Project 86 - BRAVE NEW THOUGHT - November 2014 - HM Magazine by HM Magazine

TABLE OF CONTENTS

REGULARS Letter from the Editor

THE JUMP

S&SS: Justin Symbol

Digital Tour Bus: Tips for Living in a Van

HM Live: Louder Than Life Festival

HM Live: Anberlin’s Farewell

HM Live: Household and Comrades

BY DAVID STAGG

PHOTOS BY BROOKE LONG

A PHOTO ESSAY BY GAELEN SMITH

PHOTOS BY DAVID STAGG

COLUMNS

“Finding a Way to Get By”

“Bearing Witness for Truth”

My Life in Records BY MATT FRANCIS The Rev Chronicles BY TOMMY GREEN

REVIEWS

The Ghost Inside (pictured), Silent Planet, The Classic Crime and more...

N OV E M B E R 2014

Photo, left, by Joel Pilotte. Photo, right, by David Stagg.

TABLE OF CONTENTS

FEATURES 52

Butcher Babies

BY DAVID STAGG PHOTOS BY BROOKE LONG

“A lot of people have that first impression. They think we’re going to suck because we’re women. That goes back to what we talked about earlier. It’s unfortunate that people still have that bias in metal music. It’s pretty silly.” — CARLA COATES

Project 86

The Classic Crime

BY JORDAN GONZALEZ INTRODUCTION BY DAVID STAGG PHOTOS BY BROOKE LONG

BY SEAN HUNCHERICK

LETTER FROM THE EDITOR

Neverneverland It feels crazy to admit, but

a very fleeting or immediate sense of purpose. It’s not on my long-

I’ve been solving this gigantic

term list of goals, but the challenge is what makes it fun, not neces-

puzzle. It’s been so much fun,

sarily solving it.

it even consumed me for a day

As soon as I realized I was comparing myself to a kid, I felt bad. I

and for a hot minute I felt like

started to find myself thinking it multiple times to where I forced

a big kid. I kind of enjoyed that

myself to figure out why I felt that way. Humans have such a per-

feeling, though; it made me feel

manent association of puzzles with children, I thought, it must sub-

like I had purpose, even if it was

consciously bubble up. And adults, naturally, would assume the converse must be true as well: If puzzles are for children, adults, then, shouldn’t play with puzzles. One of my personal goals is to live a life of learning. My dad taught me that. I got to spend a lot of time with him growing up (driving me to and from soccer practice), and I watched him pursue learning every day. Not only did he always have a book with him, but before I was old enough to hold legitimate, adult conversation with him, he

C.E.O. / EDITOR IN CHIEF

DAVID STAGG

would take out that book at every stop light to fill the time reading.

MANAGING EDITOR

COLLIN SIMULA

To this day, he uses words I have to look up.

DIRECTOR OF PHOTOGRAPHY

BROOKE LONG

In a life of learning, there’s a constant recognition of the malleability of self. Physically and mentally, the body can handle a lot. Daily,

DIRECTOR OF ADVERTISING

NATHAN KEY

Americans barrage it with sugar and fat and preservatives and people

ADVERTISING AND

BROOKE ALYSSA

are still living to be 80. It’s a lot easier, quite literally, to watch The Big

SPONSORSHIPS

Bang Theory than read The Grapes of Wrath. The easy way out is always an out, but the mental and physical results are so rewarding after con-

STAFF WRITER

JORDAN GONZALEZ

quering something, like finishing the puzzle, winning a national title,

COLUMNISTS

MATT FRANCIS, TOMMY GREEN

besting a Battle of the Bands, running your first 5k, dropping below a

CONTRIBUTING WRITERS

NATE LAKE, BEN RICKABY, JOSH

certain benchmark weight, or as simple as not drinking that day.

WIEDLING FOR DIGITAL TOUR BUS

People associate “learning” with “school.” Our gut reasons the same fallacy: If school wasn’t cool back then (as a kid), it’s not cool now, ei-

INTERN

SEAN HUNCHERICK

MAILING ADDRESS

5210 CANAL ST.

anything, and I can choose to engage in things relevant to my desires:

HOUSTON, TX 77011

how to add Bluetooth to my car, what gregarious means when referring

ther. Part of my thinking also tells me I hated learning things I was forced to learn, but after high school, I’m not required to do much of

to animal bodies, how to hang TVs and pictures and fifty-pound conNATHANKEY@HMMAGAZINE.COM

verted doors to make our new office a new home. Luckily for us, that

BALYSSA@HMMAGAZINE.COM

last one was true. And after we DIYed our new office on the East side of

LETTERS

LETTERS@HMMAGAZINE.COM

downtown Houston, our hearts felt we had made a new home to play in.

CUSTOMER SERVICE

SERVICE@HMMAGAZINE.COM

We were even chosen by Black+Decker to represent their DIY ethic —

SUBMISSIONS

BANDS@HMMAGAZINE.COM

something I strongly believe in* — on a billboard in Times Square this

ADVERTISING

holiday season. That’s learning, even if it doesn’t sound like it, and it is truly rewarding.

DAVID STAGG, EDITOR-IN-CHIEF DSTAGG@HMMAGAZINE.COM

HM CONTENTS MAY NOT BE REPRODUCED IN ANY MANNER, EITHER WHOLE OR IN PART, WITHOUT PRIOR PERMISSION.

HM MAGAZINE IS DEPENDENTLY OWNED

* H o use hol d

and

AND OPERATED: PSALM 62

i n t h is iss u e .

N OV E M B E R 2014

C om r a de s

s tage d a m u lt i - c i t y

DIY

ho use t o u r , f e at u r e d

be l i e v e s t rongly i n b o t h of t h e se ba n ds .

EVERY ISSUE

FREE ONLINE SINCE 1985

HMMAGAZINE.COM

THE JUMP

LOUDER THAN LIFE DELIVERS WITH FAN-FUELED PERFORMANCES AND A SOLID LINEUP, TOP TO BOTTOM, P. 26

JUSTIN SYMBOL ‘IF I WERE IN THIS FOR MONEY, I WOULDN’T BE FLIRTING WITH A LOT OF THESE IMAGES. ’

DIGITAL TOUR BUS IS HERE TO GIVE YOU TIPS ON HOW TO LIVE OUT OF YOUR VAN , P. 18 7

JUSTIN SYMBOL SAYS

BY DAVID STAGG PHOTOS BY SCRYER PHOTOGRAPHY

JS UY SM TB IO NL

THE JUMP JUSTIN SYMBOL SAYS

At first, Justin Symbol felt a whole lot like any other musician slash artist doing freaky stuff for freaky stuff’s sake. It happens so much these days, inverted crosses and sacrificed goat heads on outfits are de rigueur; they’re now more fashion sense than religious sense. Symbol’s dark, electronic, staccato songs are creative and progressive, and — most importantly — he is choosing art over comfort. His debut release, Voidhead, is the yang to an upcoming yin, but for now, he is exorcising his demons through the gut punch of an 808. How did the shoot go the other day? Justin

Symbol:

in God or to worship

you’re

God, and it’s become

light.

under

that

so popular to wear

I don’t know. I’m

was great. It was real-

these stupid upside

in a different light; I

ly great. You’ll see

down

don’t know what light

we had a cult/voodoo

sh-t, like some of the

theme going on in

hipsters are all wear-

the graveyard. It was

ing. I think the roles

Well, why don’t

really cool. I had a

have been reversed,

candle of St. Gabriel’s,

man.

the angel tasked with

crosses

and

I think it’s more

I’m in, man.

everything and every-

with a double cross.

one. You’re pissed off

Everything I do has a

when things don’t go

double cross in it. It’s

according to plan.

a very central theme

To me that’s the

in my work.

God aspect of each person’s personality

I think people will

and the Satan aspect

say you’re going to

you try to explain

animalistic

be a shock rocker;

it?

side, the part of us

your job is to sell

look like under your

that wants to rape,

as many records as

light?

murder, steal and kill.

possible, and you’re

doesn’t

All of us have it in us,

going to do it by pok-

What

does

the

casting Satan down

shocking

to hell. Somehow, it

days to say, “I believe

disappeared while we

in God,” than it is to

look like a meth pipe

we like to deny it and

ing a lot of sleeping

were in the graveyard.

say, “I worship the

(laughs).

Sometimes

pretend it’s not there

bears. Where do you

That was very myste-

devil.”

people like to smoke

but we all have it in

see yourself in that?

meth out of light bulbs

us.

these

rious, a very mysterious coincidence. I left it on a statue of Jesus, and then I went back

That’s

definitely

an interesting take. Especially

Well,

I think, as far as

but it doesn’t look like

We often confuse

the bulbs anymore.

those two things —

if I were in this for

shock

rocker

goes,

with-

It’s a new bulb and I

chaos and order —

money,

to get it — because I

in the heavy metal

don’t know what kind

and we confuse them

realized I had left it

community. Satan has

of bulb that makes it.

with good and evil,

lot of these images.

there — it was gone.

become very popular

but

We couldn’t find it

there. I don’t think

You don’t feel like

anywhere. That was

they even know what

some spooky sh-t. I

the f-ck Satan is, but

think Satan was mad

they certainly think

(Laughs) I think my

I was trying to rep-

it’s cool if they say

resent the angel that

they’re

cast him down, you

him.

wouldn’t with

differ-

Because as much as

ent because extreme

it might gain atten-

you can explain your

order

good.

tion, especially nowa-

light?

Extreme order is fas-

days when everybody

cist

totalitarianism.

is so politically cor-

light is alternative.

That’s not good either.

rect, it’s like playing

I see God and Satan

We need a little

with fire. I’ve found

as metaphors for the

healthy dose of God

that a lot of people are

chaos and the order

and we need a little

scared away or turned

It’s been cool to

that exists inside each

healthy dose of Satan

off from what we’re

love Satan for awhile

person. Each of us has

inside of us. That’s

doing,

Back?

now in metal music,

this desire to control

what the whole cross

otherwise really like what we’re doing.

know?

That

down

with

candle

wants to go back.

they’re

flirting

not

who

might

Yeah, he wants to

but it’s interesting

everything, to control

symbol I use in my

go back, man. I got a

to hear you say that

ourselves and to be

artwork

represents.

It’s a double-edged

little slap on the wrist

it’s unpopular to be

part. That’s the way

For this photo shoot,

sword when you talk

for that one. I think

Christian

because

I like to describe my

it was on the earring

about shock. I don’t

Satan is God and God

I would argue that,

idea of God. It’s that

I was wearing. I had

really think it’s this

is Satan nowadays.

unless you’re in that

totalitarian inside of

two rings with double

quick fix for success

bubble, it’s as pop-

each person, where

crosses on my fingers.

as some people seem

unpopular to believe

ular as ever when

you want to control

I have a finger tattoo

to think it is. If that

think

it’s

N OV E M B E R 2014

THE JUMP JUSTIN SYMBOL SAYS

was the case, then why wouldn’t there be more shock rockers? I

believe

don’t

people

really

think

key factor in music.

That was where I got

exactly where you’d

people that electron-

They’re going to be

the idea that a better

see a Justin Symbol

ics doesn’t mean it

less likely to sponsor

way to communicate

show, let’s put it that

has to be this sissy

us than they are some

my concepts would be

way.

music. That’s where

cheesy,

through music rather

No, it’s not. In fact,

run-of-the-

we got our roots with

about what shock rock

mill,

band

than through jour-

when I was a stu-

actually is. Shock rock

that’s super safe and

nalism. I saw that a

dent there, I was very

is flirting with social

super corporate where

lot of journalists had

much apart from my

taboos. It’s examining

there’s nothing dan-

their

classmates. A lot of

oped

the things that are

gerous. There’s no risk

and everything was

people

Baba as you were

forbidden in our soci-

about that. If any-

being reported with

very... It was like this

ety and making peo-

thing, rock and roll

some kind of slant. It

yuppie, preppy envi-

then eventually you

ple ask themselves,

is more corporate and

really turned me off

ronment, and they

dropped

“Why are these things

safe now than ever

had very stiff and

you ever finish get-

forbidden? Why do we

and therefore needs

it made me realize

politically

correct

ting your degree, or

fear them?”

shock rock, more so

that I would be more

ideas of art, enter-

did you just decide,

now than ever before.

interested in pursuing

tainment and news

“Hey, this isn’t for

my ideas artistically

as well.

me.”

The were

people doing

who

generic

shock

rock, over the years,

I’d like to hear a

weren’t doing it to sell

little bit about your

records.

history, because I’m

They

were

doing it because that’s

interested

who they were. That’s

you

what was calling them as

own

agenda

journalism,

and

rather than as a journalist. That’s

when

there

were

They had a very

our sound. You say you develthose

with

Syracuse, out.

and Did

I have a degree in

limited outlook. I was

news

often at odds with the

had gotten my degree

journalism.

how

hooked up with Baba

people I was at school

and moved to New

evolved

and

Yaga, keytarist with

with. I found more

York. I started work-

came to be Justin

the

success

ing as a video edi-

They

Symbol, instead of

while I was at school

gratification in the

tor — that’s another

wanted to dabble in

just the guy on the

there, and that was

local music scene in

thing that I got into

darkness as an artist.

street that went to

the beginning of what

Syracuse.

while I was at school.

junior high school.

would later become

artist.

I don’t think it was

band.

met

and

was

all

about

We filmed a music

and

video, which is still on

YouTube now if people

were

were playing a lot

want to look it up. It’s

this quick fix of sell-

I got into music as

ing albums that peo-

a teenager. I was in

ple think it is, because

school studying com-

anyone who says that

munication. I went to

on campus, is that

of shows with these

called

is not doing shock

Syracuse University,

where

devel-

really heavy bands.

was

rock. If they were,

and I was studying

oped your views and

That’s part of where

(laughs).

they

realize

television, radio, film.

your beliefs? Most

we got this kind of

response

that, no, it’s certainly

I was in the best jour-

people

heaviness

our

was a big controver-

not an easy way to sell

nalism school in the

types of views don’t

sound, which we had

sy about this Danish

albums, especially in

country, and I was

attend a common-

to compete. We were

cartoon. I don’t know

a day and age when

learning how to com-

ly... My uncle went to

doing electronic stuff,

if you remember it.

sponsorship is such a

municate.

Syracuse and it’s not

but we had to show

It was in 2004. It was

would

N OV E M B E R 2014

Justin Symbol.

h a r d c or e post-hardcore.

When

you you

with

those

“Mohammed a

Terrorist” It to

was

there

“A REAL FAITH, A WORTHWHILE FAITH, CAN ONLY BE STRENGTHENED BY SEARCHING AND QUESTIONING FOR THE TRUTH. IT’S ONLY FALSE FAITH OR WEAK FAITH THAT COULD BE SHATTERED BY WHAT I DO.” — JUSTIN SYMBOL

called Jyllands-Posten

art. That guy had to

looking for a fight,

saying

Mohammed

then research what

controversy. Basically

go into hiding. It’s no

though.

was a terrorist, I’m

I’m actually talking

this guy had a bunch

joke, man.

really

about it.

school

At the time, maybe

saying

children

That’s another thing

I was. I was a little bit

should have the free-

drawing the prophet

I’d like to comment

misguided as a young,

dom

expression

It’s also easier to

Mohammed. One of

on. This whole heavy

budding shock rock-

to say that, even if

write Justin Symbol

the drawings depict-

metal

er. When you’re young

somebody may dis-

off

ed Mohammed with a

sh-t, it’s really f-ck-

and

agree

menta l i z e

bomb in his turban.

ing safe. It’s very safe

music, you’re trying

may feel that their

because you exists

to target Christianity

to talk about these

beliefs are being vio-

somewhere else and

and be anti-Christian

big

which

lated.

not in my world.

nowadays

have

been

I’m

remember

that. That’s

how

satanic

bull-

because

you’re

issues, always

doing

somebody

not

saying

and

compartyou

Absolutely.

they’re not going to be

the things that have

that

learned how to edit

fanatics. They’re not

inspired me — but

are terrorists. I said

video: by editing this

going to come after

you don’t really know

Mohammed

what I’ve heard you

video that was called

you. They’re not really

what the hell you’re

terrorist. If you look

say in our conver-

“Mohammed was a

going to do anything at

saying (laughs). It was

at the history of the

sation is that you’re

Terrorist” (laughs).

this point. It’s actual-

one of those cases

prophet Mohammed,

fiercely loyal pro-

ly very safe. But when

where I wanted to

he kind of was. He

tecting art. You’re

How did it go over?

you start talking about

talk about things and

was raiding caravans.

willing to use what-

It didn’t become the

Islam, that takes a lot

I wanted to play with

He was like a warlord

ever means that may

viral sensation that I

bigger balls because

fire, but was I ready

warrior. People like

be to make sure that

hoped (laughs). Maybe

those people will fight

for that yet? Was it

to pigeonhole things

people,

that’s for the best. We

back if they feel like

responsible? Maybe it

because

they

don’t

yourself, have the

could have had a lot

you’re

was questionable.

actually

know

the

right to express that.

of death threats and

their religion.

sh-tting

the ability to produce

That sound

was

Through most of

especially

history of it and it’s

saying in that song,

easier to just say, “Oh,

is one of the most

was that no art should

that guy was a rac-

important

you’re

ever be off limits. By

ist, blah, blah, blah,”

of the human expe-

makes like

Muslims

Really, what I was

all that, which is fine, but it does impact

all

Absolutely.

A rt

aspects

THE JUMP JUSTIN SYMBOL SAYS

rience. People don’t

value

within

has a little bit of that

Not what you repre-

much

music. Rock and roll

social element in it,

sent.

they

now

said

stances all together.

used

has lost sight of its

though. I think that’s

to. People take it for

roots, those folk rock

important.

granted, but art is a

roots, which made it

Yeah.

of Christians would

basic,

a socially conscious

Where do you draw

I won’t cross lines

refer to as a spiritual

need.

art form and not just

the line between art

I find morally rep-

It’s existed since the

something for peo-

and harm? You can’t

rehensible.

dawn of civilization.

ple to shake their ass

go have sex with a

crossed certain lines

It’s

tal,

fundamen-

human

Where’s my line?

That

ex peri-

ence you had a lot

important

to. There was more

14-year-old just for

at times in my life and

part of who we are

to rock and roll than

art’s sake.

I have eliminated the

as people. It’s one

that. A lot of that

thing that separates us

animals.

I absolutely had a spiritual experience. What

happened

not.

factors that caused me

in those moments

has really been lost,

I don’t think that

to cross those lines.

you think prompted

especially in the new

would be art. Art is a

That’s it.

It’s something that

generation of bands.

reflection of the sub-

needs to be cher-

They just don’t have

conscious, and when

ished. Art is spiritu-

the

talk

it becomes a literal

were

al. Art is creation.

about anything that’s

act and it’s no lon-

drugs or alcohol?

not safe.

ger art, I’m not tell-

Drugs, alcohol and

to it? Because a lot

ing people to go out

bankrupt spirituality,

of people have those

side

and do this or that.

which was my state

experiences and get

or what is allowed, it

would be to say that

I’m telling people to

of mind for the past

floored and they’re

can become a really

there is still a need

do whatever the f-ck

ten years. Up until

like, “I don’t know

a dangerous thing.

for people who need

they want. I don’t

half way through the

what my next step

It’s not really doing

music to shake their

have a message.

creation of Voidhead, I

is.”

anybody any good,

ass to.

from

When

you

start

balls

putting a limit on what an artist can say

especially in an age

The

flip

Absolutely

experience.

have

At the end of the

Absolutely.

Our

day,

you to have a spiritual experience and

Would say those things

not previous to that? Then, following up, how did you respond

was in an increasingly

Well, I was doing

I’m

not

cam-

dark place, spiritually

things I was not OK

for

where Clear Channel

music is still designed

paigning

some

and mentally, and it

with. I was involved

is controlling all the

to shake ass. At the

kind of cause. I’m not

was causing me to do

radio.

end of the day we are

telling people to go

things that I did not

tions where I became

Live

dominates

Nation all

violent

situa-

the

entertainers as well.

out and do anything,

accept. Therefore, I

extremely

violent

venues. Music, now

I’m not trying to say

really, other than be

had to change my pro-

towards

others,

more than ever, has

we’re creating some

themselves and think

gram. I had to change

including

become

kind

for themselves.

what I stood for and I

where I came close to

this

thing

manifesto,

where you have to

high-art thing. At the

play by the rules.

end of the day, it’s

P e opl e

d on’t

expect certain things

situations

had to change, what

committing

Sure, but I’m ask-

I did on a daily basis,

on multiple occasions.

entertainment.

ing you as Justin.

which meant for me

It is rock and roll. It

Where’s your line?

eliminating

still

N OV E M B E R 2014

sub-

Honestly, afraid

murder I

was

what

‘I SEE GOD AND SATAN AS METAPHORS FOR THE CHAOS AND THE ORDER THAT EXISTS INSIDE EACH PERSON.’

THE JUMP

might do if I contin-

these eyes in a kalei-

They don’t have the

when I do my art now.

could

ued to use. I took a

doscope with fire.

humility

make

I don’t believe that

ble reach somebody

trip to Israel halfway

For me, I interpret-

it out because they

my art is the devil

with

through the creation

ed that as a glimpse

don’t approach it out

satanic

thing

you

possi-

those

types

staunch

social

Voidhead.

When

of my future I was

of humility and can’t

as it used to be; it’s

started

mak-

given to by some kind

bot, actually. It’s God

Well, there are a lot

ing Voidhead, I was a

of higher force. The

bigger

and it’s the devil. It’s

of people who, unfor-

mess. I was sleeping

future

chaos,

They can’t turn his or

chaos and order.

tunately, I may never

in my own puke. I was

madness and murder.

her self over to that

completely delirious.

For me, I saw that as

and set aside their

I was in the depths

a sign that things are

own will.

of alcoholism. I was

not going in the direc-

constantly

drunk.

was

something than

them.

structures?

reach because they You are embody-

may have shut them-

ing the spirits that

selves off, but I will

The funny thing is

you saw, and you saw

reach a lot of people

tion I want to go in. I

I, too, have a concept

this, the role you’re

who still have an open

When we did the song

don’t want to spend

of god or of a higher

playing for society,

mind.

“Purgatory,” I blacked

the rest of my life in

power, but mine is not

which is necessary

out and woke up in jail

jail. I don’t want to be

rooted in Christianity.

for the advancement

the

in Washington D.C.

a murderer. I’m here

It’s a higher power

of what some peo-

Arab” music video,

with no idea how the

to create art; I’m not

that

ple would just call

for

hell I got there.

here to self-sabotage

do exactly what I’m

humanity.

show

wants

the

end

“K illing instance, a

of an we

beheading.

I took a trip to

anymore and shoot

doing, which is what

Israel and I had a

myself in the foot

you called, quote-un-

vision there. There’s

any more. I made a

quote, “shock rock.”

Let me back up a

part of society right

change. I made a huge

It’s a higher power

second. I never said

now. In fact, with

change in my life.

that wants me to use

you were shock rock;

the latest situation

the arts to push peo-

I said a lot of people

with ISIS, I would

place

called

the

Western Wall, which is the birthplace of

Absolutely.

Beheading is a very important, very real

the three major world

When I hear that,

ple’s buttons, to chal-

are going to qualify

say

religions. I touched

the first thing that

lenge them and to

you as shock rock. I

ing is a very rela-

that wall and I had

make them question

think a lot of people

tive part of reality.

a vision, like a holy

that,

things.

Otherwise,

reading this would

We made that video

vision where I saw a

the world’s natural

why would I have been

say you’re just being

before the situation

lot of flames. It was a

order of things is to

so driven to do it all

taboo or off-limits

with ISIS, when there

kaleidoscope of eyes

devolve into chaos

these years?

or...

was a beheading of

and flames. I actually

or disorder. A lot of

Obviously there is a

tried to recreate that

people don’t make

force bigger than me

vision in the “Digital

it out of their dark

that’s telling me this

Out of touch with

after we made that

Penetration”

times; it’s a force

is my part to play in

the reality. How do

and suddenly it was

against nature.

society. That’s what

you feel stay truly

seen very poignant

I follow. I follow that

grounded, and how

afterwards.

video.

There’s one part of it where there’s all

think

No,

about

physically,

they

N OV E M B E R 2014

don’t.

Out of touch.

that

behead-

American journalist. It was just funny how

“SHOCK ROCK IS FLIRTING WITH SOCIAL TABOOS. IT’S EXAMINING THE THINGS THAT ARE FORBIDDEN IN OUR SOCIETY AND MAKING PEOPLE ASK THEMSELVES, ‘WHY ARE THESE THINGS FORBIDDEN? WHY DO WE FEAR THEM?’” — JUSTIN SYMBOL

It’s a part of reality

as much attention (or

that

you

I want to take people

that I have to say

that people don’t want

more) to it as the peo-

now, whereas before

on a journey and show

that hasn’t quite been

to look at, the part

ple who are interested

you kept feeling that

them that this not all

revealed yet.

that is the taboo, the

in it.

you had to rely on

about blackness and

other things?

despair.

sustained

I would say that a

forbidden. The fears

The other side of

of society, the things

it is I don’t want to

The most fulfilling

The next record that

while faith, can only

that we don’t want

water down what I’m

thing for me, honest-

we’re doing is going

be strengthened by

to talk about. When

doing just to reach

ly, is the work that I

to be called Godhead

searching and ques-

you talk about school

audience.

do outside of music,

and it’s the yin to the

tioning for the truth.

shootings

you

I don’t think it does

which is the personal

yang of Voidhead. It’s

It’s only false faith or

talk about terrorism.

it justice. People will

work I do to fill the

going to be a contin-

weak faith that could

That’s reality, too.

find

refreshing

void and fill the hole

uation of the con-

be shattered by what

In fact, it’s actu-

that there’s someone

that I have. In turn,

cept that was devel-

I do.

ally, in some ways, a

who’s not watering

helping others is the

oped with Voidhead.

I don’t think what I

more relevant reality

down their content in

most fulfilling thing

I think it’s going to

do is designed to turn

because

people away from any

larger

real faith, a worth-

it’s

some-

an age when so many

for me. It’s the most

shed a lot more light

unique

artists have chosen

fulfilling

I’ve

on some of the things

higher power. If any-

to our modern era.

to take that route in

found of filling the

that we talked about

thing, I talk about a

Music

order to reach a wider

hole.

thing

should

talk

about those things.

audience.

The

way

other

in this interview and

higher power in my

thing

show that I’m not

music. I might have

Art should talk about

Let me end with

is to be able to bring

this one-dimension-

alternative

those things. What I

this. I find fulfillment

that into the art — but

al character who is

about it but I cer-

do is very grounded in

in my own personal

that I’m just not com-

looking to lead youth

tainly do not advo-

reality.

journey. What do you

municating a place of

astray

corrupt

cate atheism in any

If you look at the

find most fulfilling,

darkness and pain.

them, so to speak.

sense. It all comes

history of provocative

what’s the thing that

There are going to be a

There’s a lot more to

down to how strong

arts, the case tends

keeps you moving?

lot of troubled people

this story than even

is your faith. It can

to be that the people

Where is it that you

who will be gravitat-

I am aware of at this

only be strengthened

who oppose it bring

find yourself going

ing towards what I do.

point. There’s more

by searching.

ideas

THE JUMP DIGITAL TOUR BUS

THIS MONTH ON TOUR

LIVING IN VANS

Living on the road in a van for an extended period of time is not an easy task. We suggest you follow these rules in order to maintain your sanity. Number one, keep things clean! Nothing sucks more than waking up middle of the night to go to the bathroom and stepping on a pile of mystery goop. Number two, take your vitamins. There is a lot of recycled air inside that small of a space. It’s easy to overlook staying healthy. Number three, make sure you use the restroom at the same time as everyone else. Don’t be that guy who makes the band late to load-in because you can’t hold it. On top of all the difficulties, it has its pros. The coolest thing is getting to know your friends even more than you thought possible. Remember to buckle up and enjoy the journey. JAIRUS KERSEY of ALIVE LIKE ME

N OV E M B E R 2014

Being in a van every day with the same dudes can be a challenge, but I wouldn’t change that for the world. I love the dudes I sit next to in the van; you just have to look past each others quirks and realize you have your own as well. Here are a few tips. One, bring small bags. Don’t be that guy that brings his whole house on tour with him. Two, pick up after yourself. Three, be willing to drive at 2:30 in the morning after sleeping for one hour. Everyone is tired, not just you. Four, coffee is your friend. Five, try to be as healthy as possible. There will be times this isn’t possible, but don’t be scared to snag a banana and orange juice at a Sheetz gas station at midnight. Six, be calm and collected. DAN MCCARTNEY of GIDEON

Pros of being in a van is you can pick and choose where you go. There is no bus call, there is no driver determining whether you can stop at Walmart (for much needed supplies). Another pro is that it definitely saves money compared to taking out a Bandwagon or bus. A con of being in a van is obviously lack of comfort, and they are much easier to get broken in to if you are in an unsavory area, which — surprise, surprise — most venues are in. Tips are to pack smart. Put all suitcases in the trailer and have only toiletries and things like laptops in a backpack in the van — and never leave it alone in the van. Be as hygienic as possible since you are in a cramped space with people who just sweat as much as you did on stage. Make extra keys and always lock your van/trailer! ROB WALDON of EXOTYPE

THE JUMP DIGITAL TOUR BUS

THIS MONTH ON TOUR

LIVING IN VANS Pros: The greatest pros with touring in a van comparing to a tour bus is that you usually sleep in a hotel instead of on the bus. If the hotel is nice, with a large bed and a proper bathroom, that beats the little bunk beds and diesel fumes of a bus every time. But if the hotel is sh-tty (which, for the most part, they are, unfortunately), you can end up being eaten alive by bedbugs instead (laughs). In the van we sit tight together, drinking beer and playing different games we come up with along the road. It’s cozy as well as claustrophobic, but it’s an unbeatable experience we would recommend to anyone who enjoys body odor. Cons: One thing that is tricky with vans is that they often break down causing troubles with the tour. If you are out touring for a couple of weeks, you can easily drive more miles than a regular car drives in a year, so make sure the van is serviced and in a good condition before you take off. It’s also important to check your insurance. Always calculate damage repairs towards your overall budget in case something breaks. You don’t wanna get stuck in the middle of nowhere missing the show and potentially getting laid. Keep this in mind and you’ll always be on time; the atmosphere in the crowded van will be a lot more friendly and relaxed. Good luck! DAVE SUNDBERG of SISTER SIN

N OV E M B E R 2014

Touring in a van is awesome. We’ve never been in anything else and potentially never will. Our friends have been in bigger vehicles, and the money we’ve saved and the freedom we have, compared to a bus or RV, is amazing. Make bunks so you can sleep comfortably, keep it clean and have a bunch of outlets to charge your phones. What more could you need? Make sure you change your oil and save up some extra money for tires. Some of these things might seem tedious and unnecessary, but your van is your tool to playing shows and seeing the country. If the day comes that you’re sitting half way across the country, broke and bummed because you forgot to change the oil or accidentally put unleaded gas in your diesel, you’re gonna be a sad group of metalheads. It’s pretty simple: You don’t need a bus or mini bus or anything to be comfortable. Just take some time, borrow your dad’s tools and customize your van to be as dope as possible. That’s it! Hit the road and shred till your tires fall off. DAVID MICHAEL FRANK of COLOSSUS

Touring in a van with your respective band family can be great and totally destructive at the same time. It gives you a chance to understand tour in its realist context, from the tires up. You’ll learn quickly that your vehicle is your life line. Next to merch, your van is what makes touring possible, so make sure to keep your tires rotated and have regular oil changes. When you pull up next to the band your supporting and they’re sitting comfortably atop a massive bus, remember: the grass is always greener. They wish they could freely drive to get food or doobs or ladies! Being mobile is often taken for granted. Clean sometimes. Don’t ever concern yourself with the appeared success of your friends and peers. Just remember your goals as a musician and the ethics you want to uphold. Try to keep the standards you have at home. At first, tour feels like this crazy new experience where the people come and go quickly. Over time, you’ll begin to realize those people reappear. Those people become almost more a part of your life than your own friends and family. Tour is one giant opportunity, so go f-cking make sh-t happen. ADAM CODY of WRETCHED

THE JUMP COLUMNS

MY LIFE IN RECORDS

Finding a way to get by BY MATT FRANCIS Matt Francis is a filmmaker/media designer out of Virginia Beach and the drummer for Feral Conservatives, an indie rock band. You can check out his website at mfrancisfilm.com.

“I think I’ve figured out a way to get by…” And with that I was rapt with attention. I had heard the song before, but it was finally time to hear a real solution to something both as ambiguous and specific as winning life, from a man who I believe could really tell me — a genuine Australian rock star. It all made sense. This band in my headphones had overtaken my listening for the past few months. I was 26 and vacuuming a church. My band had recently whimpered to a slow and unheralded death because, well, no one outside of the band cared. (Which reminds me to try and track down our old Myspace. For kicks.) But here! Here was a solution from a man I wanted to be, a man who had seen the world and written some of my favorite (and similarly saddest) songs. If that isn’t a (the) qualification to tell me the solution to life, then I’m not sure what it would be. I was a month into this

N OV E M B E R 2014

gentleman’s music completely diverting all of my listening habits away from everything else — those buzzy new releases, familiar classics, seasonal mainstays — and this, alone, could have been the culmination of my obsession. Total and complete devotion to a band’s discovery — where all other recorded music reverts to a state of irrelevancy — has happened to me a few times. These are the bands where you devour even their demos and scraps, and you listen with the fervency of other artists’ musical high-water marks. The two main ingredients for this level of infatuation, as I’ve uncovered, are mystique (an almost intangible allure to the legend of the band) and great, great music. As soon as you hit a road block, an unengaging album, even a tepid middle section on an otherwise solid release, the momentum slows. The band’s body of work has to maintain

an across-the-board level of quality to constantly keep you reaching for the next phase. It helps, too, if the band is quasi-self-destructive, irreverent, border-line destitute with equal parts charm and a tossedoff talent, the kind whose early shows were zine-traded triumphs and antics were relayed with both you-had-to-havebeen-there honor badge and disdain (hello, The Replacements). You Am I are a little known band stateside, mostly due to poor exposure and a meager attempt to squeeze them into the thrift store grunge sweater of Nirvana. In actuality, they are a blend of the Kinks, the Clash and the Replacements, with a frontman in Tim Rogers that can rival any of those guys and with lyrics both witty and introspectively soul-stirring, all forced through the sieve of charming Australian colloquialism. Part of their allure was their inaccessibility. After

a solid recommendation, I couldn’t get most of their music, other than sporadic YouTube videos. Pre-Spotify, they weren’t available on most U.S. download sites and certainly not in any U.S. retail stores. To legitimately purchase a You Am I release, I had to utilize eBay, even if through a third party. This meant being air-mailed from Australia, often resulting in postage costlier than the product itself. Every arrival was an event, carefully budgeted (around $20 USD an album) and anticipated with a careful debit balance and a prayer for international transit to be gentle on my jewel cases. When I worked with a church youth group, I had a degree of influence over the next generation, and when they didn’t think they knew absolutely everything about the world, they would occasionally let me offer a suggestion about it, be it Christ, morality, art. In those rare moments, I was able to give the

YOU’RE ASKING FOR A NEGLIGIBLE RETURN WHILE STILL ATTACHING SOME SORT OF CREDIBILITY FOR DEVOTING A PORTION OF ONE’S HARD DRIVE SPACE.

occasional music recommendation that was received with as a nugget of wisdom from a guy who spent way too much time listening, dissecting and waxing poetic about classic, new and underground. But what would happen? A youth would take a recommendation like “check out the Who” and go home and download their entire discography in a few button clicks. If you like rock music, you can’t dismiss the Who, but without a proper entry point and with minimal value attached to the torrented files, this ultimately cheapened their entire output by making it both completely accessible and entirely indigestible for their attention spans. You’re asking for a negligible return while still attaching some sort of credibility for devoting a portion of one’s hard drive space. We’re granted rights to say, “I own their every output,” with the correlation of “I get them,” without asking for

more than a passing look at a few hits and then on to the next craveable legacy band. I struggled with this in my own way, during my own “Great Awakening” post-high school (also known as the “Dark Ages”). It started with a period of great discovery; I would work through my favorite bands’ influences, as rooted in the age-old practice of tracing lineage through liner notes for the thank yous to other kin bands. In this case, I was descending into past generations of the alternative forefathers, the waves of bands prior to my formative golden age of the early 2000s. It starts simple enough: The Get Up Kids put out an odds and ends release, compiling 7” singles, B-sides and covers, giving me bands like The Replacements, The Cure and New Order. The Ataris have a song aptly titled “Song for a Mixtape” where they detail their own love-struck compilation

of Mineral, Jawbreaker, Built to Spill and the Descendants. Bleach told me about Pedro the Lion. MxPx had some of their earliest promo photos sporting NOFX. But I was standing over the buffet, and everything looked good. I found myself on a download spree, consuming bands faster than I could truly appreciate them — even faking genuine appreciate — in part fueled by my musical guru friend who liked to compete in the most innocuous and brazen namedrop sessions you can imagine. You soon realize that the hardest thing in the music-fanatic world is admitting you’ve never heard of a band and must therefore acknowledge another hipster’s dominance (often seen in the wild by a graceful head-lowering gesture into a craft beer). “That sounds awesome. Do you listening to the band XX?” “No, but I’ve heard of them!” This led me to having a

Descendants poster on my wall for a few years because I was supposed to like them. They helped shaped modern pop-punk (a Hot Topic favorite!). Of course I like them. Do I listen to them? Well… But I “own” their entire discography (thanks Limewire!) Quiz me! I can name at least two songs by them (and, in their case, hand draw all of their album art to near perfection). With You Am I, I was hooked. I had a thirst for each subsequent release, having discovered them nearly 20-years into their storied career and with seven impeccable releases under their belt. (Now eight.) I was forced to apply monetary value to each individual release, and I was forced myself to devote a crazy two-week, undivided attention span to each of their studio albums. And it all lead to this. This revelation: “I’ve figured out a way to get by…” couched nicely in the bridge, track

five on their fourth studio album, giving a new meaning to the two verses and repeated chorus before it. Some bands are a warm blanket, tried and true, only seeming to get cozier the more worn and frayed they become. Some bands are like a shot to the system, a blast of amphetamine in the way they pour over you, like a cold shower snapping you awake to the beauty in music, life, old chord progressions and the well of creative inspiration that looks like you can see the bottom but is really just your own reflection with the ceiling behind you. You Am I have the rare quality of a band that can be as reassuring as an old friend and unexpectedly freewheeling — who gets drunk at your wedding to find the words to toast your love with charm, aplomb, wit, and danger. Before Tim Rogers ever told me his solution to get by, I already knew it. I turned their music up and forgot I was a janitor.

THE JUMP COLUMNS

THE REV CHRONICLES

Bearing witness for truth BY TOMMY GREEN Tommy Green lives in Salt Lake City Utah with his Wife, Krissi, and his three kids. He spends his days as a pastor, itinerant preacher and church planter, and also yells for people as the vocalist for Sleeping Giant.

I’m getting ready to go to Cambodia for a week. A handful of friends and I will have the opportunity to work with a group called Agape International Ministries (agapewebsite. org), an organization that rescues children from forced prostitution, rape and sex trafficking and rehabilitates them in an area of the world that is referred to as a “Disneyland for pedophiles.” People go there specifically to have sex with children. It makes me want to cry and murder, all at the same time. Many of you have probably felt the same way. Compassion and conviction, all at the same time. Man, oh man. I’m really, really conflicted about it. I am excited to be confronted with the reality and to face and see the truth, but I am not excited to honestly deal with what I see. It brings up my issues. It forces me to confront the wickedness and depravity of a broken and sinful man, when all I want to believe is that people are inherently amazing. But the trip is

N OV E M B E R 2014

also a personal answer to my greatest prayer and desire, and it leads me to the real purpose of a new life in Christ. This is also my deepest desire, which is to be a friend of Jesus Christ. I want to know him intimately, spirit to spirit. I want to connect with him more everyday. I want to follow him and walk in obedience to his invitations to me. You will be my witnesses. You will bear witness. Any of us who have been inspired by the Acts of the Apostles (and this verse from the book of the same name) knows this amazing encouragement from the Master to his disciples can empower us and make us bold to tell His story. May we be so bold. May we go door to door and tell people about the person of Jesus and invite people to church. We get trained in supernatural ministry so we can present the gospel in a supernatural way. And we go to the nations to share the good news of the Gospel of Jesus with the “indigenous people of wherever” so that by

spreading the message of the death, resurrection and ascension of Jesus of Nazareth as a testimony to mankind forever of his lordship, identity and ultimate authority and reign in this place we dwell. The world will be transformed by the power of his witnesses. That’s one version of “You Will Be My Witnesses.” I don’t know we get to experience the other interpretation here, of heart of knowing Jesus and responding to Jesus’ call to be a witness is one that. I don’t know if we have accurately celebrated it as valid, treated it as real or as honestly prophetic as it is. Or created room for its holistic process in our communities. It’s a simple statement, but there is real depth and a scary invitation in the challenge to “Be His Witness.” To be a witness is to see something. To be invited into “His witness” can be the invitation to stand in a place where we are able to see what He sees. I bring this up because

sometimes I have felt like — in the face of rejection or unbelief or hurting a relationship or because of past religious hurts or perceptions — we don’t want to bear witness. But I think sometimes we don’t want to witness, period. We don’t want to see. We are afraid to see what he sees. We maybe go halfway. We maybe peek, but we are scared to death to look. We don’t really want to see what He sees. “Break the arm of the wicked and evil man; call him to account for his wickedness that would not be found out” Psalm 10:15. God sees. He sees what will never be seen otherwise. Then He invites us to investigate for the sake of bringing justice to our oppressed brothers. He invites us to see what He sees in the potential of people, in the face of their problems and yours, so that we may know him more, to understand him more. I am in. I am His witness, but I have to admit I am afraid to bear witness. I don’t know what I am going to see.

EVERY ISSUE

FREE ONLINE FOR LIBERTY AND METAL FOR ALL

HMMAGAZINE.COM

HM LIVE

HOME OF THE LOUD HM’S JOHNNIE VRANA AND DIRECTOR OF PHOTOGRAPHY BROOKE LONG VISITED THE BEAUTIFUL LOUISVILLE, KY FOR A WEEKEND OF SOME OF THE BIGGEST NAMES IN ROCK, INCLUDING BANDS LIKE LINKIN PARK. TRAVEL WITH THEM TO ONE OF THE NEXT FESTIVALS YOU SHOULD BE ATTENDING.

MEMPHIS MAY FIRE

THE JUMP HM LIVE

JUDAS PRIEST 28

N OV E M B E R 2014

STONE TEMPLE PILOTS FEAT. CHESTER BENNINGTON

The first annual Louder Than Life (Music + Whiskey + Gourmet Man Food) Festival blasted Champions Park in Louisville, Kentucky on a cold Saturday and a glorious Sunday in early October, where rock fans from all over the country descended on the heartland of America to prove that the heart of rock and roll is still beating. The festival featured side-by-side main stages with one side stage with staggered set times allowing Lifers to see almost every band perform. In keeping the theme, there was also a cooking stage and dozens of food trucks offering up the best in local eats, including almost every magical combination of fries, cheese, pulled pork and beef brisket you could dream of. There were multiple bars set up with craft beer and local whiskey, but if you wanted something more familiar, they kept national brands readily available. Although the grounds were packed, they were arranged so that there was plenty of room to move around and achieve the full festival experience. The musical lineup was insanely talented and deep, ranging from legendary acts like Judas Priest, Kid Rock, Papa Roach, Korn, Limp Bizkit and Stone Temple Pilots to the newest rising stars such as Nothing More, Avatar, Wilson and Motionless in White. Rockers of every age and taste had to have been thrilled with the diversity. There were an especially large number of radio rock mainstays like Alter Bridge, Fuel, Buckcherry, Five Finger Death Punch and Volbeat. Younger punks got to experience A Day To Remember, Bring Me the Horizon, Chiodos, Islander, Memphis May Fire and Miss May I, the latter two being featured on covers of this magazine in 2014. And there’s always Steel Panther, the part-’80s-hair-metal-tribute, part-stand-up-comedy routine, part-X-rated-Weird-Al. It all adds up to the festival’s name, with stellar acts and truly something for everyone.

THE JUMP HM LIVE

CHIODOS

N OV E M B E R 2014

THE JUMP HM LIVE

AVATAR

N OV E M B E R 2014

KORN

HM LIVE

“WHAT IS THAT FEELING WHEN YOU’RE DRIVING AWAY FROM PEOPLE AND THEY RECEDE ON THE PLAIN TILL YOU SEE THEIR SPECKS DISPERSING? IT’S THE TOO-HUGE WORLD VAULTING US, AND IT’S GOODBYE. BUT WE LEAN FORWARD TO THE NEXT CRAZY VENTURE BENEATH THE SKIES.”

JACK KEROUAC ON THE ROAD

A FAREWELL TO ANBERLIN PHOTO ESSAY BY GAELEN SMITH

THE JUMP HM LIVE

N OV E M B E R 2014

HM LIVE

THE JUMP HM LIVE

N OV E M B E R 2014

HM LIVE

THE JUMP HM LIVE

N OV E M B E R 2014

N SMALL TOWNS ACROSS THE COUNTRY, COMRADES AND HOUSEHOLD GATHERED CROWDS OF PEOPLE FOR ONE HOUR SHOWS. THEY EMPTY OUT QUICKLY AFTER THEY’RE DONE, BUT THE EXPERIENCE REMINDS EVERYONE WHY THEY DO WHAT THEY DO. PHOTOS BY DAVID STAGG

THE JUMP HM LIVE

N OV E M B E R 2014

THE JUMP

N OV E M B E R 2014

THE BUTCHER BABIES ARE THE HOTTEST THING IN METAL, AND FOR ONCE IT’S NOT ABOUT THEIR GENDER

DAVID STAGG SETS OUT TO DISCOVER MORE ABOUT THE ONE-TWOPUNCH OF BUTCHER BABIES’ FRONTWOMEN, A DUO WHO JUST SO HAPPEN TO LOVE WEARING SPIKES, DRINKING BEER AND RAISING HELL PHOTOS BY BROOKE LONG

CARLA COATES AND HEIDI SHEPHERD, She wouldn’t just smash guitars; she would RESPECTIVELY, IN THE PICTURE SPREAD gash them into chunks with a chainsaw. ON THE PREVIOUS TWO PAGES. YOU JUST She would set fire to and explode equipSEE THOSE TWO PICTURES AND IT’S LOVE ment on stage. She performed topless, save AT FIRST SIGHT. THEY’RE METAL’S DREAM for black electrical tape stretched over her GODS:

SELF-CONFIDENT, nipples in an ‘X.’

POWERFUL,

FEMININE INTELLIGENT AND PRETTY — AND THEY LOVE COLD BEER AND GET- Probably most remembered for her on-

stage antics (and the nipple tape), she’s

TING INTO TROUBLE.

little remembered for her entertainment They and are better known as the babies skills, having been a cook, a gypsy dancof a butcher but not because they can dress er, an actress and more, not only flirting down a hog or were in a mid-19th centu- with X-rated acts on stage, but even perry gang in Lower Manhattan. They were forming solo on film in a pornographic adopted in after touring the country as the party stunt. Butcher Babies, named for a song by their collective idol, the widely-known trouble- The point for them isn’t to exploit the exmaker, law breaker and free spirit, Wendy treme. The point is the heart, and that’s o. Williams.

the liberated spirit Coates and Shepherd are both preaching and living out. Here,

Williams is best known as the singer for they talk more about their place in metal, the Plasmatics, a band that, even by to- and talk track-by-track about the songs on day’s standards, had a riot of a live show. their latest covers EP, ‘Uncovered.’

As females in rock, what

especially starting out like we

vocalist,

sound this way, you’re supposed

do you feel like is the big-

did, wearing nipple tape as an

Butcher Babies: A lot of people

to act this way and how dare you

gest thing you overcame to get

ode to Wendy Williams. People

didn’t realize that whole look was

be different.” She really broke

to where you guys are today?

thought we were a gimmick band

in honor of Wendy O. Williams,

that mold, and she was a hero to

Would one still have to qualify

because of that. Unfortunately,

the first female to really break

both of us. As far as overcoming

‘female’?

a lot of people perceive women

the mold of being a girl in rock,

Goliaths, that was a big villain

Carla Coates, vocalist, Butcher

vocalists in metal as gimmicks,

of how you’re supposed to do it.

for us.

Babies: I think the stigma of

and it’s really sad people feel

She didn’t care about “you have

What we perceived as Goliath,

being females in metal, and

that way.

to look this way, you have to

specifically in regards to our first

N OV E M B E R 2014

Heidi

Shepherd,

album, was anything in your life

self in their shoes and acknowl-

floor while they’re playing. We

Recently, there has been a

that you overcame. It could be

edge the pain they had to go

put all of our emotions, all of our

small backlash from all of the

growing up with a bully or you

through and why they, perhaps,

energy and give everything we

girls in metal, like, “Quit call-

had bad parents or a bad home

gave you pain in return.

have on stage. It’s not necessar-

ing us female-fronted. We’re just

ily a shocking thing anymore. To

a metal band.” I get it. It’s an

some, it is.

easy way for people to classify

life or something. Unfortunately,

Shepherd: We have both gone

you see so many times kids get-

through something very simi-

ting bullied at school and they

lar to that lately. Growing up as

Shepherd: I don’t find any-

things in their heads. Sure. But

think, “Oh, I’ll turn around and

children in the households that

thing offensive by that. Alice

that doesn’t define us, the fact

be the big bully and then my life

we did.

Cooper’s still shock rock and

that we’re girls in our band. That

he’s one of the greats. Marilyn

doesn’t define our music and, by

Manson.

all means, doesn’t make it bad.

is better.” Carla, I know you grew up They go get a gun...

in Detroit. I’m sorry, Heidi, I

Shepherd: Yes, exactly. We

thought you—

wrote a song called “I Smell a

was bad.

Coates: Kiss. Kiss is still shock

Shepherd: Utah.

rock. We just saw Kiss.

Massacre” immediately after the Sandy Hook (school shooting)

It would only make it bad if it Great entertainers, too.

Shepherd: That’s the thing:

You grew up in Utah.

Your act can only continue so far before talent has to keep carrying you.

incident. We believe it stemmed

Shepherd: Yeah. Yeah. I grew

it’s entertainment. Maybe I’d be

from the home; he probably

up in Provo, Utah, Mormon

offended by a different term. But

Coates: Yeah, absolutely.

didn’t receive the love he needed

Central. Happy Mormon life.

shock rock is — by all means,

Shepherd: Exactly.

from his parents growing up. He

That was my life growing up. I

thank you, thank you for that,

didn’t take it and become a better

was the oldest of six kids in a

because putting us in a cate-

Clearly you guys are tal-

person. He took it and used it as

very religious and strict family. I

gory with the greats like that...

ented enough to put out more

revenge.

was the first, my parents were 20

(laughs).

records, with a new one com-

For us, we’ve all had the opportunity

our

ing up. The thing I noticed on

when they had me, and I resented them my entire life.

I gave your EP to somebody

your covers EP was that there

Goliaths, like the villains in our

Now I’m almost 30 and I’m

I didn’t know, asked them to

was less singing, almost none,

lives, but we changed our lives

looking back at what my parents

listen to it and tell me what

especially compared to Goliath.

for the better and became better

went through. They were kids

they thought about it. They

Is more the direction you two

people because of the things we

raising a kid. To me, being an

said: “I couldn’t believe how

are heading with this album

lived through.

adult now looking back, I feel for

good it was.”

you’re writing?

Coates: There’s a famous quote that says, “When fighting mon-

them. What would I have done at

There’s also a famous quote that says to beat your enemy,

Shepherd:

Very

interesting

observation.

20 years old raising a child? I think they really liked

sters, be careful that you don’t become a monster yourself.”

Shepherd: That’s great.

Or was it an unconscious

I know what I was doing at

the covers, but I also think

20 and it’s not raising a child,

a bit of bias was in there, in

I’ll say that much.

that they prejudged it to be

Coates: I don’t think we really

poor because there were two

thought about that. I think the

female singers.

songs we chose called for that.

Shepherd:

(Carla)

went

decision?

you have to become your enemy.

through the same thing just

It’s a fine line. How do you dis-

recently in writing her book and

Shepherd: Of course. Naturally.

There is singing on “They’re

tinguish between the two?

putting those emotions on the

Coates: A lot of people have

Coming To Take Me Away.” It’s a

Shepherd: I don’t believe in

paper.

that.

that first impression. They think

little bit different, though.

we’re going to suck because

Shepherd: I sing a tiny bit on “Beer Drinkers and Hell Raisers.”

Coates: I don’t believe that

You mentioned Wendy, and

we’re women. That goes back

either. I think that’s a really ter-

I’d like to talk a little more

to what we talked about earlier.

I don’t think that was inten-

rible way to look at it.

about her. To a lot of people in

It’s unfortunate that people still

tional by any means. We went

Wendy’s time, they called her

have that bias in metal music.

in with only one rule: nothing

and her band “shock rock.”

It’s pretty silly.

people would expect.

Shepherd: I think understanding your enemy, sure. Coates: I think that’s the key

At times, you guys have been

word, understanding. What hap-

classified as shock rock. How

pened to them understanding

do you guys deal with that

people as basic level human being

term?

Shepherd: Sucking is sucking (laughs). Male or female. Coates: Yeah. It’s always going to be there.

For the EP? Shepherd: For the EP, correct. We picked these songs, songs

Coates: I don’t mind “shock

Shepherd: But being good is

people would never expect to be

rock.” To me, shock rock is a

being good, male or female, too.

redone as cover songs, that were

There are a lot of things that

simple way of saying, “These

You can’t determine that based

originally sung beautifully or done

happen to people that can make

people put on a show.” When we

on gender. We’ve definitely set

in a different genre. We wanted to

them go astray, and if you really

first started this band, that was

out to prove that, and a lot of

make them metal. We wanted to

understand that, it’s a great way

one of the intentions we had: to

other females in this genre at

make them Butcher Babies.

to forgive people in your own

put on a show. A lot of people

the moment have also set out to

life who’ve hurt you. Put your-

just go up there and stare at the

prove it.

along the way? I don’t believe people are inherently bad.

I think that’s just naturally who we are. We love to sing when

it’s called for. When that emo-

When you do a cover song,

tion is evoked, but with those

you have to make sure it’s

Coates: We considered that.

As a kid, I knew there was some-

songs?

not note-for-note. Yours are

One funny thing we do when

thing wrong with the guy. I love

all worth the listen. A lot of

we’re picking songs or writing

him to death.

You love the songs, you stick

the reviews I’ve read, before

songs, we always make up the

with them, and if the scream-

I even listened to it, said the

music videos in our heads.

ing works...

same thing.

Shepherd: Singing did not fit

Shepherd: Thank you. I haven’t read any reviews. That’s one

more accepted among the gen-

thing I don’t do. I don’t read the reviews.

eral public. I don’t know if you guys thought, “Hey, look, now

Do you want to know? Do you want me to share that?

we can get away with a lot of these things...” Coates: No. We don’t write music like that. Even on our new album, when we’re writ-

Shepherd: No, it’s OK. I don’t care. I just don’t read them.

‘BEER DRINKERS AND HELL RAISERS’

ing stuff, if we want to sing Flury, joins the conversation.

then.

The first song, “Beer Drinkers

about things like that. We’re

and Hell Raisers,” was done by

just going to write, see what

ZZ Top, from the album Tres Hombres in 1973. “La Grange” Coates: Yes, we listened to

I thought it was different;

that. We can sing to that one.

forth and back and forth. Why not “La Grange”?

Shepherd: No, I never even

Flury: It’s too popular. We

because it didn’t really cross my

wanted to go with something a

mind.

little more obscure, and the title itself made it pretty obvious.

For what it’s worth, Goliath

Shepherd: She mentioned it;

to make. I think we had made a

Halloween time. My mom is from

cool video for “Sharp-Dressed

that same era. For me, when she

Man” in our head.

said that, I went, “Yes, we’re

Coates: In the end, “Beer Drinkers and Hell Raisers” is a great anthem; it’s great live. Shepherd: It almost actually a really hard making it a metal song. It was very difficult. The way you pulled off the guitar work was great. Flury: I couldn’t really do a

and every one (in Texas) is

Flury: It’s just that simple cadence... We just tossed that right out of the car. Coates: I knew it would be really dynamic for me and Heidi

Flury: Thanks for reminding

into a pretty cool part of the

together.

show.

on the whole album. It’s differ-

Do you know much about the

song?

didn’t

either, until I looked it up. Do This is the most obscure my entire life. First of all, who

way we write, we sit in a room

Coates: The bridge to that song was probably my favorite thing

behind

Shepherd: It fits right in with our crowd, and we’ve made it

great for that one.

‘THEY’RE COMING TO TAKE ME AWAY’

musically. Shepherd: It’s fun, because the

Flury: You could make it super creepy.

ent parts. It’s amazing.

Shepherd: It makes for a great anthem.

be two psycho chicks.

me (laughs).

song I’ve ever seen covered in

you know about the B-side of that record? Shepherd: No.

knows that song? Coates: My stepdad used to listen to it in the car.

Flury: “La Grange” has been

The artist released this 7” with the single — that became popular — but the B-side was

done so many times. It’s so com-

That’s crazy.

the exact same song played in

mon. We were just like, “Eh.”

Coates: My stepdad is crazy.

reverse. In fact, everything on

Shepherd: There was another

He was mentally ill. For real. He

the B-side was reversed, even

one, (singing) “Every girl’s crazy

used to listen to that song all the

the Warner Brothers Bros. titles.

Shepherd: Absolutely.

There’s nothing to the song.

The music video would be No. He’s got his own style,

Flury: Right.

doing it!”

Billy Gibbs solo over that music.

much better album, especially

album, as well?

this one? We got to do this one.” I had always heard it around

going to know how he plays.

noticed that! Good observation,

Did you do that for the first

that song. I’m like, “What about

lar videos that we’re never going

was also on that album.

was good, but Uncovered is a

the mental institution just struck

to sing that song, pretending to

don’t think we’re going to think

I listened to them back and

Listening to him sing to the song about being taken away to

Coates: These are million dol-

need a melody, we won’t do it. I

happens.

time. He’d be singing along to it.

me as very odd. I told them about You must be visual people,

didn’t make it. We were having Butcher Babies’ guitarist, Henry

a melody together, we’ll sing a melody. If the song doesn’t

Shepherd: Always.

Coates: Thank you.

on the EP. I was prepared to. Heavier music is becoming

’bout a sharp-dressed man.”

N OV E M B E R 2014

A LOT OF PEOPLE HAVE THAT FIRST IMPRESSION.

THEY THINK WE’RE GOING TO SUCK BECAUSE WE’RE WOMEN. B

CARLA COATES BUTCHER BABIES

N OV E M B E R 2014

I GET IT. IT’S AN EASY WAY FOR PEOPLE TO CLASSIFY THINGS, SURE. BUT THE FACT THAT WE’RE GIRLS IN A BAND DOESN’T DEFINE US.

THAT DOESN’T DEFINE OUR MUSIC AND, BY ALL MEANS, DOESN’T MAKE IT BAD. IT WOULD ONLY MAKE IT BAD IF IT WAS BAD. B

HEIDI SHEPHERD BUTCHER BABIES

Flury: He’s out of his mind, basically?

“Yeah!”

the

music when we’re getting ready,

band before us, so it was a night-

Osmonds!” and he’s like, “Huh?”

I’m

like,

“It’s

then I’m like cranking it as much

mare of a show.

(laughs).

as I can and annoying everybody

Apparently he was known as

Flury: Yeah, it was just crazy to

a novelty act, kind of a come-

hear that. We don’t even have to

dian. Part of the joke of the

venture that far from it. It’s just

song was whether he misses

awesome as is.

his dog, which passes away, because there’s a line in there:

Shepherd

(to

How into your career was

with it.

this, like a year? I think Alanis Morissette would be a good one. Carla?

Flury):

What

would you rip off?

Coates: I love Pantera. If I could mimic any sound, it would

“I’m going to take you to the

Flury: Oh, No Doubt.

probably be Pantera. We tried to

ASPCA, you mutt.”

Shepherd: Oh, yeah. Totally.

work with “Down,” and it’s just

Shepherd: It’s “mangy mutt,” That’s awesome!

mutt.”

Flury: I think No Doubt is one

‘PUSSY WHIPPED’

of those band who just had...

‘CRAZY HORSES’

OK, so we’re talking early in your short career. Shepherd: I had short hair, it was very early on. We still

like...

but we changed it to “f-cking

Coates: Six months. Shepherd: Yeah, like six months.

wore the tape — we stopped wearing it pretty much immediately after that video. We

mention

were still wearing the tape, and

influence and were inspired by a

Pantera, because I wrote down,

somebody got a video from in

oddly

lot of the heavy bands I listened

for “Pussy Whipped”: “orig-

the crowd on a sh-tty little cell

didn’t have to do any research

to. No Doubt was all friends with

inally a thrash punk song,”

phone. That sh-t went viral. But

made

them, but they were just a ska

eventually giving way to bands

that’s how everything started

Internet famous for a hot min-

and punk band back then. They

like Pantera. I was going to

evolving.

ute and is, apparently, one of

would sneak in their little influ-

ask you if you could cover a

Honestly, it’s, like, the worst

the most popular of obscurely

ences in their music

Pantera song, which one you

double-edged sword you can

would cover.

think of. They were like, “Oh,

“Crazy

Horses”

because

was

It’s

They had such a hidden, heavy

covered songs. The Osmonds basically ripped off Zeppelin

I think that’s a cool answer.

and were known to be very

What song would you play

inspired by them. If you could

if you were going to play No

rip off another band’s or per-

Doubt live?

son’s style, who it would be ?

Coates:

I just heard “Sixteen” off Tragic

that song because, you know,

Kingdom. I was at the mall, and

(points at self) Utah, Provo, Utah

I’m like, “I love this song!”

you

did

“F-cking

Hostile,” way back.

wow, two bitches in Wendy O. attire covering Pantera.” Flury: That’s why I watched

Flury: You know what’s funny?

Shepherd: First off, I chose

funny

It’s not on record, though.

two seconds and thought, “Oh

Shepherd: Oh, no. Jesus Christ,

no, I’m never watching it again.”

it is the worst video. Coates: I remember that night, it was horrible.

Seriously? I want to know what it sounds like.

obviously grew up a Osmond

Shepherd: That was a heavy

Shepherd: Let me tell you a

Shepherd: There are a lot of

fan, and I did know they went

song. But my answer is obvious.

story about this one. We used

videos of it now because we’ve

through a small “metalish”

To rip off an exact sound would

played it a couple times since,

phase. Donny Osmond actually

be Slipknot, but it’s been done

because when Carla and I were

did a quote for a press-release

a million times. The same with

in an old cover band together,

for that song. He said they were

Korn. It’s been done so many

we always tried to get the band

trying to do something off the

times, but those are my favor-

to cover “F-cking Hostile.” The

cuff, and I thought that was

ites. Those are my influences. I

musicians couldn’t do it — they

Shepherd: There is an O.G.

really neat. That’s how they

love that sound. Now throwing

just weren’t up to par, I’ll just

version, but we’re trying to get

wrote “Crazy Horses,” which

it back old days? Geez, I don’t

say that. They were like, “Oh,

them to take it down because it’s

ended up as one of their biggest

know.

it’s too this; it’s too that. We

so embarrassing.

hits.

Flury: Pick something ran-

I thought that was really neat

dom. Opposite genre.

because they took a huge risk,

cover

“F-cking

Hostile”

here and there. But there isn’t an O.G. version out somewhere?

can’t do it.” When we put this band together, we were like, “Alright guys,

I’m going to find that. Shepherd: Yes, find it, give

and I’ve always thought that

Country music.

here’s the one question: Can you

without risk there’s no reward.

Shepherd: I love Garth Brooks.

do ‘F-cking Hostile’?”

Garth Brooks. There you go.

and we played it on tour. It was

Shepherd: Alanis Morissette!

one of our very first shows as a

Shepherd: If I would have

band. We were playing at a band

watched this band five years ago

Hence Butcher Babies.

And we did it. It was so fun,

Flury: I had heard the song, and when she had shown it to me, I couldn’t believe how awesome it was.

yourself a laugh. If people had video of me when I was learning to play music...

That’d be perfect for you guys.

party in Duke Dwayne, Anaheim,

as a spectator, I never would have

Shepherd: Sh-t. I made her lis-

California. This tiny little box of

thought that we would end up

our manager, and he was like,

ten to it the other day. I pick the

a room, the PA went out in the

here.

Shepherd:

showed

N OV E M B E R 2014

FUTURE

TWO DECADES IN A BAND IS UNHEARD OF, AND VOCALIST AND FOUNDING MEMBER ANDREW SCHWAB AND HIS PROJECT 86 COHORTS SHOW NOW SIGNS OF STOPPING.

ECHOES

INTERVIEW BY JORDAN GONZALEZ INTRODUCTION BY DAVID STAGG PHOTOS BY BROOKE LONG

There are very few bands that can say they’ve made it almost 15 years. When Project 86’s breakout album, ‘Drawing Black Lines,’ was released in 2000, crowdfunding was known as preordering. The band went on to put out a number of successful records, bolstered by frontman Andrew Schwab’s unfailing creativity and quasi-Renaissance man status, having penned multiple books and who just can’t seem to let up. Schwab is a directed guy, someone

How are you?

thankful. It feels like Christmas

they are in ‐between record con-

factor in making records, some-

Good, man. Are you ready to do

morning when you’re doing a

tracts or their contract is up.

times.

an interview?

crowdfund campaign. Well, it’s

Like I said, that is a favorable

Now, depending on the record

like Christmas morning for a

position to do a crowdfund cam-

and what you’re going for, some-

month or two months or howev-

paign, and that’s where we were

times having a deadline is a good

er long your campaign is, because

at the time. It was just starting

thing. Some people work better

every however many minutes —

to gain speed — that medium

under pressure. I found it com-

depending upon where you’re at

in and of itself, too — so it was

forting on the last two releases

the

in the campaign — something

definitely a brand new adventure

to have that little of bit extra

first,

else will come in. It’s really fun

for us. It still continues to be an

cushion to tweak mixes, to spend

whose idea it was and why you

to watch it build up and accu-

adventure in a good way, a really

a little more time on mastering,

decided to do it that way. We

mulate the energy about every-

good way.

spend a little bit more time on

can go from there.

thing. It’s really unique. I’ve

Yeah, yeah, I’m ready. Are you? Oh man, I was born ready. Let’s Indiegogo

talk

about

campaign

writing songs or even write a

Well, our 2012 record, Wait for

never seen or experienced that

Since you had more freedom

the Siren, was also crowdfunded.

before doing this, even around a

doing your last two albums

It was fairly successful. We set a

record release. People just enjoy

independently,

all

Some of those factors resulted

pretty modest goal — because we

doing crowdfunded campaigns.

have any goals or ideas that

in making a better record, I think,

had never done that before — at

It feels like they’re part of it.

you wanted musically, lyrical-

in both instances. Obviously, no

ly, anything like that?

one outside of myself and our

$15,000. We raised a little over $40,000.

did

you

couple songs when you’re in the middle of the recording process.

OK, so it started with 2012’s

I think, from a creative stand-

circle could deduce that from lis-

We figured out that it cost quite

“Wait for the Siren.” What

point, one comforting thing is

tening to the record. But I know,

a bit to do a record completely by

inspired the first crowdfund-

about

crowdfunded

“Oh, yeah, I remember when we

yourself. We set the bar a little

ing campaign?

campaign is that everything is

did this. We wrote or recorded

doing

higher this time, about $50,000.

Oh yeah. I think initially most

on your terms. There is nobody

this one harder. This one song

We raised almost $90,000, which

bands who are in the same boat

breathing down your neck to

that we wouldn’t have had time

was great and totally ‐ I don’t

do that, because they have an

meet a certain deadline, time‐

to if it was an orthodox label

know what the word is ‐ just

established foundation. Maybe

wise. Believe it or not, that’s a

release.” Those are a few of the

N OV E M B E R 2014

who knows what he wants and will do it because he knows no other way. It gives him a hard-edge and a fighting stance, a perfect fit for his music and lifestyle. And his first child, Project 86, is still a proven love, the band actually being asked by IndieGogo to extend their campaign as it neared six-figure contributions. Now, with the result in the hands of the public, â&#x20AC;&#x2DC;Knives to the Futureâ&#x20AC;&#x2122; has Andrew Schwab and his comrades ready for battle.

SOMETIMES HAVING A DEADLINE IS A GOOD THING. SOME PEOPLE WORK BETTER UNDER PRESSURE. I FOUND IT COMFORTING TO HAVE THAT LITTLE OF BIT EXTRA CUSHION TO TWEAK MIXES, TO

ANDREW

SPEND A LITTLE MORE TIME ON MASTERING, SPEND A LITTLE BIT MORE TIME ON WRITING SONGS OR EVEN WRITE A COUPLE SONGS WHEN YOU’RE IN THE MIDDLE OF THE RECORDING PROCESS.

W SCHWAB

I THINK IT COMES DOWN TO THIS IDEA: IS IT BENEFICIAL TO MY SPIRITUAL EXISTENCE? ANDREW

SCHWAB

things that work into the art-

years. I did the college group.

talking about things that are

that are grey in Scripture, not

ist’s favor, from a creative stand-

Prior to that one, when I was

addressed in the Scripture min-

just pot. There are a lot of things

point.

in college, I worked with junior

imally.

that the Bible makes some state-

high and high school.

I think you can make it a

ment about but doesn’t neces-

differ-

I haven’t been able to do that

decent case in the Scripture that

sarily go into great detail about a

ent topic. Moshing and stage

for years, just because of doing

your God doesn’t necessarily

stance. You know what I’m say-

diving has been beat lately.

the band. When you’re travel-

smile down from Heaven upon

ing? We’re kind of left to fill in

Warped Tour attempted to ban

ing, it’s hard to have a home

the idea that we’d be going out

the blanks.

it and several bands are speak-

base. This doesn’t affect what’s

and doing that on a daily basis or

ing out against it. Do you have

going on with the band, touring

anything like that.

any thoughts on that?

Moving

I think that comes down to that same idea: Is this beneficial

or records or anything like that.

The jury is still out, man. It’s a

to my spiritual existence? If it’s

We’ve always been a band

This is a situation (was) comple-

complicated issue, because you’re

just — for lack of a better term

that’s for kids having fun at

mentary to everything I do with

looking at a substance that, in

— a crutch or something to lean

shows and not having any rules.

Project, which is the reason why

some ways, is safer than alcohol,

on to escape, maybe that’s some-

Obviously, we don’t ever want

I took it. I found it to be appropri-

at least in certain respects. For

thing that you need to evaluate.

anyone to get injured at our

ate, because I wouldn’t want to

example, with driving. I think

show. I can count the times on

take a position and de‐emphasize

I had to take a traffic school

one hand where somebody has

Project in any way, at least at this

class one time. The traffic school

I think it’s important for me

over the years. I understand why

point.

instructor was basically saying,

— I’m not a lay‐person in church.

I see your point.

“You know, your reaction time is

I’m actually someone who’s in a

Answer this next question

much slower with alcohol versus

position of leadership, to pres-

I think there is a safe way to go

however you like. I lived in

pot because (alcohol) boosts your

ent the Biblical side of things

about dancing at a show or hav-

Denver this past summer, and

confidence when, in reality, your

and also, to speak the truth in

ing fun at a show without being

as you know, it famously or

reaction speed is going down

light of that, in terms of how

ridiculous. I have stage‐dove hun-

infamously, is a place where

because of it. Whereas with pot,

much factual evidence there is

dreds of times on stage. As long

recreational

you’re actually driving slower

in Scripture as to form a belief

as I’m aware of where my feet are

legal. Before I went to Denver,

and more carefully.”

about a particular subject. Then,

and my elbows are as I’m doing

I was like, “It can’t possibly be

Among our generation and

guide people down the path of

it, no one usually gets hurt or

everywhere,” but it is. Do you

younger people, alcohol is gener-

trying to internalize that and

anything happens. There have

deal with kids using it at your

ally accepted as not evil in and of

apply it for themselves.

been a couple of times, over the

church? Is it a problem?

itself. The Bible says, “Don’t get

it’s become a cause for concern in certain environments, for sure.

marijuana

years, where something freaky

Well, I’ve been there a very

drunk.” Don’t abuse it, basically.

You’re also an author, right?

goes down. I guess, that’s what

short period of time. To be hon-

Don’t use alcohol which leads

You also have a blog, The Tin

you want to protect against.

Soldiers, correct?

est, I haven’t crossed paths with

to debauchery. There are several

I don’t know if I can make

any situation involving that yet.

references to drugs in Scripture

Yeah, I’ve written five books

an official stance on it, because

I’ve only lived in the area for six

but, like I said, they’re minimal.

over the years, and I just fin-

that’s something we’ve done at

weeks.

We could make an ethical case.

ished one. The most recent book

I’m sure that topic will come

Getting back to what Paul said,

I wrote is called The Tin Soldiers.

up. I’m sure that it’s something

“All things may be lawful, but

That came two years ago. Since

Let’s talk about your new

we’ll address officially, within

not all things are beneficial.”

that, I’ve written a study guide

ministry at Crossroads Church

the confines of what I’m doing

Anyone would have to ask them-

for it as well, which is a book

of Denver.

in the ministry sense, as well. I

selves, “Is why I’m doing this?

in and of itself. It’s basically a

Young

think the way to answer ques-

Am I doing this to escape my life?

curriculum for guys, for small

Adults, which is like college and

tions like that — which are

How does this benefit my spiri-

groups, men’s groups. Just look-

post‐-college up to mid‐-30s. It’s a

essentially grey-matter ques-

tual existence?” That’s an issue

ing at common issues that we

pretty exciting move for both my

tions; we’re not talking about

that each individual ultimately

deal with like isolation in rela-

family. Prior to doing Project, I

essentials of salvation or spe-

needs to grapple for themselves.

tionships or dealing with girls

volunteered at a church for many

cific matters of theology. We’re

That goes for a lot of things

to worshiping in church, some-

our shows for so many years.

I’m

Director

N OV E M B E R 2014

I’M WORKING WITH VARIOUS PEOPLE ON LONDON SIX ECHO; IT’S NOT A CENTRALIZED BAND, PER SE. OTHER PEOPLE PARTICIPATING FROM SONG-TO-SONG. ANDREW SCHWAB

thing super awkward for a lot

degree in communications, with

a totally different exploration

from a lyrical perspective, just

of guys.

an emphasis on mass media

of themes, topics, emotions and

sonically. It’s a really heavy song,

I tried to pick the ten most

and public address. I’m current-

experiences that are both deep

but it also has some dynamic

prominent issues guys under

ly going to school for a Masters

and personal and, in some sens-

melodic elements to it as well. I

35 deal with and tackle them

in Biblical Studies. I’m not quite

es, just not necessarily directly

feel like it really captures kind

through telling stories from my

finished with my Masters, as of

spiritual, if that makes sense?

of the scope of this particular

experiences, as well as experi-

yet.

ences of other people I’ve talked

record. No, I feel you. Let’s wrap

to while traveling over the last

So you speak, write books

up then with just a couple of

Absolutely. Now, let’s see

couple of decades. It’s been a

and sing in Project 86. Do you

questions focused on Project

the final question should just

really fruitful endeavor so far.

find similarities amongst the

86. Do you have any favor-

be something about the music.

I’ve been able to host a bunch of

three, or are they completely

ite songs or any tracks from

Let’s talk about your new solo

events throughout the country.

separate aspects of your life?

“Knives to the Future” that

project.

Also,

the

church

I’m

That’s a good question. I think

mean anything special to you

I’m actually about to release a

involved with now, it’s kind of a

with speaking and the books I’ve

or to any of the band members?

three-‐song single, just initially.

home base for those operations.

written and the blog, there’s a

Definitely. I think if you ask

It’s called “London Six Echo.”

The blog is an extension of the

definite, direct spiritual commu-

any band, they’ll tell you that

I’m calling it “a melodic, elec-

book and study guide, as far as

nication that’s happening to an

every song they wrote is special

tronic sound,” meaning it’s not,

looking at issues that guys deal

audience. I think that is a differ-

in a way.

like, fast-electronic beats. Think

with. One of the things I try to

ent hat than creative endeavors.

T here’s

one

ca l led

programmed drones and drum sounds over melodic vocals, but

do on the blog is try to have

With creative endeavors, I am

“Acolyte March.” It’s a pretty

conversations with other guys

able to explore a lot of emotions

angry-sounding song, and I try

it’s a little bit more layered and

who are in positions of influ-

and experiences and personal

to put myself in the shoes and

emotional than Project.

ence, and I’ve been able to have

things you can’t really delve into

mindset of the Israelites as they

I don’t think Project fans

some conversations with a lot

when you’re speaking to an audi-

were about to siege Jericho in

would, in any way, not enjoy it.

of my friends. Guys like Matt

ence on a definitive topic or on a

Joshua 6. Then, God is kind of

It’s just a different facet of my

Greiner from August Burns Red

passage from the Bible.

speaking through them to the

personality as a songwriter and

With the books, it’s also the

people of Jericho and the hook of

artist. I’m proud of it, and it’s just

and Dustin Kensrue from Thrice.

same. I’ve written books that are

the song is, “Your city belongs to

a starting point. I’m hoping to do

I’ve noticed that seems to

creative-writing influenced or of

me.” That’s one of my favorites.

a lot more of it in the future, with

be a focus of yours: encourag-

that sort of genre. In that sense,

ing young men to be spiritually

there is an overlap.

Then there’s a song called

just around writing the hooks

“Genosha” on the record that’s

and the project releases and all

strong. I’m curious, did you go

I would say, more recently, my

a little bit more personal, about

the other things I have going on.

to seminary, or is it just stuff

writing and speaking and blog-

me dealing with my own demons

These are the first three songs I

that you’ve learned through-

ging has been pretty direct spir-

from the past and voices in my

have available.

out your reading and your per-

itual communication.

own brain. It’s sort of confront-

sonal time? undergraduate

Then, the things I’m doing

ing those. I was really happy with

musically are a different hat and

how that song came out. Not just

have

N OV E M B E R 2014

Is this a solo project for you, or is this another band?

It’s another band, but it’s

way back to the early ’90s. I’ve

There’s a book trilogy, written

basically a solo thing, meaning

always really enjoyed trip-hop

by an author named John Twelve

I’m working with various peo-

and moody, electronic music;

Hawks,

Traveler.

lot of C.S. Lewis. I’ve never read

ple on it; it’s not a centralized

I’ve never been a huge fan of

That’s the first book. That was

that. That’s on a list of one of the

band, per se. There are other

fast dance music or anything like

one of the books I was read-

things.

people participating from song

that. More digital‐-based sound

ing at the time I wrote some of

to song, if that makes sense. ...

manipulation with an empha-

this material. A lot of dystopian

I’m trying to think of an artist

sis on keyboards, samplers and

scenes, I guess, in the music.

that this would be an example

programming than traditional

of. Someone like MIA. She works

analog instruments.

called

The

really like that trilogy, too. I’ve never read it. I’ve read a

I think you’ll like it. I guess C. S. Lewis is one influ-

That’s become a very popular

ence that unifies everything I

genre, which is kind of funny

do, whether that’s speaking, or

with various producers, song-

I’ve had ideas for this project

to me. It’s been in the last five

writing, or blogging, or musical

writers, from song to song and

in the back of my brain for a

years it has become a thing. It

projects as well.

album to album.

decade or so, but never really

used to be that there was only

C. S. Lewis has always been a

From a lyrical standpoint, it

put the time or had the time

three or four books written that

really big influence on me. He’s a

comes from a different angle on

to explore it. Then, a couple of

delved into that sort of fantasy

big influence on The Tin Soldiers.

things. It’s definitely a little bit

friends of mine helped me flesh

and sci-fi.

The Tin Soldiers, as a concept,

more imagination-‐based. Not to

out a few of the ideas that I had,

Another author that I really

is inspired by Mere Christianity

get too nerdy, but there’s some

and that’s where these songs

like is Philip K. Dick. He wrote

and C.S. Lewis coined that term.

slight science fiction references.

came from. Also, I wanted to

Blade Runner. He also wrote

In essence, we’re saying God is

write, from a lyrical perspective,

Total Recall. Those are a few of

taking us from tin soldiers and

Like?

some of the more fantasy and

the authors that sort of inspired

is in the process of making us

I wanted to craft music that

sci-fi stuff.

some of the imagery, delving

into real men, every step of the

into with some of this material.

way, as if we didn’t have much

takes you somewhere. It takes you to an imaginary world on a

What kind of sci-fi?

more digital realm than Project

It’s just fun to write about a

perspective about what it means

The books I’ve read over the

world removed from this one. I

to be truly alive. We’re fight-

years. I’ve really enjoyed books

think C.S. Lewis was really good

ing him. The Tin Soldiers min-

like Brave New World. I know

at that as well. He wrote a lot of

istry and the books are basically

Tell me more.

Project

his fiction and fantasy stuff.

exploring how God is trying to

I’ve always been a big fan of

by that as well, but I guess I’m

electronic music, going all the

exploring it in a deeper way here.

86.

has

been

influenced

turn us from metal to flesh, into Did you read Space Trilogy? I

real people.

The Classic Crime, c. 2015

SECOND DECADE of CRIME THE CLASSIC CRIME MAKES A COMEBACK , SURPASSING THEIR CROWDFUNDING GOAL BY OVER 300 PERCENT. THE BAND IS RELEASING THE ALBUM THROUGH BAD CHRISTIAN, AND THEY’RE COMING TO A COMPUTER NEAR YOU.

by SEAN HUNCHERICK

MATT MACDONALD HAS SPENT NEARLY A THIRD OF HIS LIFE TOURING WITH THE SAME THREE GUYS IN THE CLASSIC CRIME. IN TEN YEARS, THEY HAVE GONE FROM YOUNG ADULTS WHO MET THROUGH MUSICIAN CLASSIFIED ADS TO ADULTS WITH FAMILIES AND CAREERS OUTSIDE OF THE BAND. FOR MACDONALD, THE CLASSIC CRIME IS NO LONGER AN OCCUPATION. THE MEMBERS AREN’T BUSINESS PARTNERS WHO RELY ON EACH OTHER FOR AN INCOME. WRITING AN ALBUM ISN’T A CREATIVE PAYCHECK AND TOURING IS NO LONGER A CHORE ASSIGNED BY A RECORD LABEL. INSTEAD, THE CLASSIC CRIME IS NOW A GROUP OF FOUR FRIENDS WHO SIMPLY WANT TO USE THEIR TALENTS TO CREATE ART. THE BAND RECENTLY SIGNED WITH BC MUSIC (AN OFFSHOOT OF BAD CHRISTIAN) TO RELEASE A SPECIAL RETROSPECTIVE ALBUM THAT LOOKS BACK AT THEIR PREVIOUS RELEASES IN A NEW LIGHT. WELCOME TO THE BEGINNING OF THE SECOND DECADE OF CRIME. The Classic Crime is turning ten years old. How does that feel?

money to get to the next show.

Exactly. It sounds rad.

Everything was about money. Now, most of our guys work

Moving on, what was it like

We feel old, but it also feels

jobs or have side businesses. We

in The Classic Crime’s first

like an accomplishment in a

do this for fun. It’s not about

years as a band?

world where bands come and

money, it’s about creating some-

Honestly, it was so long ago at

go pretty quickly and rarely last

thing that’s valuable and that

this point; I was maybe 19 or 20

more than an album cycle or

people enjoy. We don’t tour all

at the time. I barely remember

two. We’re honored to still be

the time; we pick and choose

what that was like. I just remem-

putting out music as an inde-

dates. We can usually go out for

ber we were nervous. We were a

pendent band. We have our fate

about two weeks at a time before

local band so obviously no one

in our own hands at this point,

someone’s going to get fired

had heard of us. We would bring

which we’re feeling pretty good

from their real job.

our demo to different places we

about.

That’s what we do: We go out

knew were venues. We played

(It has been great) being able

two weeks here, two weeks there

anywhere we could, so a lot of

to put out music at our own

and play a few one-off shows. It’s

the venues were coffee shops.

pace and work for as long as

a lot more casual; we’re not rid-

We also played at this LAN café,

we need to on it. We’re not

ing on this to pay the bills. We’re

which was a computer network

contractually obligated to tour

not in it for all those reasons that

gamer café. We practiced five

all the time, so we can stay

make you stressed out and (lose)

days a week in the house that we

home with our families and

sleep; we’re in it because we love

all lived in.

still do (The Classic Crime).

it. It’s back to the heart of why

It’s reimagining how we (func-

we did this to begin with: we just

Do you remember a point

“Rock vocalist wanted.” This was

tion as a band).

like making music. We’re going

in the band’s history where

even before Craigslist. I essen-

to try to do it until our backs

you realized, “Oh, you know

tially found my band that way.

give out.

what? This could actually be a

Sorry, what was the question

career.”

(laughs)?

How has that changed? It used to be we’d get signed

songs, so I would scour the newspapers looking for ads, like,

and then hit the road for 200-

Even when your backs give

I always wanted to do music.

plus dates a year. The whole

out, it wouldn’t be too much of

When I moved to Seattle to go

At what point did you real-

idea at that point was to get the

a problem if you’re not touring

to school, I had a roommate who

ized that The Classic Crime

word out about our music. (We’d)

around as much.

was a pretty good songwriter. He

was going to be a career?

take any tour and go anywhere

We will just sit in wheelchairs

fell in love with a girl that lived

When I showed up for the

with anyone for any amount or

and rock out (laughs). Come to

far away, so he was always gone.

audition, they were like, “We’re

money. We ended up spending

think of it, that might be fun to

I was left alone going, “I want

going to play you some songs we

a lot of money, but it was really

watch.

to do this. I want to do music. I

wrote together.” They were just

want to write music. I want to be

a three piece: Justin, Alan and

in a band.”

Skip. I was blown away. I was

good for our band. We built bunks in the back of

Yeah, forget wheelchair bas-

our van (and) slept in Walmart

ketball, we’re all about wheel-

parking lots to save enough

chair rock concerts.

N OV E M B E R 2014

I wanted a drummer (and

like, “This is incredible. They’re

a) guitar player to play my

really tight. These songs have a

An archived photo of The Classic Crime

lot of movement. They’re real-

What were some of the big-

But yeah, how do you stay

ly catchy. I could totally write

gest challenges keeping the

together? I think the biggest

lyrics and melodies to these

band together?

struggle with a lot of bands is

I’ve always said, “All the

We were friends and room-

having an ego. It’s natural to

money goes back in the band

songs.”

money, but I think that mentality can be poisonous.

It became not about them

mates for a while. Justin, our

struggle with (an ego) because

fund,” and we’d figure it out from

playing my songs, but me writing

guitar player, left to go to nurs-

you’re on stage, practically being

there. Just because I wrote a

to their songs. When we came

ing school in about 2010. He

worshiped. People say a lot of

song that took me five minutes,

together to hear what we all put

has a wife and a kid and has

nice things to you.

doesn’t mean (my bandmates)

into the songs, it felt like magic.

his goals. But we never had a

Also, financially, I think a lot

don’t play it every night on stage

We all looked at each other and

member change or swap out.

of (songwriters) go, “I wrote the

and sweat it out as much as I do.

said, “This is it. We’re going to

We just became four-piece after

song so I take all the credit, roy-

We’re all in this together.

make this our life. We’re going to

that. We didn’t have a clue how

alties and money.” That’s why

I have the mentality of being

be huge” (laughs).

to get another member of our

it’s hard to stay together: You

one of the band leaders. I’m not

We all dropped out of school.

band, so)I picked up the gui-

have your manager or agent in

going to fight over royalties. I

We were naïve and ignorant of

tar and started playing. I was

one ear going, “Dude, you wrote

don’t care; it’s not about money

what it actually takes to be in a

like, “You know what? I’m done

the song. It’s just a fact — a

for me. I want everybody to feel

band, but that stubborn belief

jumping around and being an

drummer is a drummer. He can’t

equal in value. Because when you

carried us to have the career we

aerobics instructor on stage. I’ll

get any royalties on that.” With

live with someone on the road,

have.

play guitar.”

bands our size, it’s not a lot of

there’s always going to be hurt

feelings or someone that feels

bots. Everybody was making the

But that is less and less cool.

them on the local PureVolume

they’re not being valued.

shift over to Facebook. I think

Nowadays, people expect to be

rankings. We would go, “Who

They don’t teach you that stuff

our label actually created our

able to interact with the art-

are they? Let’s reach out to them

in band camp, but those are the

Facebook. In 2008, I decided to

ist. It doesn’t matter if you’re a

and see if we can do a show or

things that keep a unit together.

start running it myself. I felt

celebrity or if you’re a business

something.” That was pretty

It is just communicating through

like there was a big disconnect

owner – (if) you’re responding

cool about that service. I know

I’VE NEVER WRITTEN A CHRISTIAN SONG. I DON’ FROM MY HEART, AND I HAPPEN TO BE A CHRIST THAT’S GOING TO BE EVIDENCED IN MY LYRICS, the hard stuff. Then promoting

between us and our fans. We

to someone’s complaint, people

it’s not a big thing anymore, but

a sense of equality and togeth-

didn’t have a forum or any way

really appreciate that these days.

I have fond memories because

erness. No one person is better

to communicate back and forth.

We want to be those kinds of

that was where we went to before

people that are responsive and

MySpace.

than the other just because they

Facebook

has

essentially

hold a microphone or they write

been the only reason we can

songs. It doesn’t matter. We’re

still be a band. It’s been inte-

all equal. Credit where credit is

gral to the whole independent

Out of all the social media

probably where I first heard

due. If you do the work, you get

process, as far as being able to

platforms are there any that

of you guys back in ‘04 or ‘05.

the credit. You basically choose

reach the people that we want

stuck out to you as a favorite?

That was the best music site

your own level of involvement.

to reach.

That’s how our band has always been.

communicate. Absolutely. PureVolume was

I loved PureVolume because

for a while.

We kind of see what’s trending

you could spend $150 and get

as far as where people discov-

on the pure promos or the pure

management

er new music. We just want to

picks or whatever on the front

wouldn’t even be here if it wasn’t

page.

for PureVolume and the pure pick

That’s

actually

where

found

us.

our We

You guys have gone through

be where anybody is discover-

several different stages of

ing new music, so they have an

social media. How has adapt-

opportunity to stumble across

ing to different platforms been

our music. I know some bands

That would get a lot of plays.

difficult?

have PR practitioners running

Then you could see where you

Our manager was scanning

their pages because the artist

were ranking in the plays. You

for artists on the main page

isn’t as quick at adapting.

Well, it hasn’t been difficult. MySpace was it for a while

feature. I remember that. Tell me about that.

could also see where you were

that were either picked or pro-

there. It was the only thing that

It used to be you couldn’t get

ranking locally. We met a lot of

moted. He heard an early ver-

hosted music. But it got real-

close to an artist, and that was

bands we wouldn’t have other-

sion of “Who Needs Air” and

ly spam-filled and had a lot of

cool. They were untouchable.

wise met because we would see

got in contact with us. (He)

N OV E M B E R 2014

was just one guy and then he

time and put this version on the

ly limiting and they want to

brought in another guy, so we

wasn’t supposed to become, but

became

something

EP.” We were able to take those

reclaim their songs, so they want

had two managers for a while

we’re happy with it. It sort of

parts and immortalize them on

to put out versions that they own

there. They’re the ones that

got out of hand; we started lay-

a record, finally.

outright and exclusively. That’s a

shopped us around to labels, got

ering things and writing new

us showcases and eventually

parts. Some of the songs are

motivation, too. I wonder if that trend will

’T EVEN KNOW WHAT THAT IS. BUT I’VE WRITTEN TIAN, AND SO IF THAT’S WHERE MY HEART’S AT, RIGHT? — MATT MACDONALD ON SONGWRITING

negotiated our deal with Tooth

pretty different in a cool way.

and Nail. Without them, we

The whole idea was to be a nod

Yeah, people are doing it. I

wouldn’t have really done any-

to where we’ve been and then

know a lot of bands are doing

thing. I don’t know, someone

show where we are. (They are)

acoustic rereleases. I heard that

No. All the songs (on What Was

else might have come along.

our current interpretation of

Story of the Year and Yellowcard

Done) are out of the three-to-five

But as far as how history reads,

what those songs are and what

have both done acoustic albums

years range. We left the label in

PureVolume started it.

they mean to us now.

for their ten-year anniversa-

2010, and it’s 2014 now, so we

ries, which is weird to think

were able rerecord all the songs

that we’re right around the

that we wanted to rerecord.

Let’s move on to the album coming out, What Was Done, Vol. I. Can you tell me about it?

How long had you guys been rewriting those songs? A couple of them we’ve done

pick up with other bands.

Did you have to jump through any hoops to get back the songs you wrote for Tooth and Nail?

same age (laughs). these

I didn’t realize that it had

revisited,

live for acoustic shows. We did

songs, but they’re not getting

been that long since you were

reimagined songs from the last

an acoustic EP in 2007 that a

a dime for the master record-

on Tooth and Nail.

decade. Some of them are fan

lot of people liked, so when-

ings or from selling the CDs or

Yeah, 2012 was our first inde-

favorites or singles and some

ever we did acoustic shows, we

anything. After about five years,

pendent release. Here we are,

of them are deep cuts we like.

would do a lot of songs off the

you’re able to rerecord the song

two years later, doing another.

We’ve assembled 12 songs we’ve

EP. We would jam these songs

because you own the publishing

completely redone, all the way

in practice and write a bunch

on it. You don’t own that record-

from

stripped

more cool parts and then we

ing.

down with cello to full drums

would always bum ourselves

and strings to piano and per-

out, going, “Man, we should

Yeah, I think P.O.D. did that.

Yeah, our first one, Phoenix,

cussion. We’ve layered a lot of

have done that on the record,”

I think a lot of bands get out

met 286 percent of our goal. This

these songs.

or, “We should have spent more

of these contracts that are real-

one was 330 something percent

Yeah.

It’s

acoustic

all

and

They’re

out

playing

Both of them have been overfunded, so that’s a good sign.

of our goal. It’s been awesome.

that open. We put out a bunch

I can only imagine what the

We don’t have a label, we don’t

of records and we have a lot of

reaction would be if you post (a

have a marketing budget and we

songs. Inevitably, with every

metal cover) out of nowhere.

don’t have a lot going for us, but

set list or everything that we

It’s worth a shot.

what we have is really, really

do, we’re always missing some-

great support from the people who love and listen to our music.

(Laughs)

We’ve

on and how we’ve arrived here. I wouldn’t change anything. Fair enough. One more ques-

always

tion about the album. Can you

body’s favorite song. It’s always

dreamed of being in a metalcore

explain the artwork that has a

disappointing.

band. We toe the line a little

chair falling?

That’s the biggest thing that

The whole idea is that we have

bit; we sort-of have breakdowns

The album artist sent us four

matters in this whole deal is

enough songs, we can continue

and sometimes there’s a bit of

different covers, and everybody

whether or not people are willing to

to put out these rerecordings in

screaming. We’ve toured with

said they liked that one because

come along side and help you make

these volumes, done differently,

a lot of bands that were super

it reminded us of the end of

music. As long as that’s there, we’ll

for a while, if we want to. We

heavy, so we’ve always wanted to

Inception where the top’s spin-

continue to make new music.

really enjoyed this process, so

be able to do that once or twice.

ning. Does the chair fall? Does it

it’s highly probable that we will

Not every day, but a little bit. The

stand back up straight? There’s

do another one.

grass is always greener on the

tension. There’s an in-between,

metal side. We’ve been tempted,

in limbo feeling. We felt like

for sure.

when you’re doing a retrospec-

Right. transition

That’s from

where signed

the to

independent comes. Being on

I heard rumors of a black

a label is great for trying to get

metal

your name out, but when you

Chords.” Is this true?

version

“Four

tive album, you’re looking back If you had to start over and

but also looking forward. Here

are already established and the

(Laughs) Black metal versions

rewrite all of these songs in

we are in the present, and we felt

fans want to get new music,

of everything have been done in

a different genre, what genre

like that chair really represented

going independent has been

practice at one point or anoth-

would that be?

the tug between past and future.

the way to go.

er. Sometimes toward the end

I don’t know. I really like

Oh, absolutely. The labels did a

of practice, everyone’s energy is

Arcade Fire. I like the strings

lot for us, too, as far as establish-

poor and we just devolve into

and the tension notes. I like the

The album is being released

ing our band and forcing us to

really slow, heavy black metal.

key of A minor. I like all that a

through BC Music. Can you tell

lot. You can hear that a little bit

me about them?

tour. We got our name out there. Building the brand up was huge. We’re obviously super-indebted to them for that, but, at this

Lo-fi,

low

quality

black

metal. That’s exciting. (Laughs) Yeah!

point in the game, it’s a lot better to be able to do it independently.

I’m expecting a full album. Of black metal songs?

The album is titled What Was Done, Vol. I. Should fans expect a second volume? Well, we wanted to leave

That’s why we went with it.

on What Was Done. ... I like that

Yeah. BC Music is an offshoot

vintage ’60s pop, psychedelic,

but with lyrics that are actually

started off as a blog and became

saying something. I like that

a pretty popular podcast.

vibe. But I don’t know. If I could go

BadChristian.com,

which

The whole concept (of Bad Christian) is basically an alter-

back and do it again, I’d probably

native

Yeah.

do it all the same way, because

Christian industry and outside

Oh, yeah. We’ve got plenty of

I like where we’re at right now

of the anti-Christian industry to

and I like the journey we’ve been

discuss issues, be real, and not

material.

N OV E M B E R 2014

place

outside

the

WE NEED TO BE ABLE TO CREATE A SPACE WHERE WE CAN DISCUSS THINGS AND NOT BE OFFENDED OR ANGRY BECAUSE THERE’S SO MUCH VITRIOL ON THE INTERNET ALREADY. — MATT MACDONALD ON BAD CHRISTIAN

get hung up on things like lan-

to be a part of that team was just

should live and what really mat-

What we’re seeing is a lot of

guage or morality when it comes

a no-brainer.

ters. They are pretty alternative

guys like Dan Haseltine (Jars

to talking about harsh subject

to the mainstream. It’s great to

of Clay vocalist) who have felt

You mentioned that as far

have these ideas and have a team

a certain way for a long time

Musically, I’ve come along

as Bad Christian goes, the

of people that we all seem to

who are finally given Twitter or

and helped them build out that

guys from Emery have got-

pretty much agree on what the

blogs to speak up. They’re given

division. We want to represent

ten quite a bit of heat from

action of faith needs to look like.

a voice. It’s not just what the

people who are writing music

both the Christian side and the

That’s been cool. It’s been

brand team at the label is trying

that matters and hopefully do it

non-Christian side for holding

cool to be a part of that team

to project or what the publicist is

with a new model. It’s a bit of a

less traditional views than the

and knowing there really isn’t

trying to project. Individuals are

co-op in a way. All the deals are

American church. How does

another place on the Internet

now given a voice. They’re voic-

handshake deals. It’s mutually

your vision for The Classic

I’ve seen like Bad Christian. We

ing their hearts, and it’s causing

beneficial stuff. If you don’t like

Crime fit in Bad Christian’s

have atheists and agnostics that

outrage or it’s causing communi-

it, you can walk away. It’s very

controversial culture?

will debate. The whole idea is to

ty. One or the other.

matters. That’s their vibe.

unlike any other record label.

It’s funny. I’ve had a blog for

have an open space for ideas. An

We set it up because we’ve all

years where I discussed a lot of

idea is not the enemy. People are

been on record labels, and we

issues, and I felt like I was always

not the enemy. We (need to be)

Usually, yeah. I appreciate

know how those are run. And

on an island. You know?

able to express and debate topics

that. I feel in community with

and back them up with empirical

Dan because I feel like I really

and biblical evidence.

agree with where his heart is at.

we’ve done it independently,

Usually both.

and we know how that goes,

Yeah, absolutely.

so we have a perspective of

I had friends who agreed with

We need to be able to create

If you haven’t heard his interview

knowing what works and what

me, but no one was really saying

a space where we can discuss

(available now on BadChristian.

doesn’t, where to spend money,

anything. Everyone was living in

things and not be offended or

com), you should definitely listen

where not to. We can real-

fear of scrutiny or fear of back-

angry because there’s so much

to it. He really expands on what

ly reduce the house nut, so to

lash — especially those who were

vitriol on the Internet already.

he reads in the Bible and how

speak, so that the artist can

involved in the Christian indus-

It’s pretty cool to have a neutral

it differs from how Christians

actually make money, which is

try. They can turn on somebody

zone for that. We’re stumbling

respond to people they disagree

shocking, crazy and ultimately

quickly.

through and making a lot of mis-

with.

the ideal.

I really admired the bravery

takes as we go, but I think over-

and the courage it took for Matt

all, it’s been a really, really cool

Unheard of.

and Toby (of Emery, cofounders of

thing to be a part of.

What would you say are the challenges of mixing any level

Yeah. When I started helping

Bad Christian) to come out and

(Bad Christian) with that, we

say things on a grander scale

Yeah, I definitely agree. If

The challenge is that you

developed some processes for

than I was. To have a pastor on

you’re in the US and have a

should never be mixing any-

releasing music that were better

their team who fully agreed with

view of Christianity that isn’t

thing with your music. You

than what I had when I was doing

them was even more affirming

politically conservative, it gets

should be making music from

it myself. Signing up our bands

of our stances on culture, how we

isolating real quick.

your heart. When you’re using

of faith and music?

EVERYONE WAS LIVING IN FEAR OF SCRUTINY OR FEAR OF BACKLASH — ESPECIALLY THOSE WHO WERE INVOLVED IN THE CHRISTIAN INDUSTRY. THEY CAN TURN ON SOMEBODY QUICKLY. ... OFTENTIMES, WE FIND CHRISTIANITY SOUNDS FORCED INTO MUSIC, AND I, FRANKLY, DON’T WANT ANY PART IN THAT. — MATT MACDONALD

music as a vehicle for infor-

faith is real, it’s going to leak

to change anything. We’re not

mation, it becomes less good;

through.

going to compromise.

it becomes less creative. It

But,

oftentimes,

People (interpret) us dropping

find

becomes less like art and more

Christianity sounds forced into

like propaganda.

music, and I, frankly, don’t want

loved our music. Tooth and Nail (as), “Oh, the

There’s

pressure

change.

label was restrictive!” That’s not the case. It was a business trans-

I think very sincere Christians

any part in that. That’s why

Yeah. We’re not going to com-

action. When you’re locked into a

have written very sincere songs

we’ve fought the label. We’ve

promise the heart of what we’re

business contract, you have obli-

from their hearts to God, and I’m

fought the industry or the label of

doing to make a dollar. That’s

gations and feel pressures that

not talking about that. But when

“Christian band” or “Christian

not what this is about anymore.

are inescapable, regardless of

you’re starting to blur the lines

music” for so long because it just

Being an independent band is

how good that contract or com-

between rock music and whether

seems like propaganda.

good. It’s different in a lot of

pany is. We had pressure to tour.

or not it’s Christian, you’re miss-

ways; I definitely feel freedom to

ing the point. I’ve never written a Christian

How does that feel different with Bad Christian?

write from my heart. I’m excited about that.

Which was necessary. Yeah. Most of the pressure we

song. I don’t even know what

There’s nobody filtering any-

that is. But I’ve written from

thing we do, for one. We’re not

Basically, you’re saying you

not from the label. It was more,

my heart, and I happen to be a

even trying to get in Christian

are now in a place where you

“You need to sound like this. You

Christian, and so if that’s where

bookstores (laughs).

don’t feel the pressure to tour

need to behave like this, and you

all the time, you don’t feel

need to believe these tenets. Or

Christian

pressure to say what the label

else.”

bookstores I can see accepting

wants you to say and you have

Definitely.

Bad Christian. That’s a good

musical freedom. Weird.

Not purposefully and not with

thing.

my heart’s at, that’s going to be evidenced in my lyrics, right?

There

intent, but it is there. So is a lot of

few

(Laughs) And we’re actually

get

caught

able to make money off selling records. Crazy! I don’t want to

Yeah, which is why we’re

regret. A lot of sad things. That’s

graphic,

take anything away from Tooth

really happy to be out from

all there, too. It’s a lot more

comes to a business or an indus-

and Nail. They never, ever tried

under the industry. Obviously,

dynamic. It’s not about blending

try. We’re going to try to ship our

to stifle us creatively. They were

our fans are still fans of that

your faith with your music, it’s

records everywhere, but if they

always super encouraging of

industry, but we’re trying not to

about being who you are. If your

don’t like us, we’re not going

whatever we do, and they always

pander at all.

N OV E M B E R 2014

especially

really

Don’t

pressure to appeal to any demo-

There’s

Right.

drinking, don’t get caught

doubt, a lot of anger and a lot of

Exactly.

are

felt was from the industry itself,

when

using any type of profanity...

REVIEWS

The Ghost Inside Dear Youth E pi ta ph

I’ve long admired Jonathan Vigil and the rest of The Ghost Inside for writing passionate, emotional songs that encourage positivity. I was happy to see them continue this trend on their sophomore release, Dear Youth, especially by covering ground the band has never tred before. The opening track, “Avalanche,” features a groovy bass riff that foreshadows the album’s creativity. “Out of

Control” is an outcry against the epidemic of hate in today’s society, showcasing the depths of the band’s passion, one of the driving characteristics behind the band’s success. The breakdown near the end of “With the Wolves” may be the album’s best, driven by one of those riffs that chills your spine. “Mercy” will show absolutely none of it, wasting no time fading into a bonecrushing breakdown as Vigil growls “for whom the bell tolls.” The second half of the album showcases TGI’s maturity and experimental creativity. “Phoenix Flame” closes with a beautiful

orchestral movement, while “Wide Eyed” includes a unique and soulful vocal performance from Letlive vocalist Jason Butler before slaughtering another heavy breakdown. “My Endnote” offers a taste of pure hardcore, while “The Other Half” provides a unique choral ambiance. The closing track, “Blank Pages,” caps the record’s brilliance by recycling the chorus from “Avalanche” with a distortion of its original chord progression. In doing this, Vigil and the gang bring Dear Youth full circle and stamp it as a melodic hardcore masterpiece.

THE CLASSIC CRIME TURNS OUT SOLID REINVENTED TRACKS FOR ‘WHAT WAS DONE’, PAGE 76

THE GHOST INSIDE CONTINUES THEIR EMPHASIS ENCOURAGING POSITIVITY ON ‘DEAR YOUTH.’

— NATE LAKE

REVIEWS A reimagined ‘What Was Done’ ushers in ten years on a proper note BY SEAN HUNCHERICK

The Classic Crime What Was Done, Vol. I BC M usic

When you play the same songs 200 days a year, you’ll start to spice it up with new riffs, chords and lyrics, sometimes ones you wish you could have added to the original. The Classic Crime gets that chance. To celebrate their tenth anniversary as a band, they reinvented ten of their most wellknown songs from each of the band’s four albums and rerecorded them for release, What Was Done, Vol. I. Some of the tracks are mod-

erately different (“God and Drugs”), but most sound like they were simply rerecorded with an acoustic guitar, percussion and a few string sections. Don’t expect anything out of the ordinary here. Adhering to the original isn’t a bad thing, though; in fact, most of the songs sound just as good as they did as their previous releases. “Vegabonds” turns into an enjoyable acoustic singalong. “Salt in the Snow” turns into a lovely ballad. “All the Memories, ”a standout track, transforms a relatively underappreciated poprock song from their debut album into an incredible mixture of gentle melancholy and dreamy piano melodies. Having each song stripped

N OV E M B E R 2014

down gives each member of the band their own chance to shine. Most notable is drummer Paul “Skip” Erickson who is given a more noticeable role in the reworked versions of “You and Me Both” and “My Name.” Comparing the drums on the original versions of those two tracks show a clear progression in his talent. If you have ever enjoyed The Classic Crime to any degree, pick up this album. Almost every track carries a similar tempo and mood, but they give a terrific retrospective of the band’s previous decade of history. The soft musings of What Was Done, Vol. I: A Decade Revisited beats a generic “best of” album any day.

Silent Planet The Night God Slept S ol i d Stat e

Another metalcore record. Another album full of clickykick drum sounds, staccato breakdowns, guitar amps with the “mid” knob turned to 11 and throaty, syncopated vocals. This is what I heard when I pressed play on Silent Planet’s Solid State Records debut, The Night God Slept. And I was ready to turn it off. Until one minute into the album. Silent Planet fooled me. This album starts in a way that leads you into thinking it’s just another version of the same metalcore record you’ve heard a million times. But, even from the start, I was a little surprised the first track, “The Well,” got right into it; it wasn’t an ambient, spooky intro piece like every other heavy album feels necessary these days. Instead, they quickly shift gears into angular, technical-but-not-too-technical, smart and heavy music, a welcome change to the sound too easy to find everywhere else. These guys really know their instruments. Alex Camerana’s busy, yet full-of-groove drumming brings Underoath/Norma Jean drummer Daniel Davison to mind, and the combination of Silent Planet guitarists Spencer Keene and Mitchell Stark’s liberal use of finger-tapping brings the guitars to life in a way I haven’t heard in this genre in a long

while. Standout tracks like “XX (City Grave),” “Tiny Hands (Au Revoir),” and “firstwake” feel less like brutality for the sake of brutality and more like a true artistic expression of passion for heavy music and a reverence for their subject matter. Silent Planet aren’t concerned about writing singles — songs are all over the place — but it’s not just riff after riff with a few breakdowns in between. The sound brings to mind much of what was great about the metalcore genre in the early 2000s before it was infected by; Silent Planet’s debut gives me the feeling of the first few Norma Jean records, or even a slight tinge of early Converge. There’s also a heavy dose of lateera Underoath, specifically in their liberal use of layered ambiance and intricate the weaving of guitars and bass. Vocally, Silent Planet doesn’t break any major new ground; vocalist Garrett Russell is a competent and strong vocalist, but he left me wanting more, unlike his live performances. His true talent is in his lyricism; he’s much more knowledgeable of history, theology and literature than many of his contemporaries. His lyrics are high-concept, tackling everything from historical subjects to challenging theological issues like theodicy to the contemporary issue of sex trafficking. Russell truly uses his lyrics as a literary instrument — a true asset in songwriting, not just as an outlet or platform. I’m not much of a fan of clean choruses, but I feel like this is one thing they did do well, using it tastefully and not as a crutch. The Night God Slept is just aching for more sound experimentation. Yes, the drums sound huge and the guitars rip through your ear drums; yes, every layer is perfectly placed and every beat is perfectly quantized. But in

choosing to do it this way, Silent Planet introduce this album as just another metalcore record. The Night God Slept is more than that. It’s musical, challenging, heavy and truly surprising. It’s nice to hear a band wanting to move a genre like metalcore forward rather than just settle in to writing hit singles to pad their YouTube play counts. With The Night God Slept, Silent Planet have written an album not only worthy of being listed among some of the greats in the Solid State discography, but among some of the greats of the metalcore genre itself.

— COLLIN SIMULA

Silence the Ocean Broken Vessels I n de pe n de n t

Broken Vessels is the first fulllength record released by Ohio metalcore act Silence the Ocean, and it begins with a soft keyboard pattern leading into an impressive growl as vocalist Conner Newberry cries out, “We are broken vessels, make us whole again.” Unfortunately for what’s to come, there isn’t much variance and it makes Silence the Ocean more haystack than needle. The intro track segues into “Dethrone,” which contains highlight moments of layered screams. However, the track’s clean singing parts have a nasal quality that’s all too common in today’s metalcore. “Endless” opens with a catchy riff, and the rest of the song

includes some of the record’s most groovy guitar parts. The opening guitar part in “Fragile” has a unique hard-rock quality, but the rest of the track resorts to repetitive and rather uncreative breakdowns. “Structures,” the featured single from Broken Vessels, uses a catchy chorus (“What we build will destroy us”) and an ear-catching breakdown to construct a unique tune. “The Wolf” shows potential to be a standout track, but leans on another generic breakdown. It does, however, close with some distant cleans that venture away from the metalcore norm. “Unconditional” is a worship track devoid of screaming or heavy guitars. Though its lyrics are uplifting, it’s a generic and musically boring attempt at providing a soft interlude. “My Disgrace” eases the record back into its heavy home, while “Frayed Paths” and “Machines” provide exit strength as the last two tunes. “Machines” begins with a groovy bass-line immediately followed by one of Broken Vessels’ most impressive breakdowns. Broken Vessels has a solid ending, but its lack of creativity and abundance of similar-sounding songs casts it into the vast expanse of generic metalcore.

— NATE LAKE

Despite My Pride Cold Blood/Simple Math I n de pe n de n t

On my first rollercoaster at Six Flags Great America in Illinois, I

distinctly remember the ups and downs, the loops and drops, the dips and hard turns making me feel sick, but the best parts were the ones where I felt like I was flying. It made it worth it, because, most of all, I remember wanting to experience other rollercoasters soon. That’s what I get from Cold Blood / Simple Math. This five-song EP relies on common rhythms and metal musical devices to fill out their collection of songs. The piano in “The Beginning of Something Terrible” would have hit had it been synced up with the rest of the song, tempo-wise. The clean vocals in “Rex Banner” are refreshing; it’s a shame their isn’t more of it used on the album. It doesn’t need to be everywhere, but more than just in this one song. CB/SM starts off a little slow with some confusing and chaotic lyrics in “Little Eyes Looking into Lobotomy,” but they’re carried by the raw vocals. I’m not sure it’s intentional, but if not for the simple guitar riffs linking the verses, I’d be sure this was three different songs. Overall, the album has some great guitar riffs scattered throughout, but the flashes of brilliance are definitely inconsistent. Some of the vocals are great, but the lyrics often feel juvenile and preachy. Imagine Jonathan Edwards’ “Sinners in the Hands of an Angry God” being preached by a haughty ten-year-old; it’s the steadfast resoluteness of Justice accompanying youth when the world is black and white, good or bad. There is some real potential from Despite My Pride’s effort. I love the powerful tone of the vocals, and the moments between greatness will hold the listeners’ attention long enough not to miss them. While the album itself isn’t awful, it does make you wish they mature for their full-length to create the album they’re capable of creating.

— NATHAN KEY

REVIEWS

Dead Leaves Dead Leaves I n de pe n de n t

Dead Leaves, both the name of the new self-titled EP and the band, have left the poppunk attitude of their first release behind for a more melancholy and introspective album this time around. Songs are never too slow or unspeakably fast; rather, they swing back and forth like waves crashing and

receding, making the overall feel of the album very mellow and shoegazer. The fuzzy tones and simple melodies of the guitar mesh perfectly with the personal lyrics for an introspective and somber album. The EP suffers from a lack of variety, though; each track generally following the same patterns starting slow, picking up speed, switching around and ultimately ending on a slow note. The standout track on the EP is “Confidence,” which strikes the perfect balance of pacing and showcases a great dynamic between the guitar and vocals. Dead Leaves is a good listen, and the band’s softer sound and honest lyrics that fans will find easily relatable, making them accessible and easy to fall in love with.

— BEN RICKABY

Jake Down and the Midwest Mess Ghost-Ship I n de pe n de n t

Ghost-Ship, by Jake Down and the Midwest Mess, was a surprisingly pleasant change of pace from the brooding acoustic folk scene. The influence isn’t too over the top or overbearing, and Jake Down and his crew throw in a nice mix of banjo, harmonica and slide guitar over a slow acoustic guitar.

Lyrically, it’s a very somber EP, but there are underlying elements of hope throughout. As many folk writers do, Down focuses on brokenness and being lost and tired, ultimately being carried on by an undeserved love and grace and the promise of peace from God. While a majority of the short EP is slow, “Autumnal Equinox” brings a hint of the upbeat, throwing in a little electric guitar to go along with the acoustic guitar and harmonica. While the EP has been released through digital outlets, Ghost-Ship can also be bought as a 7” vinyl LP, which would be interesting to hear how the sound changes when played through a record player. But for it’s length and style, Down and the Midwest Mess turn out a fresh EP with a listenability that does exactly what an EP is supposed to do: make you want more.

— BEN RICKABY

ALBUM REVIEWS BROUGHT TO YOU BY

N OV E M B E R 2014

EVERY ISSUE

FREE ONLINE FOR LIBERTY AND METAL FOR ALL

HMMAGAZINE.COM