthew joined us onstage on guitar for one song.

What was it like having your video director Paul Gervasi suddenly in your band?

That was kind of interesting. But it was good, and actually we worked on shooting a new video while I was here. In addition to all the other stuff going on, I had that – and then my publicist had me scheduled for a photo shoot. So it’s been a busy week.

Any plans for CrueFest Hollywood 2020?

Well, next year’s event will be held on Saturday, July 25th, 2020. It’s a bit early for us to start working on bands for next year, so we shall see. I’m open to playing again. I learned a lot this year, that I can use next year to juggle both working the show and playing.

We saw Norman Matthew from Murder FM and As Strange As Angels (and Suzy songwriting partner) who flew in last night to see your debut. Were you expecting to see him here?

He’s been talking about that he’s going to come, but it was one of those “I’ll believe it when you walk in the door” kind of things.

His life is kind of hectic to say the least, because he also runs

When will the new EP be released and what will the title be?

The self-titled Ep will be released on Friday, October 25th, 2019. We will be releasing a single and a new music video prior to the EP release.

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The Sound Foundation in Dallas in addition to running his own solo project. And he has a small son that he has to take care of.

So I was really excited when he told me he had landed and he was here. I was really happy that he got to get up onstage with us and do one of the songs.

https://www.facebook.com/pg/SuzyMusicOfficial/

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Josie Cotton

and the Ukrainian Cowboy

Interview by Ken Morton Photo by Piper Ferguson

Josie Cotton has returned, ready to present the world tales of the Ukrainian Cowboy as well as an unreleased album from the past entitled Everything Is Oh Yeah - soon to be available via Kitten Robot / Cleopatra Records! Best known for her 80’s new wave classic Johnny Are You Queer?, Josie Cotton remains a creative force ready to set the imagination in flight. Highwire Daze recently interviewed the iconic Josie Cotton at a coffee house on the Sunset Strip. Read on...

Is there any overall story or concept behind your new song Ukrainian Cowboy?

Well, it was a song that accidentally happened, I guess they’re all accidents, really, I’ve never intentionally written on that topic. It was an old song I had and I could never finish it, for years I had it. And I was just watching the news one night, and I had my guitar and I’m trying to finish this one line, all of a sudden I just heard Russia in the background and it changed the whole direction of the song. It was a song about Texas, and it became a song about Russia. And it was still a cowboy song but it was now a Russian cowboy, it was something I just came up with because we needed some kind of title, we didn’t know what it was called and, off the top of my head, it was really a joke. Then it stuck and I tried to change it and people go, “No, no, no, you have to keep that title.”

It’s not even about Ukraine, I’ve been told, it’s really about Russia...[laughs] Do you have any fascination for Russian culture or have you ever been to Russia or Ukraine?

Well, what struck me when I heard the word Russia-- I mean, you hear right on the news, every day it’s like, “Russia, Russia, Russia.” And I was like, “Oh my God, stop with the Russia!” And when I put it in my song, all of a sudden I was tuning in to all these documentaries I had seen. I mean I became obsessed with World War II documentaries, they have 24

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amazing ones now where they’re right in the trenches. I mean, it’s just unbelievable about Stalin and all this, and I became very obsessed about that time in history so it was going on in my head all the time, at any rate, and this current situation is just so insane. So, the combination of that and now I had a song, that was actually a love song but I could place it back in World War II, it just became funny. But it’s a sad song and I loved the combination of humor and tragedy, it’s just a fuze to me. I don’t know why. It was a sickness I had.

Everything Is Oh Yeah is coming out now after all these years! How does it feel to revisit these songs? I mean, it must be strange.

It’s strange. Yes. It always made me a little sad, to not finish something you worked so hard on, there’s always a little melancholy feeling you have about it. So I was starting to work with a music publisher, Red Queen, and they were asking me if I had any songs from the 80’s that I recorded that were never released, for the show Stranger Things. It was that they were looking, and I was like, “Yes, I do have that, I have a whole record of unreleased 80s songs.” But I didn’t know if they had been destroyed these tapes, because they’ve moved around so much and there was a fire, there was an earthquake, there was a flood, just incredible California living. Anyway, they ended up in the rafters of my present HIGHWIRE DAZE

recording studio, Kitten Robot. Paul Roessler said, “There was a flood, I don’t know if they survived.” So we found them and they just sounded amazing. The Paine Brothers (also the composers of Johnny Are You Queer?) were such incredible producers, it was absolutely thrilling to hear it all.

We just remixed it, Paul and I, and it was kind of wonderful, it really felt full circle, like something good was happening with that, the epic story of my life.

Here comes the “Johnny, are you queer?” question...

Yes, here it comes.

Let’s talk about some of the initial controversy and reactions the song had, first of all, from conservatives, and then even the gay press.

In New York, on the East Coast.

Tell me about some of those and how that made you feel.

Well, it was shocking because on the West Coast, it really was an anthem. I had so many gay guys come up and just say, “that that song made it okay for me to be gay, I came out because of ‘Johnny, Are You Queer?’”. I’ve heard that just so many times, it was kind of wonderful. They were so happy to be just recognized, or to own that word, I think, was huge. I was, “okay, this is fantastic!” And then all of the sudden, I heard rumors.

In New York with the gay community, it was just much more political than California, and they were not happy with it. I was on the cover of Village Voice, (and the headline read) “Josie, Are You A Bitch?” That was the moment when I went, “Why?” [laughs] Yes, and later on I realized that was around the time that AIDS was happening, and there was a lot of political correctness and concern that that was homophobic, but they didn’t believe that in the West Coast. That was schizophrenic.

Then the religious right became like “Bosom Buddies” with the gay press in New York. They were like down on me, I felt like I was being run out, burned at the stake. It was so crazy at the time. The song was banned in Amsterdam, and the Catholic Church came after me, and corporations backed away from a lot of stuff I was doing. It was really insane. I just wanted to do a fun song and it was like, “don’t stone me to death, please, it’s just a singer...”

On your first album Convertible Music you had some interesting musicians with you. Including J.B. Frank, who eventually joined a metal band called Kingdom Come.

What was it like working with him and was Kingdom Come around back then?

No, they weren’t around. He was wonderful. They called him like the Golden Stallion or something. He just had this incredible hair. He was in (the movie) Valley Girl in my HIGHWIRE DAZE

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band, and he’s the most charming, wonderful on everything.

Yes, he wrote a couple of the songs on there, and yes. We were great friends, I’m still friends with him, yes.

And of course what was it like being in Valley Girl?

Well, I didn’t know it was going to keep going and never die, I mean, I just really didn’t know it was going to be iconic, yes. Looking back on it, I think that was the moment when really alternative music that wasn’t allowed on the radio went mainstream. I mean, those people weren’t allowed on the radio, really. For the most part, that was where alternative music went mainstream and it changed a lot of the ‘80s music. I really was proud to be on that record, with all those amazing artists and whatnot.

Do you have any messages for longtime Josie Cotton fans who are reading this right now?

I really do have the most amazing, sweetest, loyal fans. Just hold on, it’s all coming out now. They are always asking me, “When you’re going to release all these records that you made that no one has heard?”And it’s happening now.

It’s happening now. Be sure to catch Josie Cotton at The House Of Machines in Los Angeles for the Everything Is Okay record release show on October 5th!

https://josiecottonmusic.com/ 25

TULIP ROCKS THE SATELLITE Interview by Ken Morton Photo by Jack Lue Tulip present their own exhilarating brand of progressive hard rock that is sure to leave a definitive impact on all who give a good listen. Recently on tour as support for the long-running Evergrey, Tulip unveiled songs from their recently issued Self-Titled EP. Featuring the explosive talents of professionally trained opera singer Ashleigh Semkiw on lead vocals, Tulip enraptured the early arrival at The Satellite, deep in the heart of Los Angeles. Just prior to their set, Highwire Daze caught up with Ashleigh to discover a whole lot more about this thrilling band on the rise…

Where is the band based out of and what your music scene like there?

We were all born and raised in Toronto, but recently, Colin and I relocated to Dallas, Texas. So we are based in Texas now. It is a huge difference, but we love it. Texas is amazing and it has been good.

What are you looking forward the most about this tour with Evergrey. Here we are at day one and you are about to go on...

It is actually our first tour ever as a band. We are just really honored and grateful for the opportunity. Evergrey is a tremendous band. I am very new to metal because I came out of classical. I used to be an opera singer, and so I am new to metal and so, I had to study and learn Evergrey’s music. And I was so shocked and surprised that I had never heard of them before because they make such gorgeous, interesting, special music. I think Tom (Englund) is just one of the best vocalist I have ever heard. His voice is beautiful and I know voices. Voices are kind of my thing. So I was so impressed and I am really excited to hear them tonight.

Select two songs you are going to do tonight and what inspired the lyrics?

So the whole acronym of Tulip is --it is based on a religion that we left. So it is based on Calvinist religion out of Evangelicalism, a really strict form of Christianity that we left. And so Tulip is kind of a word that we’re turning on its head because we do not believe in any of it anymore. So the songs are all are in the same vein. I would say, Total is the first song we are going to perform, and it is a really special one because it is the first one we wrote, kind of about this experience. We were excommunicated from the church and our world was literally on fire falling part. So it is a 26

very passionate song for me to sing still. And then I would say the complete end of the set which is Perseverance, just like fight through, keep going, we know you are in a really dark time and you know, we still have really hard days, but for the most part, we have soldiered on and music has really saved us in a lot of ways.

Has Katy Perry heard or commented on your cover of Dark Horse?

Not so far. I mean, she is like going through some controversy with this song herself because this Christian rapper said that he wrote the song, anyway. But no, she has not commented yet. But maybe one day. I do really admire her singing a lot -- she actually has a similar background as us. She grew up in a church and left it. So her dad is a pastor and had a lot of trouble with that. So that is a reason why we chose the song and it is also just makes for a good metal cover surprisingly.

Which part did you play in your high school production of The Sound of Music?

I was Liesl. So that was how I figured out I wanted to be a singer. I auditioned for the musical and there was a retired opera singer in the audience and she heard me and she wanted to give me lessons. So yeah, I was (sings) I am 16, going on 17.

What would you like someone to remember about TULIP after hearing your music for the first time?

It is really important to us that people see us as great performers and that we are really good musicians and that they would be inspired to learn music themselves. These are all really tremendous players, all the guys in the band, and we have all worked really hard and we are not young, like as young as a lot of these guys starting out. We are in our early 30s. I hope everybody has a good time listening to us play live, because with performance, you can fake it only so much now, you know. On the radio, people can get out and they can perform, but it is tons of backing tracks and it is kind of artificial. But we are the real deal. If you hear me miss a note, you are going to hear me miss the note...

https://wearetulip.com/ September/October 2019

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J ACKL UEPHOT OGRAPHY PRE SE NT E DBY

HI GHWI REDAZ EMAGAZ I NE

Rock and Rain with

Leah Martin-Brown of Evol Walks

Interview by Ken Morton Photo by Jack Lue

Leah Martin-Brown of Evol Walks recently did a photo shoot with Jack Lue at The Hill 7 Rain Room and they both certainly rocked these pix!

One of the most promising up and coming bands in the Los Angeles area via Australia, Evol Walks recently unveiled their Our Time Is Now EP upon the world at large. Fans of AC/DC and Halestorm are destined to discover a new favorite when encountering the sonic reprieves of Evol Walks. Leah checked in with Highwire Daze after the rain room photo shoot to catch us up with all of the latest Evol Walks happenings…

Introduce yourself, tell me what you do in Evol Walks, and how long the band has been together.

My name is Leah Martin-Brown and I am the vocalist and songwriter for Evol Walks. We have been together around 5.5 years!

What do you think of our local Los Angeles music scene and how does Evol Walks fit into the scheme of things?

The local LA scene is so interesting because there are so many different pockets you can belong to. There is the Sunset Strip and Hollywood rock scene, the chilled out Indie/Folk scene, Jazz, Punk... you name it! I love that our scene in this city is so varied and, no matter which part you fit into, you are always made to feel welcome. Evol Walks has been around long enough that we kind of know the venues but we are still new enough that we are emerging.

Is there any overall story or concept behind your EP title Our Time Is Now. Our Time Is Now never really had one theme. After listening to it I realised I was writing about my relationships with people, the desire to change my life and to escape from the reality I had created for myself. It is a record about self discovery and breaking free of damaging cycles.

How intimidating was it to co-write with the likes of Travis Miguel and Dan Jacobs of Atreyu and Jake Pitts of Black Veil Brides on a few of the songs?

Walking into the sessions before I’d met them was somewhat terrifying but after sitting down they’re all just super dope people!

Really talented musicians and songwriters and I was pinching 30

myself that I was in a room writing with them!

Let’s talk about Death Of Me. First of all, what inspired the lyrics to that song?

I was in a songwriting session with the producer Brian Howes, and I kept getting text messages from a guy I was seeing.

We were arguing about something stupid and I remember kind of sighing, rolling my eyes and saying “Ugh, you’ll be the death of me” and Brian was like OMIGOD THAT’S THE TITLE! And it kind of spun from there.

How did producer Brian Howes become involved with Death Of Me? His impressive credits include Skillet and Nickelback.

I was working with him on our first record. We were put in touch by my Manager at the time.

How close are you to writing and recording all new material?

I am actually on the way to the studio today to finish up the first track of the new record!

What could one expect from a live Evol Walks show?

Lots of energy! We love putting on a big show for the crowd!

Who are the current members of your band?

We try and keep the same members where possible. Jimmy Lee has been on drums for us since 2015. We’ve got Logan Nikolic on Rhythm Guitar and (right now) we have Sam Bam Koltun on Lead as Dre DiMura is out with Diamante. On bass we rotate between Nick Diltz and Mike Stang.

How did the photo shoot with Jack Lue go at The Hill 7 Rain Room and what was the experience like shooting in the rain?

I’ve been wanting to shoot in that studio forever! It was a lot of fun! Super tricky to do makeup or pick outfits as my hair runs so anything light coloured was going to turn red. But I think we got some great shots.

What’s up next for Evol Walks?

I wish I could tell you but we are still in the “ink hasn’t dried” stage. We are very, very excited though! Definitely a new record but that’s all I can talk about right now.

https://www.evolwalks.com/ September/October 2019

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Shane Crump of Alesana and The Ivory Photo by Talia Farber

Shane Crump of Alesana and The Ivory: On The Sunset Strip Interview by Ken Morton Photo by Talia Farber Scene legends Alesana made a return to the Sunset Strip, this time at the infamous Whisky A Go Go – where they unleashed a superbly intensive set that nearly blew the roof off the iconic venue. Celebrating 15 epic years as a band ready to rip your heart out, Alesana unveiled songs from throughout their illustrious career. Prior to their set, Highwire Daze caught up with Alesana bassist Shane Crump to find out about the current happenings of the band as well as news on his own solo project The Ivory. Check it or wreck it…

What are you looking forward to the most about playing here at the world famous Whisky A Go-Go on the Sunset Strip?

It’s actually the billboard – I always look at it when I’m here. I was actually posting something on my socials today like “Man, it never gets old.” Seeing my (band’s) name at the top of the Whisky A Go-Go. It’s an iconic place and we’re kind of an iconic scene sort of band now. So to see that after 15 years of playing with this band – that’s what this tour is kind of representing, because we’re playing a little bit of everything from each record. That’s super cool!

It’s been a few years since the last Alesana last released a full length. How close is Alesana to writing and recording all new material?

That is up for debate. Definitely next year. We just came up with a new concept that we’re going to throw in there.

It’s little more like a psychological thriller this time around.

Completely different subject. The trilogy ended with Annabelle, so I think we’re very happy to put that to rest and move forward to something else.

Next year, The Emptiness is ten years old. What do you think of that album in retrospect, and would you want to play that album in its entirety?

We do plan on doing that actually. We’re going to do a ten years of The Emptiness Tour and probably just play it all the way through. Maybe do a world tour of it – we’re not sure yet. We’re still talking about it but we’re ready for it.

The Ivory has been silent for a few years since the release of the Gloom EP. You’ve done a few shows and now have resurfaced with two brand new songs. First let’s talk about single 3 Years – tell me about that song and what inspired the lyrics for you.

3 Years – well the EP was a very dark period in my life. I actually took that off of the Internet because I didn’t want HIGHWIRE DAZE

September/October 2019

to be represented that way anymore. So 3 Years was like my comeback – it’s a brand new sound – it kind of has the dark synth wave 80s sort of tones to it – which I’m super into right now. But as far as the lyrics, it’s just a toxic relationship I was in at the time that was controlled by a lot of alcohol and the lust part – not really the love part – there was never really any that existed. So I ended up dating the person for three years anyway, and when it all collapsed in the end, it was 3 Years. So there you have it.

Eat Your Heart out – the new single – what inspired that one?

Eat Your Heart Out is kind of a throwback. I would play 3 Years for my dad, and he said “It sounds like Hall & Oates.” The whole two piece freakin’ synth band and that was it. So I started listening to them, and I was like “I’m into this!” I just pictured the whole nostalgic vibe – I think people love that feeling – like watching an old 1980’s movie. I think the synth wave thing is starting to pick up, and I just wanted to capitalize on it. And I think I nailed it with that song. With the neon – I just wanted it to be completely what it was without trying too hard. Some simple guitar, some synth and a groove, man. That’s what they did in the 80’s, and it still works. The response to that song has been outstanding so far. It’s radio ready.

Are you still a mess? (Referencing the song I’m A Mess from The Gloom EP)...

A mess? Nah. I actually don’t plan on playing any of that.

Within the next year, I’ll have a full length. Those two songs (3 Years and Eat Your Heart Out) may be on it, but I think they just might be singles – I’m not really sure. I’m kind of taking my time until October – when I’m supposed to be done with it. And after that, it’s all touring the next year with The Ivory. Besides The Emptiness thing that Alesana will be doing, all next year is all The Ivory.

We’re a full on thing now.

What’s up next for Alesana and The Ivory?

The Emptiness Tour for Alesana next year. And The Ivory already has tours lined up at the beginning of the year. I’m going to be doing full circle with The Ivory all next year with a debut freshman release. I’m ready to take it over man. These new songs – even the stuff that’s not released is good stuff – so I’m just pushing it.

https://www.facebook.com/alesana/ https://www.facebook.com/musicbytheivory/ 33

Capture Devastate The Whisky On Sunset Interview by Ken Morton Photo by Talia Farber Formerly known as Capture The Crown, frontman Jeff Wellfare along with co-conspirators Manny Dominick (drums) and Erik Vaughn Weatherford (bass) are back and ready to reclaim the metalcore throne. On tour supplying direct support for Alesana, Capture arrived at The Whisky on the Sunset Strip for a night to remember!

Performing songs from their recently issued Lost Control manifesto on Artery Recordings as well as a few Crown favorites, Capture delivered the goods in nothing short of an epic way. Prior to the devastation, Highwire Daze caught up with the Capture trio backstage for an interview…

How has this tour with Alesana been going so far and what have been some of the highlights?

Jeff: So far, so good. Everything’s a bit new for us because it’s kinda like the first time we’ve actually been on a tour together. We’re just all learning about ourselves and experiencing the chemistry on stage and the songs, so it’s all a new experience but so far, so good. Some key moments, for me was the barbecue we had in Sacramento.

All the bands got to bond with each other. Capture kind of put a barbecue on, a little dinner thing for everyone on tour. It was really cool, nice to just hang out with everyone. Everyone’s really relaxed after that. I think it just put the tour in a really nice place.

What are you looking for to the most about playing the legendary Whisky tonight?

Manny: I’m excited to be on the stage. This is my first time here.

I’ve never been here to The Whisky. LA, this is home for me and I’ve been here 14 years.

Is there any raw story or concept behind the album title Lost Control?

Jeff: The album encapsulates the fact that how crazy everything can be surrounding a band and writing music. The ups and downs, just everything about being part of a band and creating music with people and being in the industry. And also the album itself is extremely bipolar, it’s not just one genre. It’s not just one type of song. It’s not just one thing, it’s up and down, left or right. It’s a roller coaster of emotions. I feel like Lost Control is a nice way to encapsulate that vibe, that feeling what we’re trying to put into the album. In an ironic sense, I feel more in control on 34

the stage and in my life on playing music and on stage. It’s funny that we called it Lost Control because it’s completely the opposite thing when we’re playing it.

Eric: You kinda had to lose control in order to gain it all back. It kinda just feels like that.

Jeff: To win, you need to know how to fail.

Erik: Right. I know how to fail very well.

Jeff: Me too.

Tell me about the song Dead Hollywood. What’s the inspiration for that?

Jeff: What a great place to talk about that one. To sum it up simply, over the years, I’m assuming everyone that lives in this area or has lived in America has an opinion on this but basically, the industry and how it sucks How other about people who try to put their own art out into the world.

And how people that don’t wanna know two cents out of you unless you can benefit them. It’s a bit of a vent song.

Jeff, with so many members coming and going in this band (including Capture The Crown), what has kept you so passionate about music and about just Capture in general?

Jeff: You can’t stop once you start. The journey hasn’t finished.

The journey hasn’t even started for me. I feel like I would be selling short if I was to stop it. This is a new thing and this is a new project. This is a new team. Fresh start in a sense. I just love music. I love playing music. I love playing on stage. It was where I feel most in control of my life. It’s a special thing and I just don’t wanna stop it. It’s a drug really.

When you look back at those two Capture the Crown albums, what do you think of them now?

Jeff: I think they’re good stepping stones, finding the sounds that we really wanna be playing. We’re still trying to get there every day as a learning experience. Also, growing up, going back and listening to it you can kinda hear where I was at, where my head was at and I guess how immature and stupid I was. They’re really cool. They are special and they’re part of the journey. No regrets.

https://www.facebook.com/capture/ September/October 2019

HIGHWIRE DAZE

THE BOND OF FRIENDS: AN INTERVIEW WITH CAVE IN Interview by Bret Miller At the beginning of this century, Cave In began making the rounds through the all-ages clubs in Southern California that broke out of the hardcore/ metalcore scene with melodic vocals and a more accessible sound than their origins. Cave In came to my attention with their audacious 2000 album Jupiter and refined their sound on 2003’s Antenna. Two years later Perfect Pitch Black was louder and harder, yet still melodic and contained Ataraxia, their ode to Rush. After a break, Cave In returned with White Silence, a spiritual return to their heavier beginnings, but also containing the epic Sing My Loves.

Then, another long break. On March 28, 2018, while the band were recording what would become Final Transmission, bassist and vocalist Caleb Scofield died in a car accident. The band gathered their friends’ and families’ bands to perform several benefit shows with proceeds to Caleb’s family and finished an album of material with Caleb’s bass parts, a testament to his talent as well as that of the other band members.

Now Cave In are going out on the road to keep the flame of Caleb Scofield alive and to celebrate the music and community Cave In helped create so many years ago in dingy little clubs across the country. I sent some questions to the band and singer/guitarist Stephen Brodsky and guitarist Adam McGrath were nice enough to answer back.

I’ve played a few tracks off Final Transmission on my weekly music show Bret’s Ramblings. It’s on Highwire Daze Radio on Live365. If you were a DJ, what would be your top five songs or bands to play? Would you do a metal or ambient or noise or pop show?

Adam McGrath: How about a reggae/dub hour! Congos Fisherman, Gregory Isaacs Extra Classic, Augustus Pablo East of the River Nile, Jacob Miller Baby I Love You So, Hugh Mundell Going Places.

Stephen Brodsky: I’d prolly go with whatever music is currently grabbing me. Right now that would be Torche Solitary Traveler, King Gizzard Planet B, Nick Cave & The Bad Seeds There Is A Kingdom, Goatsnake Live To Die, Roxy Music In Every Dream Home A Heartache.

Looking back on Cave In’s career, what have you learned that you bring with you to your lives and bands today?

AM: For me a solid work ethic and I hope a healthy perspective and opinion. Trying to learn from and not repeat the pasts trials and tribulations.

SB: I’ve always tried my best to make the music as powerful and connecting to the soul as possible. At times, I may have tried in some of the wrong ways, but I’m thankful to have chances at correcting things as life marches on and my bands are still active.

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What is a memorable moment from the Cave In history that you’d like replayed in a career retrospective?

SB: Fun Fun Fun Fest in 2011.

That was the last great show we did with Caleb. The band had a blast getting hammered while playing pool in Austin the night before. Then a hungover Cave In shared a ride to the festival with Kool Keith. We watched as he rummaged through a container of leftover Halloween candy, eating only the fun-sized Butterfingers and throwing wrappers out of the passenger-side window. Later that day, Cave In played a great set with a beautiful view of the evening sundown, then we got our minds blown watching sets by punk vets Negative Approach and The Damned.

AM: I remember a trip we took to Norway one summer on the early 2000’s to Norway to play Quart Festival. I dont think it got dark the entire time we were there. We rented a little boat and took it all around the lake exploring these little islands with abandoned military bunkers. We had a little campfire on one of these islands and took many pictures that ended up in the Perfect Pitch Black artwork. Found out later it was strictly forbidden to be on those abandoned military islands. The festival was with Queens of The Stone Age and remember our show being a blast with Pete Stahl (our tour manager) singing Youth Overrided with us. Great fun times that I’ll never forget with my friends.

You’ve toured the world and are going back on the road again this year. What preparations do you make to physically handle playing 6 or 7 nights a week? Where are you excited to visit?

SB: The big ones are getting a minimum of 6 hours of sleep + eating a proper meal around 2-3 hours before a set. Also doing light vocal warm-ups shortly before set time, maybe singing along to some old favorites like Faith No More and Stone Temple Pilots.

Oh, and running at some point during the day, even just for 10 minutes to get the blood flowing and keep the lungs loose.

AM: I find the older I get I have to keep myself in shape to be able load the gear and perform at a high level multiple nights a week.

It’s certainly not an easy career choice but I know I love doing this more than anything else. I’d love to make it to Australia some day. .

What is the future of Cave In and your other bands?

SB: Just to keep on keeping on. Doing things when the inspiration hits is to do them well, most of the time. As long as I’m here on the earthly plane and able to participate, then you can count on it.

AM: See out our fall tours and hopefully some more traveling endeavors and opportunities in 2020.

Final Transmissions is out now on vinyl, CD and digital from Hydra Head Records. See them on tour through December.

https://www.facebook.com/CaveIn.Official/ https://cavein.bandcamp.com/ September/October 2019

HIGHWIRE DAZE

Conquest: Heavy Metal and The World Interview by Ken Morton Photo Courtesy of Michael Williams - HD Photography The World Has Gone To Hell is the latest magnum opus from the almighty Conquest! A big bold statement absolutely appropriate for an ambitious album of this magnitude, The World Has Gone To Hell is jammed packed with thoughtful lyrical content and superbly intensive heavy metal soundscapes.

Based out of St Louis, Missouri, Conquest vocalist / guitarist Derrick Brumley recently sat down with Highwire Daze to discuss the topics of heavy metal in a world gone truly haywire. Read on...

Let us talk about this amazing new album here, The World Has Gone To Hell. First of all...

That is an understatement.

That is an understatement! So what is the overall story or concept behind the ambitious album titled The World Has Gone To Hell?

Pretty much, it is just you turn on the news, man. When you have someone else talking to you, would it be at news commentary or be it a pundit or politician. When are they talking to you about good stuff? I don’t hear any. All I hear is bad, negative, the world has gone to hell approach to everything. I think it is just a full throttle into crash and burn.

But we are pretty high speed now. I’m not going political as far as politics, but as a society of people go – we’ve lost our footing I think a little bit. It doesn’t have to be real religious, but some type of morality base would just help the cause.

We’ve kind of lost a little bit of that and therefore – yeah The World Has Gone To Hell. Lyrically that song – oi you pull the lyrics out – is pretty self-script. It tells you what is going on, that is for sure.

Select any two other songs from The World Has Gone To Hell and talk to me about the lyrics and what were the inspirations?

Well, the record is pretty diverse as you well know. So if you listen to something like The Creator and that’s kind of biblical on how this was all created and how it keeps cleansing itself in one way or another – and then something else starts over. But then you get all the way over to tracks like A New 38

August, which is just about living, being who you are, get out doing your thing and not making everything so hard on yourself because you only get to do it one time. And I don’t know about you, but I’d rather go to the party than have to miss the party.

What could one expect from the live a Conquest concert?

Oh man. We’re all about hard rock and heavy metal. I mean we are an old school band. I don’t try to claim being out there bouncing, being weird. Our energy level is through the roof. Even as veterans of the scene in the Midwest. We can thrash or we can power metal it, whatever you want us to do within reason. We keep our own identity. I don’t know if you have seen some of the photos that get posted, but we have a pretty cool stage presence. And Tim (Fleetwood) and Mike (Crook) and Rob (Boyer) - they are real seasoned, quality musicians that know how to handle a stage as well. You know, because that’s half the battle. There’s all kinds of great guitar players who sit on their couch, but you gotta be able to get out and do it on that stage and deliver it in a way that make people like you, but you’re also fascinating them.

The band Demons and Wizards is to be on the cover of Highwire Daze, featuring Jon Schaffer from Iced Earth.

What was it like opening for Iced Earth since Jon Schaffer is being interviewed in this issue? And did you get to meet them?

Yeah we sure did. I’ve actually met Jon a couple of time and Ripper (Owens) one or two times. Playing with those guys - for me, I love that style of heavy metal and writing. It was a cool time to meet them and chat a little bit with those guys about heavy metal. This was a few years back - it was on The Glorious Burden run and it was just phenomenal.

What’s up next in the immediate future for Conquest?

More show dates are coming, we’ll be doing a lot more of that. We dropped a couple of mid-level videos for a couple of songs off the record. We wanted to put it out and get going and everything. You know, we don’t have the huge budget to work with, so obviously, we gotta kind of spread it out so it does as much damage as humanly possible.

https://www.facebook.com/conquestrocks/ September/October 2019

HIGHWIRE DAZE

YEARS OLD

METAL AS

New Single Release

Friday, October 11, 2019

New Music Video Release Friday, October 18, 2019

New EP Release

Friday, October 25, 2019 For more info, check out: suzymusicofďŹ cial.com

The Ocean Blue:

Kings of Dream Pop Returning to The Golden State with the existence and the fight of being in this world. So, yeah, I mean that’s a lot of the theme of the records that gets unpacked in different songs.

Interview by Ken Morton - Photo by Darin Back Long before Dream Pop was a chosen genre, The Ocean Blue made waves in the alternative music scene, releasing their Self-Titled Debut album in the Summer of 1989. 30 years later, the collective now find themselves touring the Southland in support of their latest epic entitled Kings and Queens / Knaves and Thieves.

This will include a stop at The Satellite in Los Angeles on November 17th. Highwire Daze recently caught up with lead vocalist / guitarist David Schelzel to find out more about their amazing new album and upcoming shows here in the Golden State...

What are you looking forward to the most about these three upcoming shows in California?

Well, I’ll tell you, the thing that I’m most excited about is, it’s been a number of years - maybe a decade since we played San Diego. So to get down and play San Diego will be great. And to do all three shows on the same run is something we haven’t done for a while .Playing California is almost like playing a Country. It’s a beautiful state and to travel it and see a lot of it in between those three big cities is super fun. And we have historically a great, great fan base in California. It’ll be a lot of fun.

Do you still like touring and performing live after all this time?

You know, I probably like it more than ever because we don’t do the three months bus tours anymore. We fly to most of our dates and we only do three to five dates at a time and that keeps it fresh.

It’s just not quite as long and manic as it used to be. And we can really focus just on the shows themselves.

Let’s talk about, Kings and Queens / Knaves and Thieves. Is there any overall story or concept behind that all-encompassing title?

So the title of the record comes from the chorus in the first song and the first song is called Kings and Queens. But the whole thing that I sing is the title of the record in the chorus and it reflects the themes of the song and the themes of the record. It’s basically about all of humanity, no matter what our station in life, is kind of in the same predicament, in the same position no matter what we are and who we think we are, whether we think we’re high or low, or we think we’re righteous or evil. We’re probably all of those things and in the end, we all die and we all have to grapple 40

You and Bobby Mittan have been the constant in The Ocean Blue since 1986. What do you think has made you and Bobby work so well together after all of this time?

Friendship. We’re friends first and we have been since we were kids really. And that really is the core of our band. I mean Bobby is a longtime friend, but so with Oed Ronne. I’ve known Oed since we were basically teenagers. And so my friendship when Oed goes way back. My friendship with Peter Anderson is more recent, but even that is like 15 years old. I’ve known Peter and he’s a great guy, and all these guys are my friends first and musicians second. I think that makes for a better band. I mean, obviously there’s a lot of bands that famously don’t get along and they make great records. But when you get along it’s a more pleasant experience. And certainly doing the kinds of things we’re doing now in middle age -- I don’t know how we could do it if we weren’t good friends.

Your debut album is celebrating its 30th anniversary this year.

What do you think of that debut in retrospect?

I look at that record and my first reaction is, “Wow.” I can’t believe we did that, in the sense that we did that record when we were teenagers and we did it on a major label. We worked with worldclass producers on that record, and it did well commercially. A lot of people like that record. And one of the interesting things about touring now is playing those songs. Playing the songs I wrote basically when I was a kid. Now as a middle-aged guy and they still resonate with people. I hear from people every so often and that record means a lot to them. It has played a significant part in their lives. And that’s just blows my mind. Cuz that’s true for me as a fan of music. I’ve got records that are very special to me, - that when I put on and listened to them, I think, “Wow, this reminds me of the time where this got me through this experience, or this is just one of my most favorite beautiful things I own.” And to think that there are people out there who feel that way about my music -- it’s humbling and mind-blowing. And that’s kinda how I think about that record. And it’s just crazy that it’s been 30 years and I’m glad that it’s so far withstood the test of time.

Do you have any messages for fans out here who planned to go to the upcoming California shows and plans for the New Year?

My message is to fans in California is just thank you, thank you, thank you! So many of our fans there have been fans for a long, long time and we do not take any fans for granted. And the fact that people like the old music and the new music is just incredible and we’re very grateful for that. So that’s the first thing I always say to someone who is a fan. The upcoming year we’re gonna continue to tour for Kings and Queens / Knaves and Thieves. We plan to continue to do shows through 2020 as we turn our attention to the next record.

https://www.theoceanblue.com/ September/October 2019

HIGHWIRE DAZE

THE SANDGAARD FOUNDATION NEWS: IF WE WANT TO ROCK THE OPIOID CRISIS…

...we’ve got to band together band/noun: a thing that unites September is National Recovery Month and for the first time in years, we are finally able to say that we are making progress in the fight against the opioid crisis. In August alone, we saw landmark wins in court like the momentous decision out of Oklahoma that held Johnson & Johnson directly responsible for the state’s opioid problem. In addition, virtually every state plans to increase its funding, and work to build out programs focused on advocating for those in need of a safe and accepting recovery space.

However, this is just the beginning. To ignite real change, we have to band together. The Sandgaard Foundation — a private Denver-based foundation created to help end the opioid crisis — is calling on corporations and giving foundations to use National Recovery Month as a springboard to create non-traditional coalitions focused on supporting initiatives that create fast and positive change. Examples of these initiatives include projects like; Ryan Hampton’s the Voices Project which focuses on changing the stigma associated with addiction and offers a platform for anyone affected by addiction to tell their personal story, or Colin Dwyer’s Opioid Crisis Response Fund (OCRF) which focuses on getting Naloxone into as many hands as possible in order to save lives.

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This September, we are all needed to make a difference.

The costs of the country’s opioid crisis are estimated to have exceeded $1 trillion from 2001 to 2017 and are projected to cost an additional $500 billion by 2020, according to a 2018 study by Altarum, a nonprofit health research and consulting institute. As you can see, addiction is devastating, both personally and financially.

Let’s end this crisis in our lifetimes, and support those in recovery who need it the most. If you would like to help rock the opioid crisis, here are a few ways to connect: Send the Sandgaard Foundation a message at Connect@ SandgaardFoundation.org Follow the Sandgaard Foundation on social media (Facebook, Twitter and Instagram) Take the Sandgaard Foundation’s 360 survey to help identify areas of opportunity “We talk about living well, about misdiagnosis, healthcare and insurance costs, addiction and recovery, and who is to blame. But we don’t talk about solutions. Nor do we acknowledge that every person and every affected industry must step up to help.” - Thomas Sandgaard, Founder To find out how you can get involved, visit our website: www. sandgaardfoundation.org or connect with us on social: @ SandgaardFnd. September/October 2019

HIGHWIRE DAZE

Dylan Gardner Introduces Communicant Interview by Ken Morton Photos by Jack Lue Dylan Gardner is a massively talented singer / songwriter whose Warner Brothers debut Adventures in Real Time received a good deal of critical acclaim. A second album Almost Real was then self-released. After that time, Dylan would find himself exploring a different music direction and would soon unveil a brand new band named Communicant onto the world. After kicking off their residency at The Hotel Café in Hollywood, Dylan Gardner spoke with Highwire Daze about these new beginnings with Communicant and what the future has in store for this vibrantly dynamic trio.

Where did you get that name Communicant?

Communicant – I got the name after a short Ingmar Bergmann film. I was going through inspirations and I was trying to name the project after the record had been finished already. And I really wanted something that conjured the dreamy vibe – kind of the aesthetic of the world that is created in the music. I had a list of like 600 names – and I was going through my movie collection and I noticed that short little film called The Communicants. It’s a really interesting word – you don’t hear that word too often. I looked it up everywhere and it’s never been used – so it was like “This is a sign!” And that’s how we got the name.

What made you decide to go by this new band name of opposed to just Dylan Gardner?

The album started as a third Dylan Gardner record. And it got to a point where my last two records as Dylan Gardner, the second one was veering into this pop, major label territory, and it was getting away a little bit from what I actually loved. I would ask myself why am I making different music than what I am listening to? Because what I’m listening to is like 60’s psychedelia and like shoegaze – just stuff that I had been listening to since childhood, but it always was a different mechanism when it came time to songwriting. So I started making this album and I produced it myself – that was a big change. I self-produced this record – I’m going to do this myself. And through that, I ended up making music that I actually listen to. The album was finished, and I look at this and I thought “This is even bigger than Dylan Gardner.” It would be like listening to Nine Inch Nails and it’s called Trent Reznor. It’s just a little bit bigger, and I saw this as an opportunity to come into something that’s been my dream this whole time. I think Dylan Gardner was all pieces of this puzzle right now, and yeah, it felt really good!

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What are you the most excited about doing this residency at The Hotel Café?

I’m most excited about building the word – building the crowd – building a new vibe. We have old fans – we have new fans – we have people that are getting turned on to the sound. I feel it’s a really exciting time to be in this band and to be making this music. It’s great! There’s other people besides myself in this band. it’s just a really fun time. I’m playing music that I was always meant to play.

Select two songs that you played tonight and what inspired the lyrics for you.

Spotlight – which is the music video that just dropped – that was inspired by a wild night in Sin City Las Vegas. We were driving down the strip and we were in the van and the Bee Gees’ More Than A Woman came on. And it had this profound experience to me. That week I was listening to a lot of disco and a lot of psyche(delic) – and I just kind of blended them both together. But the song is kind of singing about that intangible crazy night. And the song I opened with Temporary – that song is about different phases in your life – and the phase that I’m in right now, coming from Dylan Gardner to Communicant. It’s a temporary phase – all things are temporary and nothing is permanent – in the best way possible. So I’m reflecting on past love, past life, past events – and all of that was temporary. So that’s kind of what those lyrics are about.

If Communicant could open for any band either now or from the past, who would it be and why?

If we could open for anyone, I would love to open for MGMT. They’ve always been a huge inspiration to me. They were really ahead of their time on the neo-psychedelic wave. Ever since they came out, they’ve been like mentors and inspirations to me.

And I got to work with Ben Goldwasser of MGMT on the song Temporary which was really cool. But that’s my dream to open for them, or to open for Ariel Pink.

What’s up next for Communicant?

We’ve got more some dropping obviously. We have more shows at Hotel Café. We’re looking at a tour at the end of the year – beginning to next year. The album is coming out in October. So there’s a lot to be happening, so if you follow us on Instagram, Twitter, Youtube – you’ll be updated.

https://communicantband.com/ September/October 2019

HIGHWIRE DAZE

A Chat with Matt Skajem of Tell Everyone

Interview and Photo

by Ken Morton

Matt Skajem (formerly of Out With The Old and Best Kept Secret) has introduced his brand new band called Tell Everyone! Ready to return to the LA/OC music scene is an epic way, Tell Everyone is on the verge of releasing their debut EP. Highwire Daze caught up with Matt Skajem on the Sunset Strip to find out a whole lot more about his brand new project.

Tell me a little about how Tell Everyone came together?

So I got kicked out of Best Kept Secret, and everything from there was kind of just like spiraling, I got really into my own head and really started doubting myself and didn’t really know what to do. Me and a couple guys tried to relaunch my old band Out With The Old. And that didn’t go as we planned, because we were all just on really different pages and some drama went down between the members.

So after that, I moved to Philadelphia for a while to just try to find myself and just kind of chill out. And I ended up back in California and decided to start another band. And this was in 2017/2018, somewhere around that time.

Nathan and I got back in contact, and we started hanging out a lot. And he and I had been trying to put a band together. And basically ever since then, we’ve written like four albums. And we haven’t been able to get anything off the ground. So we just took the eight best songs that we could find out of those. And we put a little EP together. And we’re basically going to go into the studio, record those, put a little bit of a different spin on what those demos are. And then try to get the best possible songs out of those, and put them out. So it’s a project that’s like three years in the making. And the name comes from a guy who was going to play bass for us for a while. He was like, “Let’s have it be a play on your old band.” So it’s like Best Kept Secret to Tell Everyone! So emo is back again! And we’re going to try to do something that no one else is really doing right now. And just bring back old school emo.

Select two songs that you think are going to be on the EP and what inspired the lyrics?

We know for sure that the single is going to be this song called Patience. And for me personally, it’s like, not knowing who you’re really supposed to be. If you’re not on this path your entire life of knowing what you’re going to do, it’s really hard to find yourself once you’re out in the real world. So it’s kind of just about me, honestly, just like losing it, trying to find myself and get away from the past and the reputation that I used to have - and all this crazy shit that went down in the past. It’s like moving on from the past, and just becoming a better person. That fun stuff.

HIGHWIRE DAZE

September/October 2019

And then there’s another song the name might change, but it’s called Savior. And it’s about the music industry. And kind of just how you can work with some people who will drain you of all of your assets, take everything from you, steal your Instagram page, get a little crazy, and then try to put everything on you and say it’s all your fault. And that one’s really fun. I hope it makes the album because we have like 15 songs that we’re looking at right now. We have songs about doing a lot of drugs and coming out of it and going Holy Shit, what did I just experience? And we have songs about losing family members, and all this crazy stuff. And I’m just at this point where I’m trying to branch away from just songs about girls and breakups and kind of make it more about life itself and what you’re going to experience growing up. Because I feel like nowadays, especially with the pop punk/emo scene, everything has gone so traditional. We all have to talk about the same subject or appease the same crowd or else nothing’s going to sell. So it’s like, I’m just trying to branch out from that and just show people that there’s more to life than what all these other bands are talking about.

What was the experience like playing Warped Tour with your band, Out With The Old? That one was cool. 2015 was a cool one. Out With The Old was always a weird project, because when we ended up playing that, the band was basically done, by the time that we got that offer. We had done a co-headlining tour with a band called The Resolution. And when we had come back from that tour, we didn’t have a drummer and we didn’t have a bassist anymore. And our bass player was my secondary vocalist and my best friend Nathan, who’s in this new project. And the drummer was Brandon, who we kicked out for just like stupid reasons, just like kid stuff. So we were like a three-man band and me and our producer at the time, we were writing everything. So he started playing drums for us and that band was kind of in a transition to where we’re either going to basically re-brand completely and become what Best Kept Secret ended up becoming, or we’re just going to break up completely - which is what ended up happening and I left the band. And so playing Warped Tour was cool, but it was also just like this weird experience. It wasn’t like an Out With The Old show. It was more of just this kind of pieced together project at that time. But it was cool. I always appreciate Warped Tour and ended up going out in 2017 for two weeks doing acoustic stuff. I’m always really thankful for that tour.

https://www.instagram.com/telleveryoneca/ https://www.instagram.com/itsmattskajem/ 43

We Are The Black Things The Whisky, August 15, 2019

Review and Photos by Ken Morton

We Are The Black Things made a vibrant return to the Whisky A Go Go on the Sunset Strip on a rock and raging Thursday night. Opening for Dave Evans, the original vocalist for the legendary AC/ DC, We Are The Black Things brought their own dark yet exhilarating brand of Sunset Strip rock and roll to the proceedings. Imagine an amalgamation of Lynch Mob and Jim Morrison, and you are only beginning to trip out to the sonic intrigue We Are The Black Things has in store for you!

Opening with the ravishing Praying For The Son from their Self-Titled Debut album, We Are The Black Things definitely caught the attention of the early arrivals. Enveloping the room with a gripping yet enlightening soundscape of artistry, We Are The Black Things unveiled the type of exhilarating show that has made them so well-known at the iconic Sunset Strip venue and beyond. Same Old Rock ‘N’ Roll Song is their hit single in the making, infinitely on We Are The Black Things’ imaginative terms. Other selections that clearly stunned the senses were Let Down Love and X-Ray Eyes – all permeating throughout the hallowed walls of burned stars known as the world famous Whisky A Go Go! Tone Raven is your master of ceremonies for We Are The Black Things, his haunting vocals, fiery guitar interludes and intensive stage presence drawing you into their 30 minutes of glory on the stage. Luthario Mitcho unveils his own world of fascination on turntable, contributing to the imaginative We Are The Black Things experience tenfold. Rae “Owl” Starling illuminates the songs with his own mystical keyboard entreaties while bassist Frank Garrett and drummer Scott Garrett make for a spellbinding rhythm section.

Stay tuned as We Are The Black Things are ready to book a whole collection of shows throughout the last few months of 2019.

Building on the unveiling of their Self-Titled album and persuasive live shows, expect to hear a lot from these Hollywood musicians in the future. With We Are The Black Things, the Hollywood rock and roll dream is alive and well and more than ready to leave an impact on the world at large.

Info: https://www.facebook.com/ravenscrymusic

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September/October 2019

HIGHWIRE DAZE

Clio Cadence with Dead Girls Academy

Alive In Barcelona, Outsideoutside, The Whisky, August 18, 2019 Review by Ken Morton - Photo by Jack Lue The hotly anticipated tour package of Dead Girls Academy, Alive In Barcelona and Clio Cadence trekked their way to the world famous Whisky A Go Go on the Sunset Strip. On their final date of The Cruel Summer Tour Extravaganza, this threesome of talent concluded it all with a bang.

Headliners Dead Girls Academy sent the room spinning, featuring the wickedly charasmatic vocalist Michael Orlando and the kick ass shredding of lead guitarist Craig Pirtle, formerly of L.A.’s own Black Velvet infamy.

Alive In Barcelona (formerly known as The Persevering Promise) made their first ever Hollywood appearance, thrilling the audience with songs from their recently unveiled Self-Titled release on Smart Punk Records.

Alive In Barcelona unleashed their tunes with an absolutely explosive amount of passion, highlight of the set being Zombies, featuring a special guest appearance from Zachary of Dead Girls Academy.

Also on the bill for the final date of the tour was Outsideoutside, revamped as the superbly heartfelt trip hop project of Matt McNulty (aka Matt Kali). With a little help from friends including female co-vocalist Tali, Outsideoutside presents a show that is compelling and inspired. They made a whole lot of new fans on that crazy and magical night.

And this now brings us to the one and only Clio Cadence, who launched the evening into supersonic gear with a gloriously memorable show – delivering the kind of star making performance The Whisky is so renowned for. Formerly the lead vocalist of the late great pop rocking Love Past Blue, Ms. Clio Cadence is now in hard rocking chanteuse mode, and what a stunning presentation this captivating entertainer delivered to the early Whisky arrivals.

Sweet and sassy and ready to enrapture an entire music industry, Clio Cadence and her exhilarating band delivered thrilling songs such as Psychopathic Love and You Should See Me In A Crown (a brilliant Billie Eilish cover that Clio renders all her own).

Ms. Cadence is an absolute joy to watch, as she really knows how to work the stage and take the audience on 46

the rock and roll journey of a lifetime. With a solo career about to take flight and a collaborative recording with Michael Orlando of Dead Girls Academy on the way, Clio Cadence is certainly headed into the stratosphere of success. Be sure to catch into the magic and intrigue of Clio Cadence the next time she shows up to rock and rage in your town!

https://www.facebook.com/cliocadence/ https://www.facebook.com/DeadGirlsAcademy/ https://www.facebook.com/AliveInBarcelona/ https://www.facebook.com/outside0UTSIDE/ September/October 2019

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The Logan Sheppard Band The Baked Potato, Studio City, CA., August 20, 2019

Review by Ken Morton Photo by Jack Lue Those who have followed the career of drummer Logan Sheppard know him best for his days within the ranks of the pop rocking Love Past Blue as well as for his tremendous support of the Autism Rocks benefit show each and every year.

Now 18 years of age and playing like an absolutely seasoned veteran, Logan is ready to rock the world with his thunderous talents.

And what a treat it was to see The Logan Sheppard Band take over the iconic Baked Potato nightclub in Studio City, and packing the entire place to the rafters!

All this, and Logan and Company were playing one of the most difficult and exciting music genres in existence – namely JAZZ! And this would turn out to be a night to remember for both the top notch musicians and their very supportive audience.

ing performances with his legendary dad Larry Carlton.

Dedicating the very first song to his Musical Director Fred Dinkins (whose own credits include working with the likes of Deniece Williams and Stanley Clarke), Logan and his band launched into a set of jazz standards that was nothing short of magical and profound. Included in the band were students from the Musicians Institute who played their hearts out, sending the room into the stratosphere of pure auditory bliss. Logan is such a compelling drummer, and his passion and artistry was inspiring to witness.

Towards the end of the set, Logan dedicated the Stevie Wonder song Higher Ground to his mom and dad, and the entire band took to the stage to deliver an absolutely rapturous rendition of the classic tune.

Among the highlights of the show was a vibrantly euphoric vocal performance from Alexx Daye, who was worked with Patti LaBelle, Vesta Williams, Christina Aguilera and Ne-Yo. Travis Carlton also shined with his exquisite bass tapestries, his own vast credits includ-

Check out Logan Sheppard’s Official Website:

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World class performances were delivered all the way around, featuring the participation of Mitch Forman on keysboards, Alex Sill on guitar, AJ Asano on trombone, Christopher Astoquillca on sax, Ryan Buchanan on trumpet, Daniel Kinney on sax, and Jay Nelson on sax.

The Logan Sheppard Band will be returning to The Baked Potato on October 15th for an encore performance. Be sure to make your way out to Studio City and support the dreams and vast talents of Logan Sheppard and his superb jazz collective.

https://www.drummerrock.com/ 47

Hurricane at The Rainbow Bar and Grill Backyard Bash West Hollywood, CA., September 1, 2019

Review by Ken Morton Photo by Talia Farber Hurricane made a triumphant return to the wilds of the Sunset Strip, performing a co-headlining show at The Rainbow Bar and Grill Backyard Bash 2019. Sharing the bill with the likes of Steven Adler and Sponge, Hurricane swept the entire audience away with its exhilarating brand of raging rock and roll.

Taking place outdoors in the parking lot behind The Rainbow and the world famous Roxy Theater, there was a massive crowd awaiting the arrival of the sheer force of nature known as Hurricane as dusk was approaching. And Hurricane took to the stage unleashing a Category 5 performance of sheer ultra-dynamic intensity. Opening their set with a thrilling rendition of their namesake Hurricane song from their landmark 1985 Take What You Want debut, one witnessed a band in top form slamming into a performance to be remembered for the ages.

In addition to their own memorable compositions, Hurricane unveiled a few covers, including the Alice Cooper classic I’m 18 – which Hurricane recorded on their 1988 album Over The Edge. The other cover song was a stunning rendition of Under Pressure by Queen and David Bowie – which Hurricane had just released as a single – and this selection unleashed live thoroughly captivated the Rainbow attendees.

Hurricane was formed in 1984 by guitarist Robert Sarzo, and bassist Tony Cavazo who both had older brothers within the ranks of Quiet Riot. And in 2019, the band certainly continues to deliver the sonic goods in a live setting. Robert Sarzo is one of the most underrated guitarists on the planet, his imaginative axe work ripping through the entire performance. Tony Cavazo supplies a supremely intensive low end on bass.

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Drummer Mike Hansen displays his massive talents with a gale force precision. Newest member Jimi Seville on keyboards gloriously filled in the compositions with style and flair – especially on Under Pressure.

And then there’s Hurricane lead vocalist Chad Cancino – passionate and charismatic – unveiling the lyrics with a dynamic amount of ferocity.

Here’s hoping we experience a whole lot more from the Hurricane battalion in future days. With remarkable musicians at the very height of their craft, it will be very intriguing to see what the future has in store for this still very committed band.

In addition to Hurricane, be sure to catch the one and only Robert Sarzo in his new band Diane & The Deductibles opening for The Motels on the following dates:

October 18th - The Canyon Club, Agoura Hills, CA October 19th - The Canyon, Montclair, CA

Discount Tickets Available: dianeandthedeductibles.com September/October 2019

HIGHWIRE DAZE

Iron Maiden Banc Of California Stadium September 14, 2019 Photo by Jack Lue

Iron Maiden, Legacy Of The Beast Tour Banc Of California Stadium, September 14, 2019

Review by Ken Morton Photos by Jack Lue Since their glorious inception in 1975, Iron Maiden has unleashed world class heavy metal, amassing 16 epic studio albums and countless tours all across the globe. In 2019, Iron Maiden remains at the very height of their creative prowess, traversing North America demonstrating why they are one of the most acclaimed heavy metal outfits of all time. The Legacy Of The Beast Tour is the name of their latest run, and Iron Maiden made their way to the vast and towering Banc Of California Stadium in Los Angeles for a concert of blockbuster proportions.

From the dazzling stage show, the brilliant lights and pyrotechnics, and then on to the tremendous talents of each and every band member, Iron Maiden poured their hearts and souls out, presenting to their fans the concert of a lifetime.

Opening their set with an airplane bomber hovering overhead, Iron Maiden slammed into the stratospheric refrains of Aces High from their 1984 classic Powerslave, instantly enrapturing the very packed to the rafters and beyond Banc Of California Stadium. Throughout the show, Bruce Dickinson not only commanded the stage with those thrilling vocals seething with a magnificent amount of power and intrigue, but the iconic front man proved to be quite witty as well. Whether referring to the band as “your fucking granddaddies of metal” or commenting that the combined ages of the members predate the U.S. Declaration Of Independence, Dickinson was the perfect master of ceremonies.

It was a staggering exhibition of fan favorites spanning a grand and inspirational career, and Iron Maiden would deliver tenfold. And what a memorable and mystical night it was, with concert goers of all ages as far as the eye could see. Combined with the raging tunes and a full moon shining incandescently over the stadium, the amalgamation was breathtaking to behold. There were many highlights throughout the show, including two Blaze Bayley-era songs The Clansman and Sign Of The Cross which were absolutely devastating with Dickinson taking HIGHWIRE DAZE

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the lead. Flight Of Icarus from 1983’s Piece Of Mind was supremely rapturous, with a vision of the Greek mythological character soaring over the stage and then mysteriously evaporating into thin air at the end of the song.

The unholy trinity of Dave Murray, Janick Gers, and Adrian Smith certainly know how to deliver a three guitar assault to the senses, setting the stage into supersonic gear with their powerhouse performances. Founding member Steve Harris presents a wild and exhilarating low end on bass, delivering the blistering impact with a massive amount of skill and conviction. And bringing it all home with an all-out vengeance was drummer extraordinaire Nicko McBrain.

The one-two punch launched of The Number Of The Beast and the namesake Iron Maiden would result in the Banc Of California metal masses demanding an encore. Iron Maiden was more than happy to oblige, returning to the stage to perform The Evil That Men Do and Hallowed Be Thy Name. For the grand finale, Iron Maiden raged into a brutally thrashing rendition of Run To The Hills from 1982’s Number Of The Beast magnum opus – a stunning conclusion of a show that will remain within the heavy metal hearts of all who attended this vividly historic concert.

https://ironmaiden.com/

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Diane & The Deductibles premiere a Music Video

T E A R S on their new YouTube Channel!

Diane & The Deductibles has premiered their first ever lyric video for their song T E A R S on YouTube. From their recently issued TWO album, T E A R S was filmed in Orange County as a collaborative effect between vocalist Diane Adams and video director Natalie Lauren. Filmed in the grand DIY tradition, T E A R S is a thought provoking testament about being fearlessly alive in these tumultuous time. The video is dark yet inspirational, taking the listener on an exhilarating journey with the wisdom and candor of Diane Adams and her band as your auditory guides.

Diane Adams states regarding T E A R S: To Survive in this crazy world, this NEW political nightmare, the song T E A R S reminds us it’s now a place where your opinion defines who you are and people are backing into their corners defending their positions,… but thoughts and core beliefs have a tipping point, change can happen in the night, so don’t be too quick to judge those around you, they could change in the night but to damage the fabric of friendship will never be worth our current political turmoil…

T E A R S lyrics remind do you that pain and conflict remind you are alive… We are living, breathing, suffering, sharing, hoping this world gets better..”

Video director Natalie Lauren (also known as Madjesla) is a songwriter, musician, screenwriter & aspiring film maker. Her goal is to create a visual experience that will make you want more of your own curiosity. Regarding the making of T E A R S, Natalie Lauren states: Like many artists in 2019, I believe Diane felt compelled to make a politically charged song inspired by America’s present state. Her single T E A R S sets a unique & surprising tone, with lyrics like “Run your fingers down the cellophane shade, & “Foolish found another place to live.” Diane’s meaningful lyrics, comes with her unfiltered air of taking a brave stand.”

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“When you work with Diane, she’s remarkably detailed with her vision and has a true concrete self-made backbone. She’s undoubtedly the strongest woman I know.”

T E A R S may be experienced on the Diane & The Deductibles BRAND NEW YouTube channel. For more information, go to their website www.DianeandTheDeductibles.com “Please be sure to subscribe to our YouTube channel and give our video a like.”

A female fronted classic rock band that fans of Heart and Bonnie Riatt are sure to enjoy, Diane & The Deductibles has just unveiled their second album TWO. In addition to the trademark guitar work of Robert Sarzo of Hurricane, also included within the members of Diane & The Deductibles are Diane Adams on lead vocals and guitar, Cliff Rehrig (formerly of Air Supply) on bass, Keith Lynch (music director for the Bill Ward Band) on guitar, and Ronnie Ciago (formerly of Riverdogs and Brand X) on drums.

Diane & The Deductibles will be playing two shows supporting The Motels in Southern California.

The dates and venues are: October 18th – The Canyon Club in Agoura Hills, CA October 19th – The Canyon Montclair in Montclair, CA Discount tickets may be purchased here: www.DianeandTheDeductibles.com September/October 2019

HIGHWIRE DAZE

ALBUM REVIEWS In Cauda Venenum (Swedish Version) Opeth Moderbolaget / Nuclear Blast Records

by Bret Miller On In Cauda Venenum, Stockholm Sweden’s Opeth create yet another dramatic, body and mind moving album with more confidence and grand ideas than ever before.

I’ve loved Opeth since Blackwater Park came out in 2001.

Here was a band that started out wanting to fit in with all the other Swedish metal bands yet quickly took a left turn into dramatic, pretty, clean vocals songs and revealed their wanting to reach a wider audience. Seeing Opeth open for and be part of numerous lineups, they always amazed, even when they played three songs in their 30 minute set. At one show someone yelled “You should be headlining!” And they soon were. I think Opeth’s defining sound up to a point was that dichotomy of brutal metal and mysterious or romantic quieter parts, that invited in fans that were less into straight metal, while giving the metal fans something more to enjoy.

Opeth’s leader Mikael Akerfeldt took the band’s sound into another world with 2011’s Heritage, an about face from the chaos and power of metal into a more nuanced, slower, gentle sound.

Akerfeldt wanted to bring in the feel of the bands he sought out from the late ‘60’s and ‘70’s, vinyl releases with analog tape production and fantastical artwork. Pale Communion followed in 2014 with a more focused approach and faster tempos and in 2016 Sorceress raised the bar with soaring vocals and more progressive sounds.

Then Akerfeldt felt he needed a break from the band, from recording and touring. After that decision, he went right back to writing songs but without the pressure of schedules and deadlines and came up with the idea to sing in his native tongue. I’ve always thought his clean vocals were excellent but singing in Swedish really set him free to find new rhythms and vocal approaches that change the feel of the song. You can get the album in English too but I’m loving the Swedish version. Akerfeldt wanted to make the songs grander, stranger, yet In Cauda Venenum still sounds like the Opeth of the past decade.

In Cauda Venenum opens with an atmospheric introduction and electronic burbling on Livets Trädgård, leading to the wailing voice of Akerfeldt, keyboardist Joakim Svalberg’s dramatic flair, Fredrik Åkesson’s melodic and heavy guitars and Martin Mendez on bass and drummer “Axe” Axenrot grooving mightily on Svekets Prins. It’s all so grandiose and moving, yet each member shines. Hjärtat Vet Vad Handen Gör follows, chugging along powerfully, with one breathtaking part after another, Akerfeldt’s voice sounding better than ever. This song should please the metalheads.

Minnets Yta goes for a softer approach with piano and strings, each performance distinct and a soulful guitar lead that helps keeps the song from falling into schmaltzy 70’s AM soft rock.

Charlatan jars the listener out of the quiet mood with Akesson and Akerfeldt’s spry guitar runs and grungey chugs, SvalHIGHWIRE DAZE

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berg taking up the melodic motif, strings drop in, you’re banging your head to the heavy guitars and Akerfeldt’s robust vocals.

This is Opeth firing on all cylinders.

In Cauda Venenum closes on another dramatic note. Allting Tar Slut is heavy and satisfyingly meaty. Akerfeldt ably reaches a higher register, countering the more weighty performances, dropping in liquid keyboards and acoustic guitar and strings, taking us on a journey in one song as they are wont to do. And those searing guitars will put stars and fire in your skull. A truly epic song to close an epic album.

Go to www.opeth.com now to order shirt, vinyl and CD combinations of In Cauda Venenum.

Compass Ummagma Leonard Skully Records

by Bret Miller From the opening seconds of Canadian duo Ummagma’s new album Compass you realize you’re being taken on an adventure. Rolling begins with a picked string instrument, hand drums and percussion roll in, with handclaps and grooving bass and guitar then Alexandar Kretov’s breathless vocals invite you to dance. The parts may not be so familiar but the end result is. Caravan follows, with big drums and a whistle cutting through the noise. Shauna McLarnon’s alluring voice enters the mix as the rhythm gets sexy, Alexander’s raspy vocals a counterpart to Shauna’s.

LCD sounds like it could be a straightforward midtempo dance track, but Ummagma confuse your senses with layered wordless vocals, a twisty groove and electronic blips and bloobles over the drums. I enjoy the picture of people dancing to this track.

Elizabeth 44 is another song that could be a straightforward dream pop song but for the quirky rhythms and guitar and bass parts muscling their way into Shauna’s lovely vocals.

Blown opens with an acoustic guitar line reminiscent of Space Oddity, before becoming part of a synth-spiked sensual groove with Shauna’s inviting vocals.

Lotus has a classic sound to it with Alexandar’s comforting vocals accompanied by jangling guitar, synth washes and a slowly grooving beat. Ummagma at their most accessible.

On Compass, Ummagma bring their idiosyncratic approach to music, proving that you can be different yet still accessible.

And the feeling of love throughout the songs is a testament to the bond between the married couple.

Ummagma’s Compass is now available on vinyl, CD and digital at: https://ummagma.bandcamp.com/album/compass Listen to Bret’s Ramblings at Highwire Daze Radio on Live 365 Daily 3:00PM and 11:00PM PT In North America: http://www.highwiredazeradio.net http://player.live365.com/a00224 https://live365.com/station/a00224 The rest of the world: http://streaming.live365.com/a00224 53