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University of California Santa Cruz
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2125 Delaware Santa Cruz, CA Natural Bridges Dr.
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07.11.2010 Shoreline Amphitheater
Mountain View, CA ________________________________ Photos by Brian Crabtree
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Lamb of god
Rob Zombie
korn
3 inches of blood
in this moment 5 finger death punch
hatebreed
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Eminem Recovery
Interscope On the surface, Eminem’s new album, Recovery, is a solid Eminem album. It’s angry and catchy, it flows, and it eats people and spits them out, but it just doesn’t have the same visceral hook that his previous albums have had. Starting off with tracks like “Talkin’ to Myself,” “On Fire,” and “Going Through Changes” that wallow in self-pity while trying to reach out and relate to listeners means that the album sort of stumbles along until “Seduction” comes on, whereupon Recovery settles down and starts to walk on its own two feet. The many voices besides Eminem’s bring a soul and R&B influence that sit on the table very well, while the beats are refreshing and heavy without being copied and pasted from past productions. On the low end, Em’s cultural references are uninspired and shallow alongside engineering tricks (like turning down the volume of the mix as he talks about being turned down) that are unnecessary and not very clever, but at least he’s trying. Recovery presents an artist who is trying to prevent stagnation while avoiding reinvention, which is probably why the album is worth listening to. Eminem still throws out hooks that stick in your head when you don’t want them to (“ain’t nothin’ but a white trash party”) and hasn’t lost his knack for turning a phrase with a furious tongue, but the album is almost supersaturated with heavy emotions and melodies that only let up for short bursts as opposed to being wellbalanced like previous albums. Originally planned to be titled Relapse 2, a continuation of 2009’s Relapse, the album is better suited as a counterpoint as the album is a reflection on the 37-year-old rapper’s life (including kicking alcohol and numerous prescription drug addictions), and, therefore, the heaviness is tolerable and even enjoyable (“Cinderella Man” and “25 to Life”), but undermined by the opening tracks. Recovery is good. Solid production with thoughtful flows as new styles sprout and take root amongst Eminem’s familiar vocal stylings. Using many different producers (almost every track has a different hand on it and only “So Bad” was produced by Dr. Dre), Eminem is no longer the lean-and-hungry rapper known on The Slim Shady LP or The Marshall Mathers LP, and it may mean an end to his Slim Shady alter
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ego, but what we have now is the level of acclaim that Slim Shady aspired to, and an Eminem who is walking on his own. The biggest complaint would be that 17 tracks are about 6 too many as he has stepped away from skits and has moved towards more melodic and user-friendly sounds. Old fans might have a harder time sitting with this album but, knowing Eminem, he just don’t give a fuck. - Andre Estournes
Nas & Damian Marley Distant Relatives Universal The very first thing I have to say about this CD is WOW. This is one of the best CDs I have ever listened to in my life. I saw Damian “Jr. Gong” Marley and Nas in May and was completely blown away by their performance. They connected with each other so powerfully and fed off each other’s energy. It was not just a show—it was a spiritual experience. So, of course, I had to buy their new album that they released called Distant Relatives. Produced by Nas and Damian Marley, this album is incredibly deep, honest and has substance. Their main focus for this album is brotherhood: two legendary artists coming together to collaborate and create a masterpiece. They explore how no matter where you are from, we are all descendents of Africa, making everyone distant relatives. Every song was a collaborative effort. The CD also features Stephen Marley, K’Naan, Dennis Brown, Lil Wayne and Joss Stone. The fact that they are singing and rapping together makes such a powerful force. Some of the top songs on this album are “As We Enter,” “Strong Will Continue,” “Africa Must Wake Up” and my personal favorite, “Count Your Blessings.” Nas and Damian articulated that we should put more attention into how truly fortunate we are. These are not just flavor-ofthe-week artists. They are legends that I was lucky to see and meet. They were both so down to earth and in touch with the world. This album truly touched my heart, and I literally cannot stop listening to it. My favorite album of the year! - Danielle Negrin
Eightfourseven Lossless
Minus Head Sacramento rock band Eightfourseven has just released their first full length album entitled Lossless, an alternative rock album with traces of progressive rock and electronic music. Seeing that a full-time member of the group was credited with not only bass but also programming, I knew from the get-go that this album would be full of modern touches. I was right.
The production quality is on point. Working with “Big Bass” Brian Gardner (who has worked with Dr. Dre, Gwen Stefani, and Alice Cooper), Eric Stenman (Senses Fail, Thrice) , and Shaun Lopez (guitarist for Far) couldn’t have hurt. Doing work in Santa Monica’s Red Bull Studios with the aforementioned artists helped them achieve a sound on this album that at times simply radiates with force. The style of the album is hard to describe. Drawing from the styles of Linkin Park and Nine Inch Nails, songs like “8 Armed Baby” and “Mirror Box” are more electronic than rock and roll. To me, it’s sort of confusing. It’s clear the band wants to showcase a variety of styles, but it’s not clear why. If I had to change one thing, it would be the style of the vocals. Call me old fashioned, but I found it really hard to understand what the singer was saying. - Ben Baker
Devo
Something for Everybody Warner Bros. Devo has released a new album. Take a second and digest; one of the fore-runners of new wave ‘80s-technopop, having been dormant for twenty years after their 1990 release, Smooth Noodle Maps, has now come out of hibernation with 12 tracks and a whole new style that’s exactly the same. This new Devo has ditched their iconic conicalstacked hats for futuristic masks that could be found in the carnivals of Victorian Italy (just throw in a few feathers and glitter), but they refuse to let go of the ‘80s and I applaud them for that. They also hold on to the same basic theme since their debut album in 1978 (Q: Are We Not Men? A: We Are Devo!): the human race is devolving (their name literally comes from the band’s term “de-volution”). Something for Everybody is glittery, bombastic, ridiculous, fun and, for lack of a better term, completely Devo. They run with pop-culture references like “fresh,” “step up,” and “don’t tase me” and use them with such ease that would make Lady Gaga jealous. I want to say that the music is seemingly without rhyme or reason, but I’d be lying. Admittedly, there are moments of tackiness (“my door does what I say/I say open and it does!”), but even so, every track is somehow focused, poignant, and driven, as ‘80s synths mix and tangle with drums, bass, and vocals into a ball of sound that is well produced, as it pushes and pulls the listener in random directions that are fun and interesting. From start to finish, Something for Everybody is consistent, and that’s what makes it great. Devo has created a bubble and the music pushes it to the brink of popping. My advice: just go with it. The journey is fun and
outrageous and the engineering is awesome. I can see how new listeners might not enjoy it, but the album has got heart and legs to run on and will take you for a ride if you’re willing. This album will make you want to cruise the town, re-visit your 80s movie collection and dust off your old Super Nintendo. The question on my mind: will their overthe-top tech-pop be celebrated in today’s technologically driven culture or will the plug be pulled on Devo? One thing is for sure: Devo is back and ready to dance. - Andre Estournes
Korn III
Remember Who You Are Roadrunner Have you been struck with boredom? Are you mundane? Or do you often feel like slapping your mother? Then you might need more Korn diet. The poster child for built up aggression and “I’m tired of the world” metal is here at your service with their ninth studio album, Korn III: Remember Who You Are. As the title suggests, the metal veterans have stepped back from the madness in an attempt to resurrect the styles, influences, and ideas that are more associated with their earlier releases. To assist with this vision, producer Ross Robinson (produced Korn and Life is Peachy) was called in to guide the machine. After an initial attempt for a concept album concerning the “downfall of man” was ditched, vocalist, Jonathan Davis, decided to approach each track that the band created with a more freestyle approach; not over produced. Each track produces its own emotion, therefore, resulting in different lyrical concepts. The album cover alone should give the everyday Korn fan a warm and toasty feeling inside. That’s if you like creepy of course! It’s no Todd McFarlane illustration, but you get the point. Opening the album’s journey is Uber-Time; a spacey voyage amongst the swamps where only your worst nightmares would lurk. After almost wetting yourself, track two, Oildale (Leave Me Alone), brings back the thumping bass and pounding percussions that all you Kornies (my nickname for Korn fans) have been waiting three precious years for. This track sets itself as the “FU” anthem of the album and will most likely be the supreme single from it. I’m glad to see old musicians refusing the depression of retirement and encouraging the youth of our society to once again, “Go punch something”! Korn, you never cease to amaze me, and you constanly prove the world that good things can come from Bakersfield, California. - Jon Hermison
CheCK out our exClusIve IntervIew wIth fIelDy from Korn on page 9!! 19
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Friday July 30th THE AVALON Santa Clara www.nightclubavalon.com
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Wed July 14 @ VooDoo Lounge Ish, The Riverwinds, ArtemesiaBlack/Kenny Schick, The Devil's Sunday Best Fri July 16 @ Mountain Charley's Saloon Dynamite Truck CD Release Show Sat July 24 @ Britannia Arms Cupertino Almost Honest, Northern Son, Bristol To Memory Thurs July 29 @ Britannia Arms Cupertino The Debonair Dialects, Aquifer Luck Loosh, Prayers For Atheists, 多Anonymity? Sat July 31 @ X Sports Bar + Music Lounge (Homestead Lanes) Shadow Beat Ritual, Hellfire, and more Sat Aug 7 @ X Sports Bar + Music Lounge (Homestead Lanes) Sympathy Ends CD Release Show
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Cage The Elephant Interviews By Itay K. Photos by Brian Crabtree
Hole
Middle Class Rut
_____________________________________ June 6th, 2010 Shoreline Amphitheater Mountain View, CA _____________________________________
Fly Leaf
Deftones
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holdup California’s roots-rock scene is blowing up right now and The Holdup are definitely a band to watch! Their crowd at BFD was one the densest all day on the Local Band stage. With ganja smoke blowing in the air, their fans, which mostly consist of teenage girls and their jealous boyfriends are some of the most die-hard out there... and I’m pretty sure a pair of panties even ended up on stage at one point... How’d you guys get on B.F.D.? Clev: It’s been a long process, I mean getting our music to Live 105 about a year ago and they played us on Soundcheck, Aaron Axelsen’s show; he’s a big supporter of local music. Amazing, he just covers a lot of talent locally, and he spun us one time and people started requesting it, and it kind of went from there. Live 105 is super supportive of everything we’re doing, and they gave us this opportunity. We were actually in the finals for their winter production that they do (we were in the top five local bands with that) and then from there we kind of got the opportunity to do this, which is super sick. Is this the biggest show you guys have played thus far, in terms of the crowd? Mike: Yeah, yeah. Definitely. I mean, in terms of opportunities, widely known festivals like this one are big for us. Clev: We played with a lot of other artists, but the fact that there was a diverse crowd here was what made it good because we’re not just getting the reggae fans which is usually what happens. We’re going on tour with Yellowman and all the reggae artists that he has and what-not and we get that kind of crowd, but when we’re here, we’re seeing hip-hop, we’re seeing indie fans. Mike: That’s a really big market for us is what’s going on in the mainstream, because we obviously have a poppy sound, you know? We definitely fit well in that category, so it’s good. Clev: As far as big shows, I think it’s a little different. There’s a lot of artists that we do play with where obviously it’s good because we look up to those artists, but as far as capacity-wise, just you know the vibe, I think this is probably... Mike: Yeah, we can’t really put our albums down in any one genre, or even a few, so how widespread this whole festival is, that’s, like, perfect for us, to get all those fans, and they can all find something, hopefully. What’s the deal with your diamond tattoos? Mike: This is actually the band logo, the diamond. I don’t
know what it was, I think it was just...I mean we came up with this logo after Clev started managing us. After Clev did, and at that point obviously we loved the music, but we just became super success-driven, and just we wanted something that resembled what we were after. Clev: It means hella work. It means hope. Mike: That’s our logo, and then this one (holding out his other forearm) is the record label. This is Dubby; this is the label for Dub Rock Records, and that’s a big deal, just because we’re all part of it, you know? It’s not just a label and then we’re the band trying to help ourselves and trying to do it all ourselves, you know? So you guys have a new album coming out soon. When’s that drop? What’s it called? Clev: Probably mid-July. Mike: We’re shooting for late July. It’s gonna be called Confidence. We’re shooting for mid-to-late July. Clev: For all the fans out there who are harassing us about dropping it since we’ve been saying we were gonna release it since March, it’s not really our problem because we could take the time to not do shows and record the album, but the fact that we’re still out doing shows, like we don’t want to stop doing the shows. Well, what’s next after this then? Mike: Sleep. Hopefully get to sleep for a week and then back to not sleeping. Clev: After this actually, we’re doing another festival in a couple of weeks, June 19th. Then we’re playing The Catalyst June 25th, so that’s what’s coming up. Mike: Tons of shows man, the rest of the next three months. Clev: Work work work work... we’re playing with Albarosie at The Roxy coming up. We just booked Warren G, that regulator, playing with Warren G. You’re playing with Warren G? Clev: Yeah. Regulators! Mike: We played with Afroman. We got the hip-hop thing going. Clev: Yeah, so we’ll be doing Warren G, and then X Fest. We’re playing X Fest this year, so that’s happening in August. They’re announcing the lineup tomorrow, so we don’t know who the headliners are. What’s this X Fest? Clev: X Fest, it’s like the Central Valley’s biggest concert series, basically they shut down nine blocks of Downtown Modesto, and headliners, they have five, ten headliners and it’s just a huge party in the streets. They’ve been doing it for about seven years now, they have about fifteen to twenty thousand people. Pepper’s played there, The Expendables, I think The Killers played there.
www.dubrockmusic.com • facebook.com/theholdupmusic
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silversun pickups It’s no secret that Silversun Pickups score the soundtrack for the cacophony and quiet of the urban environment. Their songs curl like a sleeping dragon around the foothills, soar between the skyscrapers, and slouch in the shadows of forbidden offramps and skid row. The Silversun Pickups sound is a city itself and on their newest album, Swoon, we tag along on a schizophrenic taxi ride to the dark side. After all, the City of Silversun is a landscape populated with contradictions: the clamor of traffic and the solace of the garden; fashionistas lined up at taco trucks after hours; moonlight bike rides and holdups at knifepoint.
The acoustic set backstage was excellent. Brian: Oh, thanks. It was the first time we’d played in a month because we’ve been gone for a little while, so I guess it was good to do a little acoustic thing. It was really fun to do ‘cause after awhile you forget how to do it and can’t really remember ever doing it before, but once it starts you get excited. So these acoustic things are fun because you can feed off the crowd a little more than when your band gets a little bigger because it’s harder to sorta get involved with everybody. It’s nice ‘cause there’s individual people yelling out songs and you can just play them, you know? What do you attribute to your short rise to success? Brian: Don’t ask me. Let me know what it is and I’ll tell everybody. I think that the biggest thing I always tell everybody is that for a lot of bands it’s luck. We consider ourselves really, really lucky, but you have to work your ass off and be prepared when nothing comes, ‘cause it might not come, but if does come, if you’re not prepared it’s gonna go away. And we were almost over-prepared. We played a lot…it was very important to us to try and be a very good live band, to try and find our sonic identity and we would play a lot live and we didn’t talk to labels or any of that stuff because we didn’t think it was necessary. We just wanted to try and become a good band. And it took a couple of years and I think at the end of the day it’s really helped us overall. Sometimes we’ll see bands that are really good but they haven’t really played and they’ve got technical situations at festivals with the monitors not working and they won’t know what to do. We’re so used to everything not working that doesn’t phase us. How do you guys go through the process of writing? What’s it like? Brian: I come up with some song ideas and things like that, and rough sketches of things, and come into the space and play all these ideas to everybody and everybody chisels away on them. Sort of like a tumbleweed. Joe: We all stare at each other for hours on end until someone gets an idea. Brian: Sometimes I come in with songs just because we don’t want to jam on a riff. We have to have a couple of changes. That doesn’t mean that’s how the song will 52 go, but we have to have those options
so we don’t become repetitive. Jamming is only fun for the people doing not, not for the people listening. But then again, I guess we are doing it and it’s not fun for us, either. We’re the kind of band that is so easily entertained and easily bored. Your albums tend to embrace art as part of the package. A lot of bands don’t really do that... Brian: Seems to be important for us that visually symbolize our band and have a linkage to the music and the art. We’ve been working with this guy, Darren Waterston, and he’s fantastic. Swoon…we had the name before we started writing it and we had…halfway through the album we had the artwork. We had a lot of Darren’s paintings all over the studio and in some ways they started inspiring the music. It’s really insane and really rare. Joe: With the first record, Carnavas, we waited until the very last minute, and then we started looking for some and no one could decide and I think it took as long as it did to do the fucking record. Brian: I mean, it went from…we could not find anything to work and we were so miserable ‘cause we had worked so hard on Carnavas and, like we said, it’s really important to us and everything just seemed the same. Everybody seemed generic and didn’t seem like us and there were a lot of things that seemed like album covers but we weren’t interested in that. We just couldn’t find it and then all of a sudden we found this guy and luckily he never did anything like this before and was really excited to work with us. We got along really well and suddenly there was this thing and out of nowhere we had 50 album covers, just so many different things. It was the opposite of what we were going through and we’ve been so lucky. We actually finally met him…one of our first Carnavas shows here at San Francisco at a place called The Rickshaw Stop. Are you guys into social networking as a band? Brian: We do Twitter because we put photos up. I think Twitter is good for us because we got so lazy keeping up with them and we’d wait and wait and wait and then we’d never do it. But Twitter happened and we just say our little thing and snap our picture. It’s a really fun thing to just give to people, you know?
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Photos and Review by Caroline Reid
If you missed out on the current 2010 Tool tour, you are bummed! I had the privilege of attending the SF show at Bill Graham Civic. This highly under publicized tour was for the die hard fans! The visual effects, orchestrated to the music with smoke machines, lasers and all, were equally as mesmerizing as the classic Tool songs themselves. The set-list was a veritable compilation of greatest hits throughout the years. I found myself breathless countless times throughout the night. (This is a very hard thing to accomplish. I even had to thank the production crew when it was over) Maynard’s vocals still have the same passion and conviction pouring out as they did when he originally wrote and recorded these songs. Tons more photos from the show online at: www.yourmusicmagazine.com
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CONCERT CALENDAR
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JULY 30, 31 & AUGUST 1 FRIDAY - SATURDAY - SUNDAY
at the MONTEREY COUNTY FAIRGROUNDS
OVER 20 BANDS ON 2 STAGES
DJ’s • Full Bars • Kids Area • 3-on-3 Basketball Tournament • Vendor & Crafts Booths • Lots of Food Third World Katchafire Judy Mowatt J-Boog Pablo Moses Gyptian
TICKET HOTLINE:
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La kay w/Mystic Man Skip Brown Band Al James Band One A Cord Jonah & the Whalewatchers
831-394-6534
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“Authentic Hawaiian Style Plate Lunch!” 1700 PORTOLA DR SANTA CRUZ (831) 479-3299 www.alohaislandgrille.com
•LUNCH •DINNER •CATERING •PARTIES •ALOHA SPIRIT ...and more!
OPEN 7 DAYS 11-8pm
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