Sonic Shocks 10/2012

NEW ALBUM PREVIEW Issue 10/2012

£ FREE

The world ain’t big enough for VINTAGE TROUBLE

In between Australia and Japan, Lenny Kravitz and Joss Stone, we spend a day in Brighton with the best band in the world on the last date of their European tour. Don’t worry, they’ll be back in November for more troublemaking and pelvis pushing., so get those alligator shoes polished and be ready for more Vintage Trouble...

DAVE WYNDORF

Spine of God 21 years later

TARJA TURUNEN First Live recording

SATAN’S WRATH Debut Album

Interview with Steve and Scott

FESTIVAL SEASON CONTINUES WITH MUSTAINE RIOT IBIZA CLOSING PARTIES MOVIE PREVIEWS BURLESQUE BERLIN FESTIVAL LIVE: MINISTRY REEL BIG FISH KVELERTAK/ARABROT ALBUM REVIEWS UNSIGNED CORNER Interviews with MIKKO VON HERTZEN JOHN WEAN GYPSYHAWK CULT OF OCCULT IMPALED EXISTENCE FEED THE RHINO MARTYR DEFILED BURY TOMORROW DEVIL SOLD HIS SOUL ANAAL NAKHRATH SKARLETT RIOT COMMANDER IN CHIEF KOBRA & THE LOTUS FURYON THE BLACK DAHLIA MURDER WITCHSORROW WINTERFYLLETH TITANS EVE

SARDONIS Back with II

Sonic Shocks

Page 2

Issue 10/2012

Anyway it's not Pussy Riot I want to talk about; enough has been said, and while declaring my unconditional support to the girls, there's something that pissed me off even more in recent news: step forward Dave Mustaine. This dumbass really should have his microphone switched off in between songs. While Russia is having a real taste of a totalitarian regime, having people jailed for speaking their mind and gay parades banned for the next 100 YEARS, Mustaine chooses SINGAPORE to denounce - poor thing - the ‘dictatorship’ he lives in: the United States of America. Yes folks, according to the Metallica reject the Colorado and Wisconsin shootings (and I guess the one at the Empire State Building, fresh on the news as I write) was carefully orchestrated by the US Government to support an anti-gun law. Right...

First of all Mr Mustaine: if you’re under any medication, I suggest you check the side effects and if you find ‘paranoia’ in the list contact your GP immediately; secondly, the only power in the US to be afraid of is that of corporations INCLUDING the NRA, which has so far allowed your country to be the only civilized one where people are allowed to carry guns. Third: what the hell was your mushy brain telling you to express your feelings of repression to the people of Singapore? And finally: why don’t you go play in Russia and tell them that?

The icing on the cake was the media chosen by Mustaine to 'defend' his position by once again appearing on the Infowars program hosted by Alex Jones - I'm sure Breaking Bad's phoney lawyer Saul was modelled on him – which led Mustaine to note that what he said was started by Larry Pratt (Head of an organisation called Gun Owners Of America) and that he was just ‘quoting his words’ and that ‘in the heat of the moment you can’t be as eloquent on stage as you’d like to be’, so in other words being more a puppet than the puppeteer and this is followed by ‘Saul’ saying the attacks towards Dave will backfire.

Given what people such as Oderus from Gwar tweeted following the event I suspect it’s more the other way around. To quote it: “I don’t need to berate Dave Mustaine to make him look like an asshole. He does fine just by opening his mouth. To say something as ignorant and insensitive as Obama “staged” the recent US mass shootings you would have to be…ME! I just can’t think of anything more ignorant or insensitive right of the top of my head… “ The Infowars report then ends with 'support freedom of speech, support Megadeth, buy the new album'. Sounds like one of these American underground cult things which - come to think of it - are often connected to shootings, violence and more general insanity.

May not be everyone's problem as long as only rock music and gay culture are involved, however one day this will be remembered as the month Putin finally dropped the mask and publicly revealed himself as the dictator he is. A 'dictatorship' is when opposition is forcefully muted, rather than listened to and allowed to contribute to the development of a society, and ultimately of our planet. Remember though, a dictatorship is not ONE man commanding a nation: it's one part of that nation prevailing on the other, to the point that their view is made into law and imposed on the other part. Sure a good slice of the Russian population shares Putin's views on Pussy Riot and Gay Pride, but t that’s not a good enough reason to make it into law, especially when such law violates human rights that in 2012 are universally recognized. Well, almost.

I suggest Mr Mustaine and all buying such idiocy to watch Michael Moore’s ‘Bowling for Columbine.’ But most of all, I suggest everyone to start recognizing and appreciating our freedom, especially freedom of speech - even if it means people like Dave Mustaine are allowed to talk such bollocks from a stage.

For those of you who missed it, here’s the original quotation from Mustaine’s Singapore banter: Back in my country, my president [makes puking sign with his finger in his mouth], he's trying to pass a gun ban, so he's staging all of these murders, like the 'Fast And Furious' thing down at the border; [the massacre in] Aurora, Colorado, all the people that were killed there; and now the beautiful people at the Sikh temple [near Milwaukee, Wisconsin].

PLEASE NOTE: Due to the amount of space taken by Festival coverage, our regular features www.youtube.com/sonicshocks

twitter.com/sonicshocks

‘Rock’n’Robbed’ ‘London at Night’ ‘The Hairspray Corner’ have been suspended for this issue ONLY.

www.facebook.com/SonicShocks

sonicshocks.tumblr.com/

www.sonicshocks.com

Everything will be back to normal from issue 11 out October 25th.

Sonic Shocks Ltd www.sonicshocks.com info@sonicshocks.com Editor in Chief and Creative Director Cristina Massei

thewickedwitch@sonicshocks.com

Content Director Matt Dawson

cygnus@sonicshocks.com

Business Director Marcus J West

marcus@sonicshocks.com

Unsigned Editor Dan Balchin

zorro@sonicshocks.com

US Correspondent Denise Bales Britt Burlesque & Nightlife Sophia Disgrace Ibiza Party Trooper Nelly Loriaux Photographers Cristina Massei Fabiola Santini Matthew Higgs Nelly Loriaux Writers Matt Dawson Marcus J West Cristina Massei Nelly Loriaux Sophia Disgrace Dan Balchin Matthew Tilt Becki Kremer John Morgan John ‘Hank’ Layland Ben Twemlow Ross Pike David Lees Kristian Kotilanen For general enquiries please contact info@sonicshocks.com For advertising enquiries please contact advertising@sonicshocks.com

Issue 10/2012

Sonic Shocks

Page 3

THE SPACELORDS ARE BACK An interview with Dave Wyndorf

by Cristina Massei & John Morgan - Photos Cristina Massei

So you guys are back on our side of the pond in November celebrating the Spine Of God album, how does it feels to relive a time of the band that is now 20 years in the past?

I can’t believe it! Sometimes it feels like 2 years, sometimes like 200, but it never feels like 20!

You were independent back in the day and you seem to have avoided the majors’ involvement as well with recent releases despite getting commercial success in the middle, is there a sense of the band going full circle?

Yeah sure, you know, with me I was just following the best way for getting the music out there bar getting money from people so I can stay on the road; how can I make this my life and not my hobby, what’s the best way to do it? Because I like the lifestyle of a performer. When we first started out, indie wise that was the only way I could do it, so that made sense, ‘ OK let’s see what happens’… and then the majors came sniffing around and I was like ‘Yeah, absolutely! I’ll take their money, this’ll be great!’. Then when it looked like it was crashing in on the majors making it look like not the best thing to do to stay on a major and go out to get the money yourself plus live for yourself I went back indie, but it’s quite a different world to how it was back then.

What’s the difference?

In the old days I think , no matter what people may tell you, being on an indie was a step to going to the majors; there’s a lot of romance of being on an independent record label and how it’s cool and stuff: it’s not cool. No matter what people will tell you it’s not fucking cool, in those days indies were just miniature versions of the majors. In the public eye there may have been some credibility but really to bands and stuff it didn’t mean that much. The difference is now when you go indie there’s nowhere else to go, you’re there - you are yourself, you’re responsible for what you do and the record companies are just facilitators of money. I don’t see record companies taking an active interest in what bands do except to make them money – indie and major record companies.

The difference is back then indie labels wanted to be a major record company someday and now I think now they’re just fine being indies, but they don’t think outside selling some product and just moving on.

The first time I heard Spine Of God I heard Stooges, Hawkwind and Grand Funk Railroad, just how much of an influence did they have on you at the time?

Huge! Fuckin’ absolutely huge! When I was a little kid – like eleven - I had a few records and my brother had a lot of records, he listened to all the stuff we’re talking about, Hawkwind and Grand Funk… I was listening to it and I loved it forever but it came time for me to be in my own band it was punk rock time so I didn’t play any of that stuff because punk was like ‘Wow it’s new!’ but when I actually started playing guitar for the first time after my first band - I was just singer in the first one - all those riffs, all that shit came back to me from my childhood. From about 11-16 that’s all I did – listen to those records and try to go out and see as many of those bands as I could.

One thing that is accustomed to you guys is that you’re a very drug orientated group, is that something you’ve wanted to change perception wise or is that something you learned to live with over the years?

Psychedelic orientated – yeah, drug orientated – no. A couple of records pointed that way but it is really up to the people. I love psychedelica and the trapping of the psychedelic movement – early- late psychedelica was stuff I grew up with and at the time we came out I pushed a lot of drug messages on the record and stuff but it was tongue in cheek, was a joke, kind of an anti punk rock thing. It’s pretty obvious that what I wrote on the record, it’s a satanic drug thing you wouldn’t understand, that’s pretty funny I think but I can’t believe so many people REALLY liked it, they really thought it was cool and were like ‘Yeah, take some drugs!’

People are a lot fucking more stupid than I can ever imagine, they really really are, I think it’s

because they just WANT to believe it, they want someone to go ‘Yeah, take all the drugs you can!!’ they want some sort of champion to say ‘go ahead and fuck your head up’; but for me all I was doing was singing about my childhood. Spine Of God especially is me singing about my years between 14 – 18 when I did do a lot of acid and drugs, that was the thing to do back then and I went to the shows, met a lot of freaks, extreme behaviour… it was that time. I’ll never forget it because that was my adolescence and I wrote it all down in the form of music and I thought it was cool and funny at the same time, I thought people of that generation would understand where I was coming from, walking a fine line. Drugs were a part of my life – stupid teenager growing up at this time and didn’t know any better and I’m going to write about the enthusiasm of that time - but obviously I know better now, I wouldn’t be around if I didn’t, no one would be. The people that are walking now that did that much acid and continue to do it to this day, they’re not making albums now! So that’s where it’s coming from.

Do you think there’s a lack of humour in today’s rock bands though?

I do! I had for a while. I always think there should be funny stuff in there, my favourite lyrics that I listen to are usually ironic or have a joke thrown in there, if you look at old lyricists – say [David] Bowie Ziggy Stardust or T-Rex like Slider or Electric Warrior there’s all kinds of humour in that stuff, but no one ever says they’re a ‘joke’ band. I think nowadays if you make a couple of jokes here and there people – especially METAL people – will go ‘oh they’re just goofing around they’re not serious’ and that’s ridiculous! A stupid notion.

There should be funny stuff and it should be the type where after a couple of times it may not be because you’re unsure whether he’s being serious and using it as an attempt to disguise his pain, and that’s what I do. I try to be as conversational in my songs as possible, so if I said to you ‘Oh I’m having a great day’ but if I said it to you with a weird look on my face you’d go ‘oh he must be having a horrible day’. That’s how I like to write a song, I don’t

how well it communicates to the people who listen to it but I hope they can take it that way.

I don’t hear a lot of rock bands that are funny, for a while The Darkness had some funny stuff but I don’t hear a lot of hard rock bands – you know what is funny though? Red Fang.

They do a stoner rock type version of it – it’s funny on purpose rather than just funny in passing, which is what I like.

Where are the Spacelords of today?

I got them all tied up in my basement! [laughs] I don’t know, I think there’s a return to space rock here and there, I notice in Austin, Texas they have a psych fest and Brooklyn has some bands, a lot of them are in Techno and unfortunately they’re kind of stuck in this dance genre that a lot of FX makers and space lord type musician people can’t leave alone because it draws so many people, but if they went a more ambient route we have a lot more crazier, trippier music around.

After years of constant touring I know you went through a period where you didn’t want to tour anymore, does the road have the same romance for you now as it once did?

It came back, that’s what a nervous breakdown/drug overdose ends up doing! I got really sick of it because I just did it too much, you know if you do anything too much you just get yourself in a rut, and I needed some time off to get some perspective and of course while in the middle of that I didn’t see that side, it felt like I had to work more; but then I took some time off and now I’m loving it again!

What’s the part that you love the most about it?

The people. I’m really lucky I get a chance to go places far away from my home, exotic places and see people that are happy with the music that I wrote. It’s fucking very humbling.

And I know this sounds like I’m an old hippie – I’m old but not a hippie! – there’s something about the very very brief time you spend with happy people that makes you happy for a long time. It’s only few hours, so how much could a night be ruined… It’s like going to a great party: it’s hard finding a great party, you’ve been to a lot of lousy parties but when you go to a really great one or a show where you congregate with people that are happy for such a brief amount of time, you walk away from that and that moment will be unspoiled forever because it was so brief.

Being on tour is hopefully most of the time living through a collection of really great happy short stories.

In all this travelling, you live most of your life in New Jersey. How important is it to have a home base that you can return to?

I love having a home base there, it’s where I grew up and family’s here. I’ve thought about moving a couple of times over the years but why move if you’re not planning on staying anywhere. Home is where the heart is, my dear!

Anything you’d like to say to the UK fans?

What shall I say… I’m so bad at this! Come out to the Spine of God, it will make you fuckin’… Nah.. I’ll say… Spine Of God is going to be a very growly, beastly affair and I suggest anyone into the hardest edge of psychedelia to come and see it plus I love you all!

Sonic Shocks

Page 4

Issue 10/2012

TARJA:

first Act of a Goddess

by Cristina Massei Hi Tarja and welcome back! Your first solo live album and video ‘Act 1’ is released this month. For an artist as impressive live as you are, do you feel this as a milestone in your career?

As a first live release on my solo career, ACT I is very important to me. I have put a lot of effort and love to it and I really like how it turned out. It is also very important to me to be able to show people that haven’t so far been in my shows what my music is about and the people that have to revisit the experience. Everything is pure live and nothing has been recorded nor overdubbed afterwards, so ACT I is a very honest product from me.

How difficult was to reproduce the show on video for a perfectionist like you and what did that imply from a production point of view?

The location, the opera theatre, made my DVD production quite difficult, since they had their own opera schedule running even on the first day of my concert. I had to build and break my stage set up several times because of this reason and my crew and band needed to adapt to the situation.

Luckily we got everything ready in time even though the two days before the first show were really long and tiring for us. I wanted to present both of my studio albums on this DVD, that’s why I chose to record two concerts and have almost completely different set lists played in them.

We did the same level of quality production than you can have in Europe, but Argentina is not like European countries where you can easily transport the produc- © Cristina M tion from another city or get assei them from a neighbourhood country. We had to use what we found in Buenos Aires and transport all the production to Rosario including PA, backline, lights and lasers. That was tough.

Does the title ‘Act 1’ prelude to more live releases coming after this?

I truly hope that after couple more studio albums I could come up with the next live album, ACT II. I have to work

hard for that to happen.

Why did you choose Rosario (Argentina) for this recording?

I got to perform in the “Teatro el Círculo” one year earlier with my band as a first rock artist at that time.

I fell in love with the place immediately. It is a very beautiful theatre. I thought at that time that if I ever record a live DVD, I would do it there. Luckily everything went like planned and the theatre gave me the permission for it. Another reason to film in Argentina was that Argentina is my “new” home where I have been living permanently more than 3 years. I wanted my home to be part of my first live release.

What extras are available on the DVD? The DVD is a double DVD with several extra songs from the second concert we recorded and filmed.

There are two photo galleries. One with photos that my fans sent me and I chose and another one with photos from the band’s archives, including some funny moments from the road.

There is also an interview with me and the video clip from the single “Into the Sun”.

There are two new tracks on ‘Act 1’ including lead single ‘Into The Sun’: can you tell us more about these song and what inspired them, particularly ‘Into The Sun’?

I wrote the song “Into the Sun” together with my Swedish songwriter friends in Sweden. We were sitting beside the sea and the day was beautiful, so I wanted to write about positive things of life. About those little things that happens to us in every day, but we don’t usually pay too much attention to. I feel great today as an artist, so I want to share that happiness with my listeners with this ballad. “Never enough” is very different kind of faster tempo song. That talks about us having too short a memory. We usually don’t remember too long that someone did good to us, we only remember the bad things that happened to us.

You’re working already on your next studio album, will these songs be included and when will it be out?

Yes, both of these songs will be included, but produced pretty different. Especially the song “Never enough” has a way heavier approach on the album and you might get surprised how it turned out.

Can you give us any indication on what to expect?

The elements on the new album are the same than on my previous studio albums. I will be using some ethnic instruments and strange sound world again to create special atmospheres to the songs that require them. There are songs with heavier sound approach and songs with only orchestra and choir as I like to keep my music very dynamic and have changes between the songs.

You had your first song writing experience with My Winter Storm; how do you feel your song writing has evolved through What Lies Beneath and towards the upcoming album?

Very natural. I have more courage nowadays to come up with ideas and I have realized that little by little I am becoming better in writing rock songs too, not only beautiful ballads.

Producing What Lies Beneath album helped me enormously to learn new things in music, so now this new album production has been even easier. I have realized that there are no mistakes you can do if you try hard and you feel in your heart that something is right.

You told me when What Lies Beneath came out that, as a passionate diver, the underwater world was one of your biggest inspirations in writing that album; is it going be in the next one too?

The ocean will always remain as a great inspiration to me. I can really relax on the shore of ocean. It seems so infinite.

I actually miss scuba diving at the moment, since I haven’t been able to make a trip like that in a long time. I hope the time comes soon.

Do you enjoy more hovering in deep, calm waters or being carried by the sea in a drift dive?

I like both, because a drift can take you to new places where you haven’t been and I really still like discovering new destinations. On the other hand, hovering in deep, calm waters is a great way to relax and forget all your worries.

You’re seen by many fans as their ‘Goddess’ due to your powerful stage presence and delivery; do you find that intimidating

at times?

I feel very honoured if comes a girl who tells me that I am her idol and because of my work she has started singing.

That is just amazing. People tend to have very strong feelings towards my music and the emotion involved is overwhelming sometimes. It has taken time for me to understand this and many times I still get surprised about my fans reactions. I am very grateful for my listeners since they are really loyal to me.

As the creator of female fronted symphonic metal, is there any new female singer out there that you particularly rate?

I listen to different kind of music and singers, but I haven’t added any new women fronted metal bands to my favourites lately.

What is your current relationship with your ex band mates in Nightwish?

None. There hasn't been any relationship with them since 2005.

© Cristina Massei

We can foresee your fans having one major question for you after watching ‘Act 1’: when can we see Tarja live again?

In the end of this year I will have a Christmas tour again in Finland and maybe few other dates somewhere else in Europe. Next April/May I will tour with “Beauty and the Beat” concept. That is a classical music project together with drummer Mike Terrana, symphonic orchestra and choir and we will be touring around Europe and South America during that period. Next time my fans will see me with my new album concerts in the fall of 2013 after the album release.

Any other message for your fans?

I really hope you will enjoy my first live release ACT I. It is a product that I really care for, so I wish you are be able to see how happy I am as an artist today. Thank you for being there for me!

With love, Tarja

Issue 10/2012

Sonic Shocks

Page 5

The Legion Of Satan

By Marcus J. West

Necrometal, sacrificial blood and relentless blasphemy: this is the whole message that Satan’s Wrath share with the world, committing to insanely get as many followers as the master himself commands in the name of abominable brutality. The horror itself becomes one with this force of utter black magic, viciously blended in Satan’s Wrath’s matchless sound, which find its best flue in the bands debut album with Metal Blade Records, Galloping Blasphemy. Tas Danazoglou, funding member shares Satan’s Wrath’s dark, evil path towards total massacres.

Congratulation on getting signed to Metal Blade Records: how were you approached by the label and how do you feel debuting with such an influential establishment behind your music, with someone as eminent as Brian Slagel supporting you?

Thank you. Actually we approached Metal Blade by sending our album to them and Brian Slagel liked it so, this is how it all happened. Even before I finished writing the songs, I knew somehow that this album will be released by Metal Blade. So for me it’s a great honor and pleasure. I mean how many albums I bought as a kid from Metal Blade and now our album will bear this name…..this is great, thanks Brian!

How did Tas (Danazoglou) and Stamos (K) got together to form Satan’s Wrath? Did you both grew up in Greece and if so, where?

Me and Stamos haven’t lived in Greece for many years. We met through a friend, Costas who later became the bass player for us. I wrote the whole album, Stamos was up for doing all the guitar parts and production. I wasn’t fully aware though of his potentials as a guitarist and producer,

the guy is an amazing musician, period! Originally, we were both from Athens but funny enough we met in London and now he lives in Berlin.

Greece is such a beautiful, traditional country, with deep religious roots: how did the whole Satan’s Wrath concept was developed as you were shaping your future as a musician?

Ha!!! I hate Greece. The Greece I like goes back 3 or 4.000 years. Now I wouldn’t even call it Greece. Fuck them and fuck their Christian religion too. The real Greek religion is paganism, you know, with goat worship of Pan, Dionysian orgies and human sacrifices. My musical taste was shaped by anything but Greek influences.

As you were growing up, did you find yourself feeling dissimilar and atypical compared to your family member and school friends, because of the way you perceived music and the direction you wanted to bring your music further?

Well if you are 13 years old already into thrash metal its normal that you distance yourself not only from your parents but from the whole society. Maybe it’s acceptable now but it definitely wasn’t in 1984. I was always the outcast and the weirdo. The good thing is that I always thought that the whole approach didn’t mean shit and my attitude was fuck you and fuck the horse you ride on. Now I am even worse, I won’t even talk to someone if he or she is not a real metalhead. What am I going to talk about? Politics? Football or fashion? Fuck them all. I would beat normal people every day if there was no law. …. However now I do it every other weekend.

With such a compelling band name, are you having troubles with local authorities when you play live shows? Have you even had to face difficult situations as a consequence?

We haven’t played live yet and as I said we don’t live in Greece anymore. I hope though that if we play over there or in countries like Mexico for example, that we will have some kind of riots, you know, because of the local Christians, it will be fun.

We will run out with baseball bats and smash some heads up.

Galloping Blasphemy your debut album, offers nine tracks which are infused with true unholy terror and wrath: what is all this raging fury directed to?

There is no rage inside the album, only darkness and evil.

The beginning with Leonard Rising- Night Of The Whip has a very chilling intro and as it progresses, it gives a strong sense of hunger for more, it’s a very powerful song. Is this song a reminiscence of the life of the great Italian scientist?

Who? Hahahaha, no, Leonard is Satan. It appears on our Sabbaths in the form of a black goat.

Hail Tritone, Hail Lucifer is one of my favorite track of the album so far, as it blends your unique vocal style with a more traditional thrash/death shape: how did you develop this awesome track (that I do hope to see live soon)?

Oh, you like that one? Cool. It’s a good track I think. It starts a bit like Possessed and then evolves into a doomy riff and has some strong Beherit influences. It has the most retarded title too. Yes, we will play this live for sure.

And the title track follows: I perceive lots of good, old school thrash in here (amazing guitar solos by the way). Who would you say are your main influential bands?

Well I would call our music just satanic heavy metal to be

honest. As a whole on the album you can hear Iron Maiden, Slayer, Possessed, Venom, Mercyful Fate and a bit of Celtic Frost. I would say yes, I am very happy with Stamos solo too, he is a great guitarist. The album title just came to my mind you know..I thought the music in many parts is galloping, like the classic Iron Maiden tempo you know and the lyrics are blasphemous, so...

Satan’s Wrath over 6 minutes of pure terror bliss, is closing Galloping Blasphemy: would you say this track represent the band fully and if so, why?

This is the best track for me and represents Satan’s Wrath for sure. It’s our Phantom of the Opera. It’s got everything I like from riffs and tempo changes. On our next album the title track will be 11 min long, it will be an anthem for satanic heavy metal. We’ve got all the next album ready by the way.

I can’t say more though...

Can we expect to see Satan’s Wrath (hopefully) soon live in Europe and if so, can you give any anticipation on how your live shows will be?

Yes, we will play live very soon. We’ve got a full line up now, the only thing I can say is that our live shows will be total massacres! We are going to take metal back were it should be, like in the early eighties with Slayer and Possessed…. no more of this new wimpy stuff, no more sophistication and progress, only merciless metal mayhem!

Page 6

Review and photos by Marcus J. West The contrary has been said, but Wacken makes it very clear that size does matter, it matters a great deal. Wacken Open Air is the biggest metal festival in the world and attracts over 80,000 people. If you want to do it big, you need to have the right tools to pull it off; however, from the off it seemed that some of these tools were missing. The efficiency for which the Germans are world renowned is lacking, especially from the guys wearing the intimidating security badge; they didn’t know where to direct

Sonic Shocks els the blood of the diehard while the crowd jumps and seems awake for the first time today. Their closing number, Roots, announces the end far too soon. Saxon embody the true British metal tradition and they brought it to Germany with classics such as Motorcycle Man and Denim and Leather. As frontrunners to the New Wave of British Heavy Metal, Saxon always bring that unique festival flavour that makes any person happy. And lucky for us it’s not just the Germans that will be happy, as Saxon confirmed that there will be a new album followed by a tour in 2013 just after they play in India with Mastodon and Slayer. Danish Volbeat follow and hell yes, can they keep up! Michael Poulsen’s amazing vocals resonate throughout the set, exploding in Heaven Nor Hell and stunning the audience in 7 Shots (with Kreator’s Mille Petrozza and Mercyful Fate’s Michael Denner.) As if that wasn’t enough, Barney Greenway from Napalm Death joins them for Evelyn. Volbeat then say goodnight in style with an instrumental rendition of Slayer’s Raining Blood which simply gives chills down to the bone.

Friday 3rd August: Day Two As the sun shines high and salutes WOA 2012 on its second day, German black metallers Endstille open the Black Stage with pride and glory. I was caught off guard by their unique blend of eerie riffs and hammering blast beats at Hellfest, so this time I made sure not to miss a bit. The staggering, explosive drumming of Mayhemic Destructor gives so much speed to this empowering, “Made in Deutschland”, brutality. Frühlingserwachen slays mercilessly and this is because Endstille are metal and remarkable. On the adjacent True Metal stage, thrashers Sacred Reich continue with Germany’s metal tradition. Leaving the

people and left folks with bulky luggage standing in the middle of the throngs of people looking to get their drink on. Nevertheless, the (initial) nice weather and the media camaraderie fostered a good mood. Once settled, the atmosphere in the campsites was great: it felt familiar, like many people knew each other and were up for making new friends. It’s been said before, but it merits saying again: there isn’t a more fun crowd than the metal crowd. Wacken Village is massive, perhaps too much so; however, nobody could say it wasn’t fitting.

Wednesday, 1st August: The PreParty Although the Festival didn’t technically start until Thursday, Wednesday night boasted an event not worth missing: on the W.E.T and Headbanger stages a battle was taking place. The Metal Battle is a competition for new talent which takes place at Wacken every year and gives new bands a chance to play to the enormous crowds and to win a record deal with Nuclear Blast.

Highlights of the evening included melodic Dutch thrashers Disquiet, who emerged with their interesting blend of Testament inspired strength and Arch Enemy fuelled aggression, and Hamferð, the doom metallers from the Faroe Islands who ruled the finals; congratulations to them!

Thursday, 2nd August: Day One Day one officially starts on the Headbanger Stage with Sweden’s up-and-coming Dead

by April. Although they made a valiant effort, it resulted in them trying just a little too hard and were thus unable to incite the crowd in the way that other young metalcore bands (think Betraying the Martyrs) do. After crossing the vast expanse that is Wacken Village, Sepultura were giving meaning to day one with the initial intense tribal drumming, splendidly delivered by their army of accompanying performers.

Guitarist Andreas Kisser graces the atmosphere with his pulsing guitar and Chaos AD fills the hearts of the nostalgic and fu-

big stages behind, it’s now time to move to the tents as Darkest Hour from Washington DC are on and taking over the W.E.T stage with a stirring dose of melodic death metal, powerful enough to incite a glorious pit. The Black Dahlia Murder are next and Trevor Strnad is barely recognisable without his beard. Shouting the hell out of his lungs, he initiates their short lived set with A Shrine to Madness and Moonlight Equilibrium. They seem to be at home here and attack ruthlessly with their powerful death metal which is aimed to destroy. Polish Decapitated follow and hit like a hammer to the face. Continuing their path to a new life, singer Rafat “Rasta” Piotrowski has taken over the duties of Adrian “Covan” Kowanek who is still recovering from the accident which took drummer Witold “Vitek” Kiełtyka’s life. His Brother, Wacław “Vogg” Kiełtyka makes his mark as he brandishes his weapon and lets fly the scorching notes of The Knife, Pest and Mother War. The audience cannot resist replying in a potent unison of gratitude and mighty adoration. Great renditions of A View from a Whole and Spheres of Madness continue the path to an amazing set which could have easily been on one of the bigger stages. The weather has turned at this point, and through the rain and the mud, Red Fang bring their own sun. From the very first notes to the fantastic, hot, steamy ending with their staple Hank is Dead, the Or-

egon quartet makes it a joy to see them live; it’s hard to resist jumping to their geniality, even for those like me with a big camera and a big bag. The colossal Norwegian Dimmu Borgir take on the Black Stage in great style with a massive orchestra and choir. Shagrath proudly appears with his unique warrior at-

tire and a stance that makes you want to join him and his legion in their battles of ancient worlds. They are as epic as the fall of lights, the Wacken logo, a massive ram’s head built in between the Black and the True Metal Stages, lights up with fire at the notes of The Serpentine Offering. The audience, though mesmerised, are distracted by the conflicting set of Leaves Eyes on the adjacent Party stage; it is obvious that the stages should have been further apart. Pure blasts of hellfire are on the way as further Norwegian black metal is grandly delivered by Gehenna during their 10pm set on the W.E.T stage. They are pure black metal bliss; there is so much efficiency and evil and their set is flawless and enchanting. Finnish Insomnium close the night with their embracing melodic death metal. There is no better song to say goodnight than their latest, Unsung.

Saturday 4th August: Day three.

The rain has been merciless overnight and the whole Wacken village has become a mire; however, the seasoned Wackeners seem to know exactly how to cope with it, crossing the village using some incredible routes to avoid being devoured by the uncompromising bog. The morning somewhat fails to start as it did on the previous days, however. Agro is opening the W.E.T stage today and Eschenbach and Henry Rollins Spoken World follow on the Headbanger stage. As the day continues, everybody hungers for more. The call is answered by the pride of Britain, Napalm Death and Paradise Lost. This is a massive clash as they are both scheduled at 2pm on the Black and Party stages respectively. Paradise Lost’s stunning rendition of Erased or Barney Greenway’s grindcore growling; the choice is just too hard! Cradle of Filth announce their arrival with the unmistakable eerie keyboard blasts and Mr. Filth’s screams drawn from the depths of the underworld. However, this is another major clash today that should have definitely been avoided as Dark Funeral are playing the Party Stage at exactly the same time. They manage somehow to break the barrier of sound opening their set with embracing smoke and, like an army of proud soldiers, they present themselves to their

loyal commanders: the audience. There is an explosion of fire in the sky as Atrum Regina

Issue 10/2012 is blasted, making Dark Funeral one of the best bands of the day. Nachtgarm’s vocals are wonderfully powerful and piercing and the energy they leave behind in My Funeral makes everybody forget about the rain and the mud. Sadly, I am faced with the reality that there is no way that I can manage to cross the main field to reach Moonspell and Nasum who are scheduled to play the W.E.T stage after the killer sequence of Six Feet Under and Testament. They are the real fuel of the day, opening with Rise Up from their latest masterwork, Dark Roots of Earth. Then the Vikings arrive.

Amon Amarth hit the Black Stage and take possession as total rulers. Destroyer of the Universe transports the audience back to the time when swords were the weapons and heroes used them to conquer all. Germany’s pride, Scorpions, come on stage proudly and give a great show; however, it appears that they are off form. The dancers, although visually appealing, appear out of nowhere and are a little tacky for a metal festival. Robb Flynn and co. of Machine Head arrive at 23.45

sharp to headline the True Metal stage. It is turned into pure metal oblivion, with perfect renditions of I Am Hell, Old and Imperium accented with columns of fire which take the festival to its final magic moments.

Their closing number, Davidian, is majestic and a perfect end to their set. The end is nearly upon us with an almighty clash: Ministry and Watain. I am happy to know that Al Jourgensen is back on his feet after his recent health problems in Paris; however, I can simply not resist the thought of ending this Wacken marathon with a blessing from Eric Danielsson. The stage is an altar for the darkest rituals and the flaming inverted crosses welcome this awesome band. Danielsson’s screams hit mercilessly and there is nothing to do but be captivated by this dangerous Satanic charm, as Malfeitor is blasted at maximum potency. He turns to his altar and bows before his Master as a true prince of the darkest worlds. The pervading grace is immediately transformed into evil fury as he returns to his crowd. The Devil’s Blood and Reaping Death incite the audience into pure ecstasy as more fire is ignited and fed. Dissection’s cover The Somberlain, scorches the end of their grand set and confirms that there is no better live performance than Watain’s.

Sonic Shocks

Issue 10/2012

Page 7

SLAY AND SLEDGE

by Marcus J. West Hammerheart Records has struck again with this deadly Belgian doom squad that in the name of darkness and havoc have released a second album, simply and magically called II. This collection of lethally crafted layers of powerful riffs, captivating and intriguing growling and tight, dense drumming has caught the attention of the ones in constant need for magnitude, power and potency. II is clearly opening new territories for Sardonis and for the lucky ones who saw them live when they opened for doom masters St. Vitus during their recent UK dates, the idea of what Sardonis represents is is already growing. From a childhood spent in fear, hiding from the arrival of the evil monster, to a future tour in Japan, drummer Jelle is sharing some thoughts on the band’s past, present and future.

Good morning Jelle, thank you in advance for your time. I am really looking forward to getting to know Sardonis in detail. How did you guys form, and what is the history behind the band’s name?

In 2006, I took a motorcycle trip from Belgium to Congo. I was away for over six months and when I was in Morocco I got an email from my friend Roel, our current guitarist, asking If I was interested in starting an instrumental band like Karma To Burn; we started one once I got back to Belgium in June of that year. Initially we thought to add a bassist and a vocalist, but after few months we felt it was heavy enough just between the two of us; so we continued with just me on drums and Roel on guitars. The band name has a kind of funny story behind it: when I was a kid during the eighties, there was a very popular Flemish television program for kids called Merlina with the typical children’s stories of the bad men hunting the good men. The strongest of the bad men was called Sardonis. When I was naughty, my mom used to say “Jelle, be good otherwise Sardonis will come and get you;” he was a kind of demon of our youth, that’s why we decided to call the band in his name.

Why did you develop your musical direction as a doom band?

We do not really care about genres to be honest and we do not see ourselves only as a doom band; this is what people call us as our songs are very dark and heavy and there is lot of burden in each track. We just want to play the music that we like, we want to play heavy metal based on what has been played over the last 40 years; it does not mat-

ter if it reminds of Pantera or Black Sabbath or Motorhead, we mixed all the influences together and we make our own kind of style.

You mentioned Karma to Burn earlier and now you refer to Pantera, Black Sabbath and Motorhead; is there any of these bands, or others, that mostly contributed to shape your sound and approach in making music?

Many people out there call us the instrumental High on Fire and I agree that our sound takes a lot from that band, with the same levels of vibe, power and aggression. High on Fire is definitely one of our main influences, the band to which we are compared the most, and this is also in my opinion one of the most interesting bands at the moment; if we ever end up playing a show with them or tour with them, it would be our dream come true.

What is the message behind your music?

We do not have any political message we want to share, nor is there any esoteric meaning behind what we play. All we want to say is pick up your axe, get onto your horse, slay and sledge. Our first album was more focused on post metal with lots of stoner vibes, but with II we expanded into more aggressive directions and battlefields.

Your sound has been described as monolithically dense, I personally feel there is a constant sense of danger being thrown to the listener, which is both eerie and captivating. Would you agree?

Absolutely! II contains very dangerous music. We are very kind people; I am a very happily married man and a father and I am also a teacher, but in our music I want to express our meaner parts.

I reviewed II spending a lot of time listening to the opening track, Burial of Men. What is this song about?

II has seven tracks, all the song titles are kind of related to epic stories and wars. With Burial of Men we really wanted to set the right atmosphere, dense and big. There is not a particular message rather than heaviness with the half tempo riffs and with everything breaking loose.

Entering the Woods is majestic, the drums here are very fiery and powerful. How did you develop the very intense structure of this track?

I had this High on Fire idea in my mind for a very aggressive rolling drumming that I just started and this became a very complicated song. In the end though, we decided to strip it all off, but still we think it sounds very aggressive.

The closing with Aftermath of Battles seems to be giving an end to suffering.

Well, we just discussed it at rehearsal last week: on September 19th,we will play this song live for the first time (and probably the last, as it’s over nine minute long) as we will be playing alongside UK doom institution Ramesses in club Sojo in KesselLo, here in Belgium. This will be our official album presentation.

The second album is very important for a band, do you think that with II you have more chances to take Sardonis further and to reach more people?

When we first started we had nothing to lose, but now with the stakes being a bit higher with our second album, we put lot of energy and passion and love in it. As a band, it is important to feel that this is a huge step as we are reaching more people; we are very grateful to Hammerheart Records to have come our way, they are totally behind us and very supportive.

Which part of Belgium do you come from? Another Belgian band that I really like is Aborted.

I come from Genk, it’s about one hour from Brussels. It used to be a mining city, but it has become very multicultural. I do not know Aborted personally, I know they play their grindcore / death metal style; they are very different from us and I am glad that they are doing so well internationally. They are very, very technical, the opposite I would say of Sardonis, as we make more brutal music.

Let’s talk about your live performances: you recently opened for St. Vitus. What was it like to share the stage with them?

And what was the crowd’s response to the new songs from II? During these particular shows in the UK, we noticed that we were not known by too many people; there were only very few fans for us.

We were the unknown band of the bill as the majority

of people were there for St. Vitus. In a sense, it was great for us because we had nothing to lose.

The reaction from the people was really amazing, many of them came over after the shows to congratulate and hug us; it was awesome so see all this enthusiasm.

Any projects for future live shows? And if you had to choose two bands to tour with, who would they be?

High on Fire of course, but then.. Black Sabbath… it would be a very good bill. Last Wednesday we opened for Electric Wizard in Brugge, that was a great show too. They are very nice people and we had very nice conversation backstage, so if they ever look for a support band again, I would like to do it all over again.

I just returned from Wacken, too bad they had to cancel the show….

Yes, I heard, because of a major traffic jam.. As far as our future projects, we have some interesting things coming up. After some gigs here in Belgium, we will tour in Japan in October; we are going for nine days, playing seven shows supporting Eternal Livium; the future is looking very bright. Also, we have a new web page.

Check it out at www.sardonis.666.be

SOPHICIDE

GOrErOttED

CD

CD/PIC-lP

This is the debut of Germany’s technical Death Metal sorcerers Sophicide! Needs to be heard to be believed... if you like Necrophagist, later Death, Atheist or Obscura then you need this!

Re-issue of this legendary album with bonus tracks, underground classic by the band that become The Rotted! For fans of Macabre, Cannibal Corpse, Blood Duster and Exhumed.

SArDOnIS

COffInS

PErDItIOn Of tHE SublImE

mutIlAtED In mInutES

II

mArCH Of DESPAIr

CD/lP

CD-EP/lP

Demolition Tour de Force by this Belgian duo, that will leave a mark on the Soul of all those who adore High On Fire! Power of the riff, play louder!

New recordings by these True Japanese Corpse Grinders! guaranteed to turn your Metal party into a graveyard! Do not call yourself a fan of ancient Death Metal without owning this one.

Check out our exclusive items and releases in our webshop for the best prices European mail order has to offer!

WWW.HAMMERHEART.COM•WWW.FACEBOOK.COM/HAMMERHEARTRECORDS

Sonic Shocks

Page 8

by Cristina Massei We meet up with Mikko at a rather crowded Starbucks in London, when we notice a small fracture on his finger: ‘when you have this ‘do it yourself’ attitude, sometimes you go too far carrying boxes and I bent it pretty bad’. Mikko spends quite a lot of time in the English capital, so we decide to find out if things are mature for a UK citizenship application…

So you’re back in the UK, you seem to come back pretty often!

That’s right! About once a month..

Business or pleasure this time?

This month is business as well as meeting people and friends. It’s not been great weather wise over the last month no?

No, you should have brought the weather with you!

Can you believe it’s sunnier and warmer in Finland than here!

So, let’s see how English are you… Ever watched Eastenders?

I’ve heard of the programme but I’m not too much of a TV fan actually! I used to work at the Barbican in 1994. I was studying and was working there for 6 months so I have a bit of a relationship with London, but I’ve always worked late and had very little time for television.

What’s your strategy to conquer the UK? It’s somehow strange to think of it that way, as our roots are in British music – particularly the bands from the 70’s - so we’re not bringing anything new except this special brotherhood thing we have, which is very strong. The plan of approach is to play more because England is a small country and we love to play so it’s kind of a mission you know, to find people that appreciate the music. I’m sure there are people who potentially could like us here. I’m personally looking forward to playing more here because we only played 3 times in London prior and I would love to see a little bit more of the UK. Such as?

I’ve never been to Liverpool or Manchester, I’ve been to Brighton once for a holiday, I’d love to plat Glasgow or Edinburgh.

Some of my favourite bands come from Bristol, such as Portishead and Massive Attack.

Who would you say are your musical soulmates?

I think the main ones are the traditional UK bands like Pink Floyd and Led Zeppelin, maybe Deep Purple but there’s also bands like Porcupine Tree in their more rockier moments that might be something I could relate to, so if you like those bands it could be worthwhile checking us

out as well.

What was the main reason behind putting out the Best Of? One of the reasons we decided to put out The Best Of at this moment was that we were definitely starting to get our audience here and in the rest of Europe – in Finland we have 4 albums under our belt so there was no need to release one there yet. It’s just a tool to introduce the band to a new audience, and also we’ve put a lot of effort into making it worthwhile to buy such as the DVD that comes with it; it shows what we’re really about aside from the album, we wanted to give as much a comprehensive package to people who are interested and want to know more about the band.

I think we achieved that, it gives a good idea of what the band is.

How do you feel your music is going direction wise after 4 albums?

Of course it gets more mature and we try to develop. Every album we look into the music that we are planning to record and we try to evaluate if it’s something new, if we’re not repeating ourselves or if it’s something that may hear which is a lame version of something done before, so we try to develop and find new ways of doing things empathising the things that we KNOW we’re good at but trying to also find new territories in ourselves, because that’s the only way of keeping it interesting, not just copying what you’ve done before and going ‘this is what we are, OK’.

Which album would you recommend for new fans?

Well for our 10 year anniversary we had 4 gigs in Finland in the same month and we played every album and honestly speaking I cannot say which one is better; I really feel I can stand behind everything we’ve ever recorded, sure they may be a moment where the quality is not that great but we have always done things that we’re a 100% sure we can’t do any better. But to answer your question I’d go with Approach! [Laughs] The most epic album I’d say is Love Remains The Same, that might be the friendliest work to get into.

So how are plans coming along for the next album?

The plan that we have is a March 2013 release; we’re in the middle of pre producing the album right now which means we haven’t really started recording it yet, but we’re deciding on the songs we want to work

Issue 10/2012

MIKKO VON HERTZEN

GOD (WITHOUT SAVEADAM THE QUEEN LAMBERT)

with. We’ve only played 2 festival gigs this summer and we’ve been focusing on these new songs and how to improve them. We plan to go into the studio early August and we usually take our time in the studio, so it’ll be 3 or 4 months until we get it done.

How will it compare to Stars Aligned?

I think it’s going to be more straightforward.

There is a tendency there to do really heavy thing that we’ve never done before and there is also simple logistics that we’ve tried to avoid. It’s going to be challenging to break the pattern that we’re used to, but we try to

do that every album.

We didn’t see you at any Festival this summer, any particular reason why?

We’re only playing Finland this summer because of all the business with the album. We did try to find one in the UK but couldn’t find the right place. We are looking towards Summer 2013 already because we know there’ll be a new album and maybe before if there’s a good support for a tour. We could do a headlining tour but we feel a support slot makes more sense, we were touring with Opeth a few months back which was a good

match as funny as that may sound.

Who would you want to tour with, dead or alive?

Real easy – Queen but not with Adam Lambert!

You plan to be a talent judge over in Finland as well..

I plan to be yes in the autumn, it’s the Finnish version of Britain’s Got Talent.

Are you going to be the nice judge?

I’ll be honest!

JOHN WEAN: blinded by sweat

by Cristina Massei A few weeks ago I found myself in a tiny basement of a venue in Islington for a drink with an old friend and to check out on his advice this new Scottish band, John Wean; They were playing an intimate showcase/warm up gig before their performances at the upcoming London BT Olympics events: wow. ‘I really stumbled on something good this time’, I thought as I gradually went from foot-tapping to almost dancing. Something I needed to know more about and to share with you. So here we go lads and gals, from green Scotland please meet John Wean!

Let’s start with the obvious question: why John Wean?

Well in Scotland a ‘Wean’ is a child. So originally we were John’s Weans! It’s just a play on the famous actor John Wayne’s name and ‘Wean’ is pronounced ‘Wayne’.

You guys first got together in 2009, however I met you in London and you all seemed really young… Would you mind telling us your age?

Simon and I are just 19 but Jude’s 21 and Stu’s a pensioner at 22!

So, for those who don’t know you, what are John Wean about and who should definitely check you out?

We’re an Indie Rock ’n Roll band from Glasgow who sing songs about being young and stoopid.

You recently were invited to play some gigs at Hyde Park and Victoria Park for the London Olympics, how did that feel?

Awesome! It was just amazing to be part of the whole event and to be in London during the Olympics.

It was something different playing on a 40 foot stage.

How was the crowd’s reaction?

Too good. We had people coming back to see us again when we went back on four hours later which was nice and we’ve been back down since and they were there.

Did you find the London audience different from the Scottish one?

Nah, I think we have to try to be a bit more charming in England because people don’t really understand a word we’re saying but its pretty

much the same.

I’ve seen you guys live in a very small venue, yet I was very impressed.

What do you think makes a good live gig?

Sweat. If I literally can’t see the crowd for the last two songs because of the amount of sweat in my eyes then I know that we’ve played a good gig. The crowd feeds off the energy the band put in. There is nothing worse than watching a boring band.

Are we going to see more of you live in the rest of the UK and when?

In September we’ll be playing a lot of freshers shows at Universities and hopefully we’ll get out on another tour before the end of the year.

There’s a single coming out: tell us everything about it! Release date/title but also what it is about, what inspired it etc The single is called M.A.P which stands for Morning After Pill and is a song about the decision that faces a lot of young guys when they’ve got a girl preggers. Stick around or run away. It’s more of a social commentary than an autobiographical story but I sure as hell wouldn’t want to be in that position. It’s out the 29th of October.

Are you working on an album/EP or anything more at the present?

We’re just writing more songs at the moment for an EP/album that we might release early next year. Who knows?

So guys, what’s your goal? Do you actually aim to do this for a living?

We quit Uni and our jobs a year and a half ago so this has really been our full time job since then. We practice all day 5 times a week which I’d say is more than any other unsigned band will be doing so hopefully that gives us an edge over them when it comes to getting signed and making a living from it.

What do you expect to be the biggest obstacle and how are you going to face it?

The biggest obstacle will be getting ourselves out there. It’s really easy to play shows to no-one up and down the country. What’s hard is getting fan bases in cities you can’t even spell.

What’s the biggest lesson you’ve learned so far in this industry?

Don’t believe everything people tell you. Do a background check on everyone you work with. Cynical. But it could save you a lot of hassle and money in the long run.

Where can we find out more about John Wean?

On our facebook, twitter (@Johnwean) and our website www.wearejohnwean.com

Issue 10/2012

Page 9

Sonic Shocks

CULT OF OCCULT The Darkest Side of France

by Marcus J. West

An interview with Andrew Packer

by Matt Dawson Describe in 3 words Gypsyhawk Hyperbolically pretentious, bro.

How did it feel signing to Metal Blade?

Very awesome. Metal Blade has been cranking out the hits since before i was born. It's a legendary label, one that I always fantasized about getting signed to. I say "fantasized" because it was always a farfetched notion. When we got the word they wanted to make a deal it was surreal. Feels pretty appropriate now.

What would you say were your favourite bands/ records growing up? Listening to Revelry And Resilience there’s a hint of classic rock from the 70’s…

I went through phases, most of which I still keep with me. I first started playing guitar because I saw Nirvana on the MTV when I was 10. I knew right then I wanted to play guitar forever. It was one of those defining moments they use in prefaces of biographies. Then it was Hendrix and Metallica.

That's where the inspiration to take playing beyond power chords came. That was hard though, and I really got into Punk after my big bro got me into DRI. Eventually I worked my way back into Hendrix, as well as Cream and Led Zeppelin, i guess right around when I started smoking a lot of weed. Then i went to school and got into technical death metal and that's all i was into, until I burned myself out and that's when I started getting into more 70s shit like Captain Beyond, Cactus, Sir Lord Baltimore, Lynyrd Skynyrd, and Thin Lizzy.

What was the plan behind the photo used when the signing was announced of the band playing Dungeons and Dragons? Was it to show the connection between the band name and the game?

We're actually playing Magic: The Gathering.

That's a game we started playing on tour to kill time and somehow it leaked over into our regular lives as well. That game is distracting as fuck, and some people I won't mention have these fucked up decks with all these cheater cards I hate so I don't play anymore, except on XBOX. But anyway, we didn't want to take any tough guy photos, and taking photos in general is awkward and time consuming so we decided to go for candid shots of us just hanging out showing what we're about which is nerd shit, smoking dope, and drinking.

Aside from D&D how do the members of the band relax? Any particular movies/ TV shows?

Well, I just mentioned two of them: smoking shit and drinking. We're also all (except for Ron) avid outdoorsmen.

Camping, hiking, swimming. all that good stuff. A lot of people don't realize this but LA has killer mountains right above it and along parts of its coast.

We're from Pasadena in the San Gabriel Valley which has these giant mountains with all sorts of trails and water holes.

I love going for hikes with my dog and friends, finding a good spot for my dog to swim, and hopefully us humans, and drink beer and smoke doobs. Doesn't get more relaxing than that. As far as TV shows, all about Breaking Bad right now. Arguably the greatest show ever. It could easily go toe-to-toe with The Wire. I'm also really getting in The Newsroom. I love Aaron Sorkin's quick sharp dialogue, and how the show gives us an idea of what it might be like behind the scenes of world altering events.

My favorite movie is The Big Lebowski.

If i can't sleep i can put that on, close my eyes, and see it all in my head. But usually i just end up laughing myself awake and have to turn it off.

Oh well.

What led to the cover of Rock And Roll Hootchie Koo at the end of the record?

That cover started as a goof, something to practice when we weren't really practicing, just the three of us in the bedroom with a metronome. But Eric and I loved it so we decided to start covering it. It always got a killer response live so we wanted to record it. We actually didn't tell MB about it and planned on holding onto it for something later. But then Brian Slagel caught word of what we were doing and he said, "That's going on the fucking album."

Which bands would you love to tour with and why?

Red Fang would be cool because those guys obviously like to party. Foo Fighters would be cool ‘cause then we could see what it's like to be ginormous rockstars, which would be neat. Doing a full bro tour with our buds Glitter Wizard, Christian Mistress, Mothership, and Scorpion Child would rule the most.

Any plans to tour the UK soon?

Nothing official for the UK yet, but hold onto your butts. It's bound to happen sooner or later. I've really gotten into your band Turbowolf lately and I'd like to see about doing something with them, and maybe Kvelertak, even though they're from Norway, but that's pretty close, right?

Final words to the fans…

Don't let the man get you down, drink Midnight Moon Blueberry Moonshine, listen to a 45 rpm Ride the Lightning at 33 rpm (it's the most crushing crust album ever), and keep supporting the bands you like! If you want us to tour your hood make it known on our facebook, twitter etc.

Promoters notice that shit!

From Hammerheart Records, here is a band that has all the potentials to leave a deep mark within the realms of sludge and doom: Cult Of Occult. When I first got their selftitled album, I could not believe they were from Lyon (France) as their sublime combination of break down tempo, intoxicating riffs and hardcore vocals made me think these four piece band would come from somewhere further away, and wider like a desert between Texas and New Mexico. Their track Walking In The Desert mirrors this image perfectly, and the whole album just flow from the beginning to the end, leaving the listener broken down, and burned with a thirst and hunger for more. This is great stuff, particularly if you are into Corrosion Of Conformity, EyeHateGod and Queens of The Stone Age, but with a couple of uncanny edges on top.

Here is how they portray Cult Of Occult to their many followers.

How would you introduce Cult Of Occult to the world?

Concealed from the view of the moribund mass of humanity, hidden in the darkness of the gates of Hell, waiting to spread the evil sound of the extermination of life is the most powerful and misanthropic force. Fed by hatred, loudness and alcohol, the four headed monster of Apocalypse will destroy everything on its way with its unwavering wall of sound. Like the scream of Satan himself the fury of the troopers of doom is deafening, intoxicating and damned addicting. Feel the ethylic vapor impregnating the audience, be conquered by the slow devastating groove, chant the name of Lucifer, dance with us on heavy riffing and worship the soundtrack of the end of days.

Cult Of Occult plays for black masses, sacrifices, satanic rituals, dark ceremonies and unholy meetings.

Who do you think does your music attract and how would you define your typical fan today?

Extreme people!

Does Cult OF Occult have a leader who takes on board full responsibility for making music or does the music come from the whole band getting together brining their best to the table and then combining it?

Alcohol and Satan with the whole band create this music.

Your music style has clearly (and beautifully) deep doom roots, and has a very satanic line

of attack. Is this your direction and if so, are you Satanists?

This is not a direction but we can’t help it, this is just who we are. We hate everybody.

Being based in France, does it feel that you are a bit too far from the main doom epicentres of the world, which are mainly in the US? Is there any band today that you would mention as the main driving force behind Cult Of Occult?

UK is a huge doom epicentre too, France isn’t for now, let’s try to change it with the help of our Master.

When I first read your name, I already perceived some sort of very dark, powerful music. As I listened to Cult Of Occult fully, I gathered at once that you are a band with a clear message: how would you define the message that you are communicating to humanity?

Get drunk, worship, kill yourself. Clearly, fuck you, we hate you.

There is a very ritualistic approach in your music, particularly in one of my favourite track of the album, Perfect Love. Does this song has a special meaning for the band?

Who is this perfect love?

Lyrics are based on incest.

The first track that caught my attention in the album is Walking In The Desert. The vocals here are so dominant and piercing and the guitar parts cut like razor blades. I can picture this song being played live and creating pure mayhem. How did you develop this awesome track?

This one took a more direct and brutal approach by itself, we were in need of something violent and alcohol brought this to us.

The title track at the end is over ten minutes of evil doom ecstasy, is so superbly crafted that leaves so much need for more of your music and live shows. What are your projects for the near future?

We’re glad that you feel in need to hear much more after that. We’re currently finishing our second record and some gigs will be announced soon. For the next release, you can expect something really extreme and possessed, we’ve completely found our way down to Hell.

Thank you Marcus, Hail Sonic Shocks, Hail Hammerheart, Hail CPG, HATE US.

Page 10

BERLIN FESTIVAL PREVIEW

by Kristian Kotilanen

This year, we decided to force Kristian – for the only reason that he now resides in Berlin – to widen his horizons and try new things, in the limits of legality of course.

While he gets ready to witness for us the colourful crowd of the Berlin Festival, we touched base to see how he’s preparing for the event…

Flughafen Berlin- Tempelhof was designated as an airport in 1923 and was the spot for several historical events around the WWII era. Since the airport stopped operating in 2008 the area has been used by the public for recreational purposes.

On September 7-8 Tempelhof will be the location for the eight edition of the Berlin Festival – a two day event that will host several DJ's and music acts. This year the festival will also have the world's biggest Silent Arena Aftershow Party. 10 000+ headphones will allow the audience to continue partying until 4am after the main stage closes at midnight. If you'd rather go clubbing, Club Xberg at Arena Berlin is the place to be for those who enjoy dancing into the wee hours of the morning - true Berlin style.

The festival is not just about the music. The Art Village with over 60 national and international artists will do it's best to thrill your intellect with urban art, performances, sculptures and lots more.

With less than three weeks to go the line up is now complete. As a person who really doesn't like dancing and who doesn't have a clue what's hip with the kids these days - this event is a bit out of my comfort zone. I probably never would have thought of going if I wasn't supposed to cover it but that just makes it more exciting.

So from this pot of not my cup of tea, what do I look forward to?

Sonic Shocks

Issue 10/2012

My Swedish fellowmen in The Soundtrack Of Our Lives who recently released their latest album “Throw It To The Universe”. They've been around since the mid-nineties and was formed from the remains of Union Carbide Productions. If you know your music history you should have heard about them.

Icelandic Sigur Rós with their ambient, atmospheric soundscape will most likely be pretty awesome to witness. I expect glowsticks, moody lightning and smoke.

It's going to be interesting amongst a crowd of Berlin party people chewing their own faces off on bath salt or whatever chemical is popular that week. Yes, pun intended.

I might lose all my cool cred now (if I ever had one) but I do like the Kate Nash song “Foundations”. There is something with that rather annoying posh English accent that I sometimes miss after the three years I lived in London.

Franz Ferdinand and The Killers should be pretty well known to all of you with their pop-rock. I will check them out as well. Also Return Of The Amazons feat.

Chicks On Speed & Maral Salmassi. Not that I know who the rest of the guys are but who can forget the Chicks On Speed song “We Don't Play Guitars”?

If I wasn't so bored with drugs myself these days I could totally turn this into a Hunter S. Thompson Fear & Loathing in Las Vegas gonzo-style writing which probably would be interesting to read. Well, just throw me into the hungry pit of dance music and “mainstream” acts and see what I make of it. Hopefully there will be a cheap press area bar at least. A full report of the event will follow. Now, where do one buy glowsticks and should I grow a hipster tasche?

Tickets start from EUR 49, for more information check out the Berlin Festival's website http://www.berlinfestival.de/.

Photo: Tony Brown Burlesque!

Welcome to your one stop drop for all the news on the best burlesque nights, in the capital and beyond! My name is Sophia Disgrace and I’ve performed at numerous events in the U.K and abroad, from festivals to the most exclusive clubs. I tend perform in a neo burlesque style and o en incorparate other elements, such as fire play, into my routines.

Burlesque - or ‘the art of tease’ as it’s also known, first rose to prominence in the 1950’s; in recent years it’s enjoyed something of a revival, with stars such as Dita Von Teese helping to popularise the scene once again.

London as ever is at the fore front of this movement, which is both alluring and inspiring for men and women alike.

Here are my pick of all things burlesque this month...

RED LIGHT CABARET Theatre Casa Rosso, Amsterdam From 9th September 2012

Every Sunday afternoon from 5pm Set right in the heart of the red light district, take a saunter over to Amsterdam and witness a show which promises avant-garde, neo burlesque and cabaret, carried out by the best performers from across the globe.

Expect elaborate stage sets, glamorous costumes and more than a little naughtiness from the erotic capital of Europe!

Tickets 25 Euros, please email info@redlightcabaret.nl directly for more info.

FOREVER CRAZY/ THE CRAZY HORSE London’s Southbank 18th September - 22nd December Show times vary The acclaimed Parisian cabaret roars into town! Prepare yourself for the best of the best, as The Crazy Horse dancers epitomise glamour and decadence as only the French can. Set in a purpose built replica of an antique Belgian Spiegel mirrored tent, expect nothing less than a first class, V.I.P event

Sonic Shocks

Issue 10/2012

Page 11

DESTRUKTING SOON A VENUE NEAR YOU! Interview by Matthew Tilt Can you introduce yourselves for anyone who hasn’t heard you before?

Hey! We're Impaled Existence and I'm Danny (Vocals) and we have Craig (Guitar), Mikey (Guitar), Sam (Bass) and Nathan (Drums) We're a progressive death metal band from sunny North Wales.

What are your influences?

It's safe to say we have a huge range of influences, classic older bands like Fear Factory, Nile, Cannibal Corpse amd In Flames certainly influenced us all to begin with, but as our sound has progressed we are influenced by much more modern metal bands like After The Burial, Veil Of Maya and Whitechapel.

You’ve supported bands across many genres; would you say this has helped create your varied sound?

The great thing about metal at the moment is that there is such a huge range of different sounding bands and playing with some of our heroes has definitely helped keep us focussed on becoming the best we can be!

This September you start your first official tour, are you looking forward to it?

We're over the moon to finally be getting out on the road on our first UK tour, we love playing new venues and meeting new people and this is the perfect opportunity to do so!

Despite the fact that this is your first official tour, you’ve obviously played various shows across the UK, are you going back to any favourites haunts?

Most definitely! As well as new venues we get to play some of our favourite venues as well! Such as our hometown show at Wrexham Central Station! We owe alot of our success to the guys at Central for giving us some amazing opportunities over the last few years so we know that this will be a special show for us.

What can people expect from an Impaled Existence show?

Our live shows are the best place to experience our diverse sound, especially on the upcoming tour as we have been rehearsing A LOT of new material that we will be playing. But expect plenty of groove, plenty of melody and plenty of crunch!

You’ve played Bloodstock and Download Festival – did you ever imagine you’d be doing those sorts of shows?

It still hasn't sunk in that we've played the two biggest metal festivals in the UK, I'm not sure it ever will but we never imagined it would be possible for a band like us to be up there with our heroes and legends if the World of metal. It's so amazing that these giant festivals still have time for unsigned bands and are happy to help out hard working artists like us.

Impaled Existence were founded in 2004. That’s longer than a lot of bands stay together. What’s kept you together and did you ever consider calling it a day?

No way! It's just too much fun! I think the key in what's kept us so tight with each other is that we are making the exact kind of music we want to be making, we're not out to replicate something that has already been done and that's what makes it so exciting. Most importantly we all just have such an amazing time doing this I don't think we would stop for anything!

celebrating the glory of the feminine form.

This months velvet curtain reveals...

To purchase tickets please call the box office directly on 0844 409 7735.

Burlesque Spotlight!

ELEGY ELLEM @ The London Tattoo Convention

PATCHWORK PEGGY’S EMPORIUM

The Tobacco Dock, London 28th to 30th September Various performances over the course of the event

One woman’s passion for all things vintage inspires her to set up an online shop and voila! You have one of the loveliest bespoke burlesque outlets on the web, at your fingertips!

Elegy Ellem, the Swedish alternative style model and performer, takes to the stage at the infamous London Tattoo Convention for a selection of shows encompassing her striking style, traditional pin up and fetishist erotica. Watch jaws hit the floor as Elegy effortlessly works the audience!

Tickets £20-£30.00 available on www. gingertickets.com

Owner Jane sells everything from ‘vintage bling’, smoking cases, authentic 50s imagery to ‘kits for kool kats’ plus much, much more. Priding herself on top quality yet affordable products, Janie, as she is affectionately known to her friends, strives for rockabilly perfection and never delivers anything less.

Please refer to http://patchwork-peggy.co.uk/ and get shopping!

Sonic Shocks

Page 12

Issue 10/2012

By Sophia Disgrace Live photos by Fabiola Santini (Alice Cooper by Cristina Massei) I’ve been to numerous metal festivals - Download, Sonisphere, Ozzfest, Wacken… - however my recent experience of Bloodstock blew the proverbial socks off of all the afore mentioned! I mean, to put it into context metal heads, where else on earth could you see Mayhem in the afternoon, Testament at dusk and Machine Head closing the show?

Since its initial inception some ten years ago, Bloodstock has gone from strength to bloody strength, whilst managing to maintain that illicit, much sought after independent edge.

Held in the heart of the British countryside in Derby, the festival - despite its burgeoning success - retains an intimate feel; there’s all the usual stalls, fast food stands and fairground rides, but all is kept within a nice walking distance (ahem, Download!). It’s also fairly clean as far as festivals go and there was a healthy mix of families, teens and 'elders', all enjoying themselves, which was refreshing.

In between interviews I managed to catch a number of bands such as Iced Earth (loud, american and technical), Waitain - beautifully blasphemous as ever, the mighty Crowbar, gothic tones of despair via Paradise Lost, the highly anticipated Dimmu Borgir and Behemoth’s first UK show in 7 years. Oh and let’s not forget a certain Alice Cooper-possibly Bloodstocks greatest score to date!

Everyone I spoke to re the festival - fans, rockstars, cynical journos - were all united by one thing: that Bloodstock is freakin’ awesome!

COMMANDER IN CHIEF The first female 7 string guitarist/singer/songwriter in Metal - some achievement! And at just 22 years of age, I wasn’t sure how this one woman machine would be - a diva? Horribly elitist given her impressive array of skills? Or just indifferent? Well, I’m pleased to say, none of the above. CinC was lovely, thoughtful and an absolute pleasure to talk to, the only way is up for this one woman show...

You’re an amazing, multi skilled artist, has music always been your no.1 passion?

Music's always been there, I started playing guitar in 2005 and really began to focus on honing my skills, however I was into visual arts first, musically things began to happen for me from around 2005 You've been hailed by some as 'The Queen of Shred', an impressive accolade. What are your thoughts on this?

I think it’s cool, especially coming from someone else, I like it, it’s positive Is it lonely/hard being a solo artist?

That’s a good question... At first I guess I visualised being in a band, but I think I’m better suited to being a solo artist, I’m very precious about my music and doing everything myself.

How does it feel to have played Bloodstock?

It’s the first festival I’ve played, it’s been really cool, I worked the crowd and they were really receptive, it’s been great!

I’ve also noted that you can speak 4 languages! Can I ask what they are and also if you have any other specific goals, given that you have already achieved so much?

Sure - I speak English, French, Norwegian and Italian, I have lived in all of those countries. One day I would love to win a Grammyit’s very hard to as a metal artist! I’d also love to do a really epic soundtrack or film score.

To close, what would you like to say to anyone out there who is doubting you as a solo female in the metal genre?

I’ve always had a lot of positive feedback as a female artist, especially when jamming with guys etc. People like to put you in a box, I hate that, I like to prove people wrong.

KOBRA AND THE LOTUS

Powerful female fronted metal courtesy of the classically trained Kobra and her band mates, I asked her about Gene Simmons, the Canadian metal scene and more...

Hi there! How’s the Canadian metal scene, in comparison to the UK one?

The scene's much, much bigger here and less cliquey, you guys are passionate about all kinds of metal, not just a section of it; in Canada it seems to be more restricted in a way, with fewer crossover bands and a smaller fan base population wise.

Are you excited about playing Bloodstock? How’s it compared with other festivals you may have played at?

Ahh it’s been wonderful! Definitely one of my favourite gigging experiences to date, it has a family like feel to it and is a good environment to be in. The crowd of people here are cool, very welcoming and I love the fact there’s a Dio stage!

Kobra and the Lotus have been compared to Iron Maiden amongst others, how does this feel to hear?

Wow I never ever thought that would happen, so its very humbling and a real honour to hear!

Are there any influences musically that might come as a surprise to your fans - a passion for 60's pop music for example?

Hmmm, not really... I love all kinds of rock and metal. I’m a huge fan of Devin Townsend and Cynic Gene Simmons infamously discovered the band, are you still in contact with him?

Yes, we are, he’s been great, very hands on and involved. He's really passionate about the band and metal as a whole, he has’nt tried to change us at all which is cool, he has been an amazing support to us.

Before meeting him, were you a fan?

I’d never really listened to his stuff before, so I wouldn’t have classed myself as a fan, but I was obviously aware of Kiss, that they were and still are a huge force in metal and beyond. They have an almost cult like fan base, it’s very, very cool - everyone knows them and their make up!

Thank you so much for your time, what are you looking forward too as far the future is concerned?

Promoting our album, touring and gigging as much as possible! Thank you Sonic Shocks!

Kobra then kindly posed with the latest issue of Sonic Shocks - she loved it so much she insisted on leaving with her own copy!

SEPREVATION In between interviews, two guys cornered me and asked very politely if I could squeeze them in for an impromptu interview type thingy - how could I refuse?! They were from metal band Seprevation...

What do you think of Bloodstock as a Festival?

Full on! Best metal festival for both the bands and the people!

What kind of music are Severation into, outside of the band?

All sorts of metal-METAL! Oh and a bit of jazz and acoustic.

What can we expect from you guys over the next year?

Our 5 track EP is going to be out in a few weeks, entitled 'Ritual Abuse', we also want to get on the road and do some serious touring.

Ok, to close, what do you want to say to the readers at Sonic Shocks?

Our EP 'Ritual Abuse' is going to be out soon so keep your eye out for it if you like bands like Morbid Angel. Keep it fucking metal and bang your head!!

Indeed!

FURYON Crossing metal’s many sub genres, Furyon stopped by to chat to me about all things heavy ,their plans for 2013 and much more...

What are your thoughts on Bloodstock as a Festival?

Very, very good! We played two years ago on the New Blood stage, so it’s great to be back!

How does Bloodstock compare to other European festivals?

It’s got a really intimate feel to it and has such a wide selection of bands on the bill, the audience are also really cool - sounds selfish but we don’t want it to ever change!

How do you think the metal scene is progressing at the moment?

We think it’s a strong scene, one which hopefully we are a part of. The metal scene is good, it’s out there and there’s still new, innovative music being made.

What plans do you have for 2013?

We have our second album coming out, so that’s gonig to be pretty big.

We are hoping to play some more festivals too, but we can’t confirm as yet, our lips are sealed for now.

Amazing stuff guys! Any final words?

Thank you so much for talking to us, it’s been great!

ANAAL NATHRAKH The Anaal Nathrakh guys were everything i hoped for and more: satrical, super intelligent and intense, just like their music...

Your music has been described more than once as 'the soundtrack to the Armageddon'; what would you do if you had 24 hours left on earth?

Probably take heroin... not because I want to, I’m not advocating drugs.. but I guess if you knew you were going to die anyway, you'd do something crazy, OTT and extreme.

You have collaborated with many amazing artists; is there anyone else you'd love to work with musically?

There are a few people yes, we tried to do something with Dr Best from Whitehouse but he said he didn’t really have the time to, he was nice about it. There’s also a crazy Australian guy, Justice Yeldham, he incorporates panes of glass into shows - he bangs on them and bites the glass...

Have you had any significant lows, being a part of the band?

No, none at all… Things are what you make of them, it’s all about mindset and we always do what we want to.

Do you prefer playing festivals or smaller shows?

Festivals are fun, but smaller gigs are better as you get more of an atmosphere, things can go more crazy.

What keeps Anaal Nathrakh kicking in all its wonderfully fucked up glory?

We love what we do - we are our own biggest fans and critics too. If you’re doing this you have to love it. We always have some new crazy idea, creativity drives us ultimately.

And what happened to your leg? (vocalist Dave Hunt is hobbling around on crutches!)

I woke up on Monday and it really hurt, so the doctor put me on crutches...

WINTERFYLLETH Very much in the festival spirit, Winterfylleth joined me for a tete a tete on Bloodstock 2012...

Gentlemen, how have you found this year’s Bloodstock experience?

Amazing! Last year we played as well, but we got our slot switched with another band last minute, which led to a bit of confusion for us and the audience. It was a bit nerve wracking, but this year went a lot more smoothly - people were singing along and really into our set.

Is Bloodstock the UK's greatest metal fest?

It’s a really good festival - I mean, Download and all have their place and all for what they do, but Bloodstock has so much on band wise, we've been having a blast as fans ourselves - people forget that people in bands follow other bands too!

How do you see the UK metal scene at present?

We think it’s pretty sorted, there’s a good death metal scene in the UK, all kinds of metal seem to be flourishing, all ages seem to be embracing it - as is evident at Bloodstock.

What’s on the cards for the new year?

More touring the UK and Europe, more music, more heavy shit!

Thank you! Down to earth metallers with a definite penchant for Iron Maiden, the reference came up more than once as we chatted pre-interview. A sure bone of contention, as I am one of the few people who isn’t a fan!

Sonic Shocks

Issue 10/2012

Page 13

THE BLACK DAHLIA MURDER

SKARLETT RIOT Image wise this quartet would sit well amongst the likes of Paramore et al, but beware - looks can be very deceptive, as frontwoman Skarlett more than brings it both musically and vocally, kicking those emo stereotypes out quick smart! With bags of attitude and band mates to match, expect big things from Skarlett Riot.

As a band you’ve come a long way in a relatively short space of time; how have you achieved what so many bands struggle to ever accomplish?

We have always tried to push ourselves as much as possible, by gigging constantly, keeping our profile out there, trying to keep the band fresh in peoples minds.

It seems to have worked!

Definately has! Right, when you were little, pre band, what were your career aspirations?

Skarlett: I was into music but more solo stuff like acoustic sessions by myself. I was also very much into art.

Brothers Danny (Guitar/Backing vox) and Luke (Drums):We have always been into music, playing together, jamming – it’s always been our thing!

Tom (Bass/Backing Vox): I used to want to be a rugby player, I got pretty good then ditched the whole thing for music!

Who are some of your favourite bands?

We like a mix of stuff, there are a lot of good bands out there - Pierce The Veil, While She Sleeps, Asking Alexandra, oldies like Def Leppard and Whitesnake.

How has Bloodstock been for you guys so far?

Really good, everyone’s been so supportive. We were a little nervous at first, as we weren’t sure if we would fit in with some of the other bands on the bill, but everyone’s been cool, it’s been great and will hopefully expand our fan base.

Right, this one’s aimed specifically at Skarlett - How does it feel to be fronting a metal band, given the scene is a little short of female leads?

A lot of people think we are going to be really cliché and like Paramore or something, guys don’t always take me seriously in that sense; however when they hear us, hopefully those stereotypes are removed. I’m more than just a girl with a guitar: I can play, I can sing and speak for myself.

Whilst we are on the subject of strong females in music, are you aware of the Pussy Riot scandal currently rocking Russia?

We've heard a bit about it, it’s pretty crazy, it’s bad they’ve got into so much trouble just for speaking their minds - after all that’s what punk is essentially: freedom of speech.

Final question guys - The Olympics finish this weekend: corporate bullshit or fucking cool - any thoughts?

Kind of cool, all the over advertising isn’t but as musicians I guess we can kind of relate that the athletes are putting so much of their time and effort into something they’re passionate about. We've followed it a bit.

Having just arrived in the U.K a few hours earlier, the guys from TBDM were understandably a little tired by the time I caught up with them, however their set went down an absolute storm. It was also perhaps one of the most memorable, as a FULLY nude member of the crowd proceeded to crowd surf, yes crowd surf, after more than a little prompting from the band themselves - er rock n roll and sweaty balls!!!

Hello! Right then first question: how do you feel about the band being classed as melodic death metal?

We are fine with the term, it’s what we do and what we like!

On your Nocturnal album, you have a track called 'What a terrible night for a curse', which I believe was influenced by the computer game Castlevania, are you guys into gaming?

Ahh yes, we are I guess to varying degrees, stuff like Zelda, Red Dead Redemption are all pretty cool.

How are you finding the mighty Bloodstock?

It seems pretty diverse, it’s our first time here, we've done Sonisphere and Ghostfest before in the UK, Bloodstock is definitely looking cool, we are looking forward to checking it out a little more.

Outside of 'smoking weed and eating muthaf 'kin snacks' (as noted on your Facebook profile) do you have any other hobbies?

Haha! Well that all pretty much sums us up really...oh yeah there’s one other thing: sleeping!

The band's name references the infamous murder case of the same name, did you have any other names in mind before settling on this one?

That’s correct, we really like the name, the mystery that surrounds that case still today. With regards to other names, Meatloaf Two was a serious contender at one time... Meatloaf as in the singer...but no TBDM is the one!

And lastly, are there any bands you’re hoping to catch whilst you’re here at the festival? Any shout outs to Sonic Shocks?

Yup, Alice Cooper of course! We are also going to eat lots of fish and chips, although it’s pretty expensive I hear...

WITCHSORROW Heavy as hell non conformists with old school scene ethics, Witchsorrow were so amazingly cool I added extra questions in just to keep 'em chatting....

You guys are known for being doom and proud of it; regardless of current metal trends you keep doing your thing – that’s awesome - do you think metal these days as a whole has sold out?

We've always kicked against the cliché side of metal y'know, the joke, glam groupie sort of side. But the more sell out bands there are, the more our stuff stands out - the more it keeps us vicious and poisonous music wise, so it’s not all bad. It gives underground bands their own niche.

I always think there's something undeniably cool about Doom's heyday of the late 60's/70's; do you ever feel as a band you'd like to go back to that time to experience it for yourselves?

Definitely, we are kind of old souls in that sense; back in the day, music as a whole seemed more appealing - even bands like The Beatles sounded better - it would've been amazing to see some of it, but on the other hand, maybe it’s just us being idealistic.

How have you found Bloodstock so far, have you seen any other bands on stage yet?

We've been here since Thursday camping and it’s been cool; we have seen a few bands, really enjoyed Watain -especially their stage set! And Winterfylleth too.

As a group, do you have any specific aims or goals you are ultimately striving for?

We aren’t that sort of band really, we don’t work that way, we kind of just go with it, good things can come when you least expect it! For instance, we got an email about performing with Electric Wizard out of the blue - that was great but we didn’t massively orchestrate it. Doom’s not really the sort of genre where you are thinking of things career wise, we just have a passion for it.

Your sound is very visual and atmospheric; what inspires you in this sense?

We often practise in near darkness, and just disappear for an afternoon...Old things made of wood are also good! Graveyards, candles, magic, these all kind of come to mind.

How does it feel to be a part of a band like Witchsorrow?

It’s exciting, it’s a welcome alternative to reality, it’s always been a dream and to be living it is surreal, people don’t always know what you do and then you tell them and they can’t believe it, it’s like a double life in a way.

And to close, please use this space to say...

We are grateful to all our fans for their support, that they are enjoying our music - keep supporting the scene!

Sonic Shocks

Page 14 ing along until the end of Hevy's first balmy night.

DAY 2

By John ‘Hank’ Layland Photos by Matthew Higgs DAY 1 Whether or not everyone’s still getting their tent or perhaps their wellies ready for three days camping in Kent I’m not sure, but when Bleed From Within take to the Punktastic stage on Friday the crowd is still thin and wandering in a few at a time. That doesn’t stop the Glasgow outfit from putting on a good show though, even managing to coax the first wall of death of death of the weekend from their burgeoning audience before leaving the stage victorious.

The James Cleaver Quintet have to be uncharacteristically apologetic for the first few minutes of their set as there’s a problem with bassist Jimmy Diego’s rig. Even after the issues are finally resolved it takes them a little while to get comfortable but by the time Maud E Licious (yes, really) is whaling his way through “Snakes” and Jimmy starts scaling the lighting rig with his four string in hand, all the early issues are long forgotten.

Reign Supreme rip into “Poser Disposer” to warm things up, circle pits spring up left and right as new bodies run in from outside the tent to add themselves to the whirlwind within. They don’t lose momentum for a second even as their time runs down and Jay Pepitos barks the opening salvo of “Persevere and Overcome” only to be met with a raucous echo of “We will bow to no-one” from the crowd that surprises even him.

By contrast Sharks could almost be considered easy listening after the attitude of their predecessors. They play tight, obviously still well oiled from their recent tour with Social Distortion but it seems to be falling on pre-deafened ears and with little in the way of crowd interaction from lead vocalist James Mattock it adds up to to a very business as usual vibe throughout.

Trapped Under Ice don’t so much pull the audience back into more familiar territory as they do grab them by the scruff of the neck and drag them. The hulking and tattooed Justice Tripp stalking the stage, almost territorially at times as he pours attitude through the microphone at every opportunity, the band never missing a beat behind him, or standing still for that matter as crowd feedback for tracks like “Pleased To Meet You” almost drowns out the band on stage.

Hevy Fest veterans Lower Than Atlantis pull the biggest crowd of the weekend so far, Vocalist Mike Duce immediately instructing the crowd to “Bounce up and down like it’s a Nigerian pogo stick competition” for “(Motor)Way of Life”, successfully getting everyone's feet off the floor from the front to the back. They play brilliantly, lacing a little material from forthcoming album “Changing Tune” amongst staples like “Beech Like a Tree” and “High At Five”, even finding time for a little Foo Fighters medley of “Everlong” and “Pretender” before finishing things off with “Deadliest Catch”.

The attraction of Deez Nuts brand of hip-hop infused hardcore has always eluded me but when JJ Peters walks out on stage dripping swagger and “Stay True” kicks in it certainly grabs my attention. What follows is probably one of the most surprising sets of the weekend for me as the band positively kills it, creating a party atmosphere that enhances an already slick performance. As they finish on the familiar “I Hustle Everyday” they’ve left a mark on me as well as the people limping away from the pit.

There’s an obvious wrestling match between the sound desk and Deaf Havana for the first few minutes of “Youth In Retrospect” but the band persist. “Leeches” eventually gets their fans moving but everyone else seems vaguely indifferent to their efforts until an acoustic version of “Friends Like These” has anyone that’s stuck around sing-

Social Club; the first band I manage to see on Saturday, are obviously experts in handling a difficult morning after the night before. They spend most of their set offering anyone brave enough to step up to the front a spot of toast and jam to munch while they enjoy an easy going set of indie tinged rock with a bonus (and rather well done) cover of Pantera’s “Mouth Of The War” thrown in for good measure to keep the metal contingent happy.

Previously unknown to me Belgian melodic hardcore band Campus are a completely different proposition, the abrasive guitars of “Empathy” cutting through the early morning haze like a welcome shot of adrenaline. The five piece sound absolutely fearsome here and wouldn’t seem out of place higher on the bill.

Over on the Rocksound stage Crocus are a little bit lacklustre. They’re certainly heavy, drummer Tom Pitt’s double bass pedal hammers out the blast beats with aplomb but there’s something disjointed about the rest of the performance which is a real shame as later I discover it was their last gig after five years together. Hardly a fitting swan song for the lads from Cornwall.

The Safety Fire are absolutely fantastic from the off, a torrent of riffs even louder than the bands Hawaiian shirts flying forth from the talented fingers of Joaquin Ardiles and Derya Nagle. They tear through a set of obscenely technical material, almost making tracks like “Circassian Beauties” and the subtly named Zane Lowe favourite “Huge.

Hammers” look as effortless to perform as they are impressive to hear.

Death metal brutes Martyr Defiled keep the metal theme going with their set, anyone caught out by The Safety Fire’s more offbeat moments on the stage next door are back on solid ground now as MD rip it up with songs like “Goldstein” in front of what has become a tragically small crowd considering the pure venom they unleash throughout.

Feed The Rhino are back for their third Hevy Festival appearance on the bounce and they mean business too judging by the energy they put into “Knives” and “Left For Ruins”. The intensity they play with combined with the huge crowd; despite it being only just past lunch time, adds to the hometown gig vibe and creates a great atmosphere. So much so that when Lee Tobin signals the crowd to get down on the ground ready to jump up for one last moment of insanity, not only does nobody object, they go willingly, awesome stuff.

Bury Tomorrow don’t have the luxury of such an auspicious start. There’s a guitar absent from the mix for the first two songs.

All credit where it’s due however, they soldier on like nothing’s wrong but it’s not until they stop treading carefully during “Anything With Teeth” that we’re finally treated to what the band can do at full force, tear you a new one while remaining effortlessly infectious.

Devil Sold His Soul provide what can only be described as an onslaught when they take to the stage and thankfully it’s an onslaught that has both guitars present and accounted for. They seem to have cranked the volume too, the passion in Ed Gibbs guttural screams audible from every corner of the tent especially on “Crane Lake”. Unfortunately their set is cut short by the sound desk during “Like It’s Your Last” marring an otherwise great show.

Pianos Become The Teeth come out to a deceptively mellow backing track before quickly building to a wall of sound as vocalist Kyle Durfey pours his heart and soul out over a variety of material pulled from “Old Pride” and “The Lack Long After”. They ride the wave of feedback from one song to the next eventually winding things down with “I’ll Get By”..

Rolo Tomassi are a band that prove how originality can flourish on the UK music scene every time they play. Diminutive yet powerful, Eva Spence fills the stage while she growls away between pop like moments in a fashion that would make most male vocalists more than a little envious, with “Party Wounds” in particular being an extremely appropriate choice midway through a festival weekend.

Set Your Goals play an upbeat set over on the Rocksound stage, even if it is a little by the numbers. They stick mostly to fan favourites like “Mutiny” and the more than apt “Summer Jam”, their

saccharine style of pop punk providing the perfect accompaniment to the sunshine outside.

After a little pop punk This Is Hell seem even more hardcore than usual as they pound out a solid set on the Punktastic stage, they even throw a snippet of Metallica’s 'Blackened' into the mix for good measure, before chugging their way off stage with a version of “Permanence” that has more than a few shades of “Domination” by Pantera.

Named after the famous sound effect you’ve probably heard but never heard of, A Wilhelm Scream are a raw ball of energy on stage. “Jaws 3 People 0” and “Skid Rock” go down really well with Brian J Robinson displaying serious bass guitar acrobatics as he taps away before the band close on one minute wonder “I Wipe My Ass With Showbiz” which leaves nobody with any doubts about their thoughts on fame.

Municipal Waste add a dash of thrash to the days proceedings while they certainly know how to throw a party too. Circle pits spring up absolutely everywhere to the mischievously blasphemous “The Thrashin’ Of The Christ” and speed metal guitars of “Beer Pressure” which leave the crowd chanting for more long after they’ve left the stage.

If the crowd have any energy left after that Norma Jean seem intent on making sure they use it, playing with a fury only matched by their top notch execution.

“Robots 3 Humans 0” and “A Friendly Turn For The Worst” in particular send crowd surfers flying, simultaneously annoying the security and visibly delighting frontman Cory Putman who beams as they tumble over the barrier towards waiting arms.

Meshuggah are by far the most genre defying band of the festival and one I haven’t had the privilege of seeing live in nearly a decade. The polyrhythmic eight stringed mayhem of the likes of “Demiurge” and “Bleed” shake the very ground beneath the tent as drummer Thomas Haake works every inch of his kit with military levels of precision, sounding more like he commands an artillery range with his feet instead than mere kick drums until the devilishly abrasive double bill of “New Millenium Cyanide Christ” and “Future Breed Machine” bring the show to its climax Glassjaw are, dare I say it, something of an anticlimax after such a full bore assault on the ears.

Absolutely appalling sound doesn’t help either, the crowd clearly audible above Darren Palumbos vocals as they scream back the chorus of opener “Tip Your Bartender”.

At least he seems into it though.

For whatever reason Justin Beck and Manuel Carrero hang back by their respective amplifiers, not venturing forward until the audience seem safely in the palm of their hand to the familiar groove of “Siberian Kiss” at the end of a highly anticipated but over all slightly disappointing set.

Self proclaimed “Lord of Heavy” Andrew WK definitely brings the party with him when he struts out next to his leotard clad wife and sometime backing singer, accompanied by no less than four guitarists to kick off one of the weekend's most raucous sing-a-longs with “Party Hard” followed closely a few songs later by “We Love Hevy Fest” (I Love NYC to everyone else). Just as things peak and WK is giving a dwarf a ride on his shoulders during “Headbang” the PA system is switched off, resulting in a lengthy chant of “we want more” from a crowd that obviously isn’t done partying yet. One of the guitarists emerges and tries to play some-

Issue 10/2012 thing, anything by way of apology but it’s quickly turned down before the crowd get any big ideas.

He surrenders with a shrug, miming his hands cuffed behind his back as he’s led away. Some of the best parties often end that way I suppose, but

it’s a shame to see such a great day of music end in a whimper instead of a bang.

DAY 3 No prizes for guessing where H2O hail from as “An Open Letter To NYC” by the Beastie Boys ushers them on stage to a resounding cheer on Sunday afternoon. Toby Morse gets tired of not being able to get up close and personal with his fans a few songs in though and announces “This stage is too small for music like this” before bravely joining the circle pit for the duration of “Sunday” and somehow still managing to sing every word from what can only be described as a human cyclone as the crowd sweat out what’s left of the mornings hangover around him.

The Chariot suffer from some early sound issues that taint the start of their set (something that occasionally seems far too commonplace at the festival). They carry on admirably though, never complaining and as soon as the mix evens out what seems like a false start turns into a pretty sturdy set, complete with an off the cuff cover of The Who’s “My Generation” which feels totally at home yet oddly out of place next to the carefully coordinated bedlam of their own material. With sheer energy the band make sure that theirs will be one set not forgotten this weekend.

Hundred Reasons tenth anniversary celebration of “Ideas Above Our Station” pulls in almost as many people as Glassjaw last night, fortunately the similarities end there as it’s another hotly anticipated moment but one that this time delivers. The three year hiatus doesn’t seem to have done them any harm and hearing “If I Could” and “Falter” definitely brings about a certain welcome nostalgia for all in the crowd.

Verse make for strange viewing as lead vocalist Sean Murphy chooses to spend the entire set either in the photographers pit or standing on the barrier while the band looks slightly lost on stage without him.

While I’m sure hardcore fans feel rewarded by the up close and personal nature of his decision it leaves the rest of us feeling more than a little divided from an otherwise good performance.

It’s Madball’s first ever UK festival and they definitely rise to the occasion, whipping up a storm with their vintage NYC hardcore. They play a jam packed set, somehow fitting nearly a dozen tracks into just under half an hour. Hopefully it won’t be the last time they make an appearance on the UK festival circuit.

It’s difficult to find words to describe the pure, animalistic nature of Converge at full chat. From the perfectly orchestrated chaos of “Jane Doe” to the doom laden “Heartache” they’re crushingly heavy and such a tight knit unit on stage that the precision of their performance borders on the mechanical, a standard they maintain right through to the salaciously vicious blast beats of “Concubine” that tragically mark the end of something really rather special. Throughout the band's set frontman Jacob Bannon intimidatingly controls the stage as he pours out his vocals like pure venom which is lapped up by those in the erupted pits.

Punk legends The Descendents bring three days of punk rock, metal, warm beer and good times to a fitting end. Despite being formed before most of the people here were even born they keep the crowd moving and spirits high. From when the opening chords of “Everything Sux Today” begin to ring out until the last notes of “Descendents” finish reverberating around Port Lympne, signalling the final moments of a great weekend, The Descendents play with the stamina that has made them arguably some of the leading veterans of the punk scene.

Sonic Shocks

Issue 10/2012

Page 15

By Becki Kremer

by Becki Kremer

Interview with Chris Kybert and Oz Craggs

by Becki Kremer Feature by Matt Dawson One of the strongest bands on the current UK live circuit, Feed The Rhino are riding the wave brought on by their recent release titled The Burning Sons – a record about which Chris says he thought ‘we were never, ever going to play the new material because we felt under pressure to deliver something that was going to smash the last one. We just wanted to crush our other stuff, and personally I think we achieved it – the five of us believe we did what we set out to do.’.

Oz agrees: ‘We spent so much time writing and recording and working on it – literally sweated and cried over that thing! It sounds really cliché or sounds like we're being over the top but we really did pour our hearts into it, and then for it to come out and have everyone singing along it's amazing.’

A particular song that comes in mind to the duo is ‘Left For Ruin’ a song that Oz describes from a writing perspective as ‘intense and the most thought out’.

Returning to Hevy for the third year in a row, the boys feel a sense of the festival being a home away from home as Oz describes it as ‘One of our favourite places to play – everything fell into place perfectly; the crowd were insane; the sound was really good for us on stage; the organisation of the stage was fantastic. It couldn't have been better, and it was just one of those things where it felt effortless. I loved every second of it. Every year has been amazing for different reasons – the first year we opened the main stage and were relatively unknown, and people took a chance and a lot of people say it was a turning point for us where they saw the confidence coming out, and we came back the next year and it was amazing.

There were thousands of people, but today was in a tent with a different vibe – everyone was singing along with the new material and getting involved. It was really special for us, and we never take shows like this for granted.’

Chris reiterates the sentiment: ‘It's always special for us to play at this festival because we're local boys. People aren't bored of us too, touch wood. We always get there on the Friday and smash our brains in – we can't help it because there are so many people.’

Those that have seen the band live in the past shouldn’t be too surprised at the intense insanity you can find at a Feed The Rhino gig; Oz recounts a story when the band first started: ‘I remember years ago on our first tour we played to a room of just about four people, and they tried to stand there with their arms folded so we literally jumped on them with our guitars.’ Luckily’ he believes ‘we don't really get a very belligerent crowd’.

Chris believes that there’s a well placed intent that emotions play a huge part in the live show ‘I mean we ask a lot from the crowd, but we give a lot too. If people want to stand at the back and enjoy that's fine but I think if it was a whole crowd like that we'd be gutted. Even when I go see bands I'm a little bit older now so I don't mosh but I at least head bang and air drum along, and that's all we ask of people really.’ Oz reaffirms how the members were at gigs ‘Always the kids in the pit getting involved! That's what music should make you do – if you don't feel anything from a live performance then it's a shit gig. It's got to evoke some sort of emotion.’

For those yet to see them however they will be touring in October/November with Gallows in an experience that will be according to Oz at least ‘a fucking earthquake’ and to Chris ‘like different aspects of the human soul. Or something really intense (laughs).’ Now really how can the little voice screaming ‘MOSH’ refuse that!

You guys played your set earlier today – how did that go?

Dani (Vocals): We had a good set – there were some technical difficulties though, but that can't be helped. They cut our set short.

Dav (Bass): Literally, half way through a song they cut the sound. And I'd like to say to the man “Fuck you, and if you ever hear this I know where you live”.

Dani: I think everyone was frustrated 'cause it was coupled with a little bit of technical difficulties, but the middle bit was rad so we can't really complain.

Dav: The filling of the sandwich was fine, it was just the crusts we didn't like. No one likes crusts.

Are you guys hanging around, and who are you planning to see?

Dani: Yeah we've been here all weekend and we went out and all got a bit drunk last night.

So we're here all weekend to support our friends now and hang out.

Dav: We came yesterday because our friends from Bleed From Within are playing, and our boys from Deaf Havana are playing. We were like “we could sit at home or we could actually get off our arses and support them. I also really want to see Meshuggah!

Dani: I wanna see Andrew WK because it's definitely going to be an experience!

Dav: I'm expecting a big balloon of drugs to pop above the crowd, and just cover everyone with cocaine. Coke-fetti if you will – I want that at my wedding!

Your second album (The Union of Crowns) was out in July – how's the reception been to that?

Dani: It's been amazing – more than we ever thought it would be and more. We've gained a whole load of new followers, and that's what we always try to do as a band – appeal to more people.

Final question, if you could be anything else besides be in this band, what occupation would you take up and why?

Dav: I'd be a professional rhythmic gymnast. I love the ribbon; I think I'd be graceful, like a gazelle.

Dani: I'd be a fireman.

Why? Dani: 'Cause I like looking at other guys bodies.

Dav: He loves sliding up and down poles.

Dani: I'm cracking with a hose.

Dav: He's great at watering flowers and was like “Dyou know what, I could probably do this on fires”. Ladies and gentlemen, Dani the Fireman.

Interview with Matt Jones and Richard Duffin

By Becki Kremer How did you guys come together and form the band?

R i c h a r d (Drums): Bit of a random story.

Matt's from Nottingham, and that's where the band originated and I'm from Lincoln which is about an hour's drive. There was another guy I knew who was looking at starting a metal band up - I was a drummer, he was a guitarist – and I randomly met a guy through Myspace who was wanting to start something up in Nottingham, and that's where I met the other guys.

How do you guys get on so well after all this time, considering you see each other so much?

Richard: I think when we've had any sort of major arguments we've all just shut up for a while and left it to calm down. To be fair, we're all quite diplomatic in the way we sort it out. I think we're a close unit – we're all friends, we all like to go out on nights together in Lincoln when we're away from the music. I mean, Matt lives with me now so I can't get rid of him anyway! (laughs) How do you prepare before you go on stage?

Richard: I guess we all just worry about our own little bit. I think all the pep talks are done earlier on in the day, we don't really do a pep talk directly before we go on stage. We have a set plan for what we wanna do on stage - we know the setlist, we know anything that Matt might choose to do with the crowd, we know how we want to set our stage up. I think we know what is expected of us, so all we have to worry about is making sure our individual stuff is perfect. Things like making sure guitar leads aren't crackling, or me as the drummer making sure I've got all my equipment set and my cymbals aren't falling off!

Your new EP drops in September – what should fans be expecting?

Matt (Vocals): Well in between the albums we felt like we had to bridge the gap to let people know what we're doing 'cause it's been like two years. What we're writing now is very us, but I feel like what we've done now is much closer to what we wanted to do at the start. We sort of diverted from that, but now we're sounding more like ourselves, and we've been happy that our label has given us the creative space to do that and not pushed us for another release.

Richard: They've been great to us really, and just wanting to make sure we make an album that everyone deserved and wanted. That's why we knew it was best to release a 7 track EP to let people know what was going on.

How was your set earlier today? Did you enjoy playing this year?

Richard: Absolutely amazing. We started obviously aware that everyone was still feeling last night, although we weren't worried when we saw the crowd participation and whatnot. That's why we play, and it ended up going really, really well. We were very happy with it, and we love playing – it's opportunities like this that make us carry on doing what we do.

Final question – which bands do you plan on catching the rest of the weekend?

Matt: Definitely seeing Seahaven, and Glassjaw.

Richard: When I first started playing metal the first Norma Jean album was amazing – I don't think it's left my car since if i'm honest, so I'm super excited to be sharing a stage with them! Converge and Glassjaw are also two massive influences so I can't wait to see them.

Where does your name come from?

Paul (Synth): I haven't been asked that question in about seven years! It's all to do with when we started the band, and at the time Me, Rick and Johnny were trying to think what kind of encapsulates it. And just the phrase Devil Sold His Soul was something that I came up with – and in a nutshell it's about getting people thinking is there a devil, and if there was did it have a soul, and if it did what would it sell it for?

Johnny (Guitar): It was tough having the word devil in our name, especially 'cause our music's not like that – we thought it might give people the wrong impression! Although a lot of people just call us DSHS these days.

You guys played Hevy Fest 2010 – how did that compare to playing this year?

Paul: It was a bit more intimate, 'cause the tent was smaller than the one we played on today and it was absolutely rammed and sweaty. But today was really cool as well, because we translate from smaller stages to big stages.

Johnny: I think our music's... I'm not going to say epic (laughs), but I think it just translates a lot better on bigger platforms. But when we got off there was a massive boo, but they were on our side.

Really? Why? Paul: 'Cause we'd just started the last song, “Hope”, and a lot of people like that song. So they heard us start, but then they cut our sound. The thing is, we timed our set and it was 38 minutes, but we think the other stage next to us must have finished a bit late so we couldn't start on time.

Johnny: I feel sort of sorry for the sound guy because when that happened so many people turned around a gave him bad looks. It's not really his fault!

Paul: Yeah, but the reaction to us was really good and it's a great festival – it's really compact and it's a good lineup.

You chaps have a new album out in September (Empire of Light), so what can we expect from that? Is it like your old stuff or has it got a new vibe?

Johnny: It's pretty much a mix of the first two albums, and then a few new

things.

Paul: And some of the original EP's in there too. We've just taken bits of everything we've written up till now, and we wanted to write new stuff and new ideas as well and put it all in the melting pot. If it gets the exposure and lands with the impact we're hoping that will mean a large amount of people listening to it won't have heard us before so they're going to get the most refined record we've ever done.

How do you think your process and your approach to writing music has changed?

Johnny: We just fluked it (laughs).

You know, we don't really pay attention to what other people are doing. We know what we do and we just try and get better at it.

Paul: With every album we're getting more grounded in what we do, and it just feels like with this one we finally know who we are, what we're doing, and what we're comfortable with. Hopefully Empire of Light will be the record that really does it for us, I mean we've been slugging away for eight years now – we've enjoyed it, we just want to get a bit more in return. We've been struggling for a while, but we don't do this for the money – we do it because we love it.

Johnny: We're still swinging – and that's the theme for quite a lot of the new album and our newest video “A New Legacy”.

Paul: Yeah, people keep saying what's it got to do with your music, but actually it's about a guy who's got to dig deep, train hard and eventually does what he's set out to do. It's a kind of metaphor for us and our album – we've stuck with it for all these years, we're still doing what he do and we're punching harder than ever

Sonic Shocks

Page 16

Issue 10/2012

greetings from IBIZA

by Nelly Loriaux

9th August 2012 If you suddenly realise that there's more to life than a state of trance and find yourself in need of an Indie-Rock fix, I know just the place for you.

Ibiza IS, and always will be, EDM heaven (let's be realistic,95% of events in the super clubs are geared primarily towards electronica music),but if you take the time to look beyond the 'Dance Mecca' tag, you will find that Ibiza has a lot more to offer than you may have thought. It is indeed really refreshing to see that the market is opening up to a more alternative music genre.

PROPAGANDA, the UK's biggest and most popular Indie night, has finally set up home in Ibiza.

Starting its first residency in the White Isle at Sankeys, Propaganda has now moved to world famous Es Paradis in San Antonio.

Every Thursday resident Dj Dan and guests are bringing a welcome alternative to 'Trance', ripping through Indie-Rock Anthems and new classics. This is a place where you can dance the night away to the tunes of Kasabian, The Killers, Kings of Leon, Reef, Jet and some Stevie Wonder for good measure.

Alongside founder DJ Dan, Propaganda is bringing special guests DJs and bands to the Indie party which has so far seen the likes of Matt Horne, Carl Barat and The Enemy. Tonight sees The Midnight Beast hogging the decks. With a staggering 46 millions views on YouTube and two sold out tours, the 'three best friends' manage to whip up a frenzy on the dance floors.

The club is unfortunately not as full as it would deserve to be, but taking into consideration the fierce competition Propaganda has to face on Thursdays (Cream @ Amnesia, F**k Me I'm Famous @ Pacha and Luciano @ Ushuaia), I would say it's a decent turnout with an enthusiastic crowd rocking the night away until dawn.

The party will be going on up to closing in September with more excellent acts such as The Fratellis, The Libertines vs Babyshambles and the Prodigy's Rob Holiday to name just a few.

So come on down to the best party in town and 'put your hands on, put your hands on...you cannot hide,from what's inside'.. I know you want to! www.esparadis.com

CLOSING PARTIES PREVIEW

Ibiza is once again approaching its Closing Parties season. It is said that everyone love the beach and everyone love a party so what better place to combine both and have one hell of a pre-winter fiesta extravaganza. Renowned for its nightlife and clubbing scene, there will be no shortage of end of season mind blowing parties that will round off the summer with a bang.

Closing parties’ season is the second most popular time in the White Isle, so needless to say it would be wise to start booking right now. The list is extensive but, from what I’ve experienced, here are the ones I would highly recommend checking out for yourself…

13/09 Propaganda

19/09 Two Door Cinema Club

19/09 Ibiza Rocks After Show

www.ibizarocks.com

With over 25.000 people attending its club nights across the world,The UK's biggest Indie club phenomenon will finish its first Ibiza residency with Greg James (radio1) & DJ Dan The world famous Ibiza Rocks atmosphere carries on to the Official Ibiza Rocks After Show– with DJs making sure that the party doesn't stop when the bands do.After watching the live performance of Two Door Cinema Club at Ibiza rocks hotel,you can keep on rocking here until 6am.

Free entrance before 1.30am with an Ibiza Rocks Gig wristband

21/09 W.A.R Mark Ronson & Zane Lowe / Doorly

21/09 Water party-Fiesta Del Agua

ES PARADIS San Antonio

THE most legendary night on the island (inflatable arms bands and rubber ducks not included) 22/09 Hed Khandi This will be your last chance to celebrate Hed Khandi 10th birthday residency bash in style.A decade of decadence with The Lovely Laura on saxophone & Dean Oram ( AKA Drum Warrior) bashing away on the percussion

www.esparadis.com

Stunning roman decor, delectable go-go dancers and varied theme nights

11/09 Alex Kunnari presents COLORS The best Trance night on the island brought to you by the world famous DJ / producer and promoter Alex Kunnari.

DJ line up for closing night: Andy Moor (AVA, Armada) Sean Tyas (Tytanium, Armada) Alex Kunnari (Black Hole Recordings)

With 6 different areas & a DJ line up to die for, the island is already buzzing. This is a not-to-be-missed event if you're planning to come to Ibiza in October:

07/10 Space Closing Fiesta

Check their website for more details closer to the date

09/09 Fabulush

The place where beautiful party people go for their ''Champagne Sundays'' Line up: East and Young Holland (UK) Fran Ares (Spain) David Moreno (Sax)

SPACE Playa D'en Bossa

www.spaceibiza.com

IBIZA ROCKS HOTEL San Antonio Right next to the hotel's poolside courtyard this is the

venue for the world famous Ibiza Rocks Gigs and the new electronic DJ led night W.A.R ( We Are Rockstars)

Sonic Shocks

Issue 10/2012

KILLING THEM SOFTLY

THE POSSESSION

Kicking things up a gear from his astonishing and thoughtful The Assassination of Jesse James by the Coward Robert Ford, Andrew Dominik once again directs Brad Pitt and an impressive ensemble in this black comedy where Jackie Cogan (Pitt) investigates a heist that went down during a mob poker game.

Young girl buys mysterious box at a yard sale with spirit inside, parents trying to free girl from evil spirit, you know the story if you’ve seen the Exorcist. Produced by Sam Reimi, who, despite having damaged his horror credibility with several questionable blockbusters, still makes you want to check it out.

Release date: September 21st

Release Date: August 31st

THE PAPERBOY

NOW IS GOOD

Using the steamy swamplands of 1960’s South Florida, Lee Daniels spins a web of desire and prejudice in this thriller. College drop-out Jack Jansen (Efron) follows his journalist brother Ward (McConaughey) to prove the innocence of death row convict Hillary Van Wetter (Cusack); a journey that will strip Jansen of his innocence.

Terminal ill teenager with her reckless bucket list – rather different from Nicholson and Freeman’s – and the tragedy of a new love with an expiry date. Dakota Fanning’s character enlightens the drama with her daring attitude and relentless vitality. Based on the book ‘Before I Die’ by Jenny Downham.

Release date: October 5th

Release date: September 19th

Director: Andrew Dominik Starring: Brad Pitt, Ray Liotta, James Gandolfini, Ben Mendelsohn

Director: Lee Daniels Starring: Zac Efron, Matthew McConaughey, John Cusack, Nicole Kidman

3, 2, 1…FRANKIE GO BOOM

Director: Jordan Roberts Starring: Charlie Hunnam, Chris O'Dowd, Lizzy Caplan, Ron Perlman

Director: Ole Bornedal Starring: Natasha Calis, Jeffrey Dean Morgan and Kyra Sedgwick

Director: Ole Parker Starring: Dakota Fanning, Jeremy Irvine, Rose Leslie, Olivia Williams, Kaya Scodelario

HOUSE AT THE END OF THE STREET

Director: Mark Tonderai Starring: Jennifer Lawrence, Elizabeth Shue and Max Thieriot

Bruce (O’Dowd) has always tortured Frankie (Hunnam), but after he films a one night stand a between Frankie and Lassie (Caplan) the two of them must stop the video going viral and causing havoc for all involved. A great cast and the surreal sight of Ron Pearlman in drag promises to lift a seemingly predictable tale.

Teenager and her mother move next door to a house where a young girl killed her parents. While the alleged killer has vanished her brother still lives there, and gets dangerously close to the new neighbour.

Does the danger come from the living or the dead? Maybe both? Go catch the movie if you’re curious enough.

Release date: October 12th

Releases date: September 21st

THE MASTER

LOOPER

Director: Paul Thomas Anderson Starring: Philip Seymour Hoffman, Joaquin Phoenix, Amy Adams

Director: Rian Johnson Starring: Bruce Willis, Joseph Gordon-Levitt, Emily Blunt

Continuing to play with idea of family and its many forms, Paul Thomas Anderson directs Joaquin Phoenix as a drifter pulled into a cult by its charismatic leader (Hoffman) but soon begin to question what he is involved in. Under Anderson’s masterful direction his looks like it will be the film to rapidly rebuild Phoenix’s career.

Bruce Willis and Joseph Gordon-Levitt, time travelling and an enticing enough plot for this much awaited sci-fi action thriller, where a futuristic assassin chases targets sent back in time by a criminal organization, until he’s faced with the ungrateful task to eliminate himself. Main rule: ‘never let your target escape, even if that target is you’.

Release date: September 14th

Release date: September 28th

V/H/S

TAKEN 2

Director: Adam Wingard, Glenn McQuaid, Radio Silence, David Bruckner, Joe Swanberg, Ti West Starring: Joe Swanberg, Adam Wingard, Sophia Takal, Kate Lyn Sheil, Calvin Reeder, Lane Hughes Some of the best directors in the field of horror to come together for one of the weirdest concepts of the year; after been hired to find a video tape in a rundown building, a group of petty criminals find a dead body and a seemingly endless amount of video tapes. They must watch each one until they find the right tape.

Director: Olivier Megaton Starring: Liam Neeson, Famke Janssen and Maggie Grace Retired CIA agent Bryan Mills returns, this time taken hostage with his wife as the father of one of the kidnappers is on a quest for revenge. Can daughter Kim exchange the favour and help her parents escape? The answer is getting closer…

Release date: October 2012

Release date: October 5th

SEVEN PSYCHOPATHS

DREDD 3D

Once again working with Colin Farrell after the fish out of water hitman comedy In Bruges, Martin McDonagh delivers another black comedy. Farrell plays a scriptwriter dragged into the criminal underworld by his dognapping friends (Walken and Rockwell) after they take the prized Shih Tzu of an LA gangster (Harrelson).

MegaCityOne is a futuristic metropolis where criminals rule the street and cops have powers of judges and executioners in a bid to keep the chaos under control. As the city is faced with its latest plague - an epidemic of new dangerous drug ‘Slo-Mo’ - Judge Dredd take charge fighting the baddies in 3D. If that’s not enough, rumour has it that this is mostly the work of writer Alex Garland; we hope it’s true.

Release date: October 12th

Release date: September 7st

Director: Martin McDonagh Starring: Colin Farrell, Christopher Walken, Sam Rockwell, Woody Harrelson,, Tom Waits.

Director: Pete Travis Starring: Karl Urban, Olivia Thirlby, Lena Headey, Rachel Wood

Page 17

Sonic Shocks

Page 18

Issue 10/2012

music from an unspoken place Interview by John Morgan Photos and intro by Cristina Massei We had the honour and pleasure to be invited to an early listening session of new Neurosis album ‘Honor Found in Decay’. As we take our seats in the intimate studio room, the lights are turned off and we’re left with a few candles and a top sound system, to fully appreciate the magical atmosphere this influential –and widely underrated – band can create. One listen may not be enough to judge, but we must say it got us quite excited and looking forward to the official release on October 29th. In the meanwhile, we had a chance to chat to Steve Von Till and Scott Kelly to share our enthusiasm and hear how ‘Honor Found in Decay’ came to life.

Steve, before we get onto talking about the new album I’ve heard recently that you’ve got married?

Steve: Yeah! [laughs] Congratulations! Just thought we’d get that out of the way first!

We’ve just listened to Honor Found In Decay, your first album since 2007’s Given To The Rising. When it comes to ideas for a new album do you listen to previous work to ensure some sort of continuity between releases [Steve pipes up ‘Never’ in the background] or is this record more about where you are right now?

Steve: We never go back and listen to our old stuff, it’s really not an intuitive process at all, the one thing we discovered when we found our way to ourselves in the early 90’s was that the more we kept the brain out of it and the more we let it come from that unspoken place that drives us, the more pure and powerful it is and at this point of the game in our 27th year we really don’t over think it. We can have mild intellectual conversations about it but that really pales in comparison to finding the space and time to genuinely surrender ourselves to this force that drives us.

Scott: Every record we take time to re-evaluate where we’re at with our diversion and growth. I think this record is a continuation of the path so the process stays intact.

When it comes to a new album do you guys tend to write separately and bring it all together or do you still jam in a rehearsal room?

Steve: It happens in a lot of different ways. We’re spread out all over the western United States so it’s difficult for us to get together and spend a lot of time in a room. We do take some time when we’re getting ready for concerts to meet down for rehearsing then throw some ideas around , from those ideas we’ll make a crappy recording of them , take them back to our houses and do some feedback with our home recordings. Flesh the ideas out, meet again and see how it works to make it more human.

We also get together in different areas when we can, I live up in Idaho and a couple of the guys will come up and work on some stuff, Scott and I will get together over a Christmas break and work out some things but it doesn’t all gel until we’re all in the same room breathing life into it because no individual ideas that we have really work and it’s when we come together it really does fly.

That comes across well on this record, there just so many different levels and textures on there, I suppose you guys didn’t expect it to sound exactly like that?

Steve: We have a pretty good idea before we record because we don’t have a lot of time in the recording studio, we don’t mess around, we go in there and knock it out live basically. Overdub the vocals, mix it down and get out of there. We don’t know exactly what it will sound like without some sort of playback, there’s a pretty good idea from the rehearsal tape but hearing it on final playback is always an amazing moment.

I wish I could be at the listening sessions so I could hear it blasting through those speakers because it seems like a good system they have there…

It’s superb! The lighting was perfect, nice, dark and a couple of candles. Perfect sound too.

Steve: Excellent!

The vocals had more of a diversity and confidence in them than perhaps the early days. Do you feel that working on solo stuff has given you guys the confidence to bring that to Neurosis?

Steve: Absolutely. Everything we do in experience feeds back into Neurosis because it is our life. Both Scott and I have discovered since doing the solo stuff we have more of a dynamic range than from the early days screaming it as loud as we could, it definitely adds to be able to put the appropriate vocal to the right music.

Scott: I think it’s a kind of natural groove that Steve and I both do and with our solo material becoming more comfortable with our voices. I feel vocals are something we’ve shied away from in some way , it’s taken some time to embrace the vocals as openly and experimental as we did the music.

You worked again with Steve Albini for this record, how’s your relationship working together developed over the years?

Scott: I consider him a friend, very comfortable working with him. He doesn’t get hung upon any of the bullshit that comes with the music business, he comes ready to make a record and we appreciate that.

That must be important when recording an album this complicated to be on the same page…

Scott: It’s super important. It takes a well coordinated attack and planning to work with someone on top of it as he is.

Last time we spoke to you Scott you were talking about the exposure in playing solo. How excited are you at the prospect of touring with Neurosis?

Scott: It should be great, honestly getting time together is always great and I love performing with Neurosis. The energy we create is unparallel to anything else in my life.

I think that is something that comes with time, as you say you’ve worked together 27 years and that is a hell of a long time. Is it something you could have envisioned when you started?

Steve: Yes and no, I mean there’s no way we could have seen where we would be now, no way we could have perceived that anyone else in the world would give a shit about this kind of self centred need to do music in order to live with any sort of positivity in this world. This is our way of finding catharsis and dealing with our internal stuff. You listen to our very first recordings , we were just teenagers who knew there was something much deeper and out there to what we were doing so there was definitely a scene in there and we knew what was inspiring to us – not because we wanted to sound like anybody else but we were always intrigued by bands who toned down their sound, original and sounded cut from a different cloth.

We knew we’d find that if we dedicated ourselves to it but we had no idea how to get there, it was only time that showed us the way.

Scott: When we started and committed to each other to the end I just didn’t think I would live this long at that point, I didn’t have plans in my head to survive to 45 so I feel very lucky.

You’ve always been a band that inspires others.

How does it make you feel when some of the younger bands – some that weren’t even born back in the early days- cite you as an influence?

Steve: It’s an honour, like I said we make this music for ourselves and the fact that anybody else likes it is a bonus plus that people have not only enjoyed it but found a deep resonance with it, as music fans we all have those records that get us through a certain part of our lives, to know we’re one of the go-to bands and inspired others to find their own sound and pick up instruments is the ultimate compliment.

We’ve seen that you have plans to come to the UK near the end of the year particularly as part of the ATP Nightmare Before Christmas event. Do you have any other plans?

Steve: Nothing confirmed at the moment other than ATP, so stay tuned...

So there’s a possibility… Excellent!

Thank you very much for your time and for another great sounding record, we look forward to seeing you guys live at the end of the year!

Sonic Shocks

Issue 10/2012

Page 19

LIVE! London, HMV Forum - 20th July

by John Morgan - Photos Cristina Massei After calling it a day in 2008, 2012 sees the return of industrial pioneers Ministry to the live stage.

Often imitated, yet rarely surpassed, a live Ministry show is obviously something that a sold out Forum crowd have been waiting for; and the band don’t disappoint. Al Jorgensen (Mr Ministry to most of you) is back on form after a well publicised battle with drugs and drinking, and looks genuinely pleased to be back. The band deliver a set comprising mostly of tracks from the new album and the previous 3; add to this Al’s continued - if somewhat dated - between song rants about George W. Bush and it seems as if the 4 year gap between shows in London had never existed.

An encore of classics is what was needed, if for no other reason than to remind the faithful just what a great history this band have. N.W.O, Just One Fix and So What fit the bill nicely and underline the true importance of Ministry in the culture that is alternative music. With the return of the video screens, the crowd lap it up and a great night was had by all… Welcome back Al! 8/10.

By Matt Dawson - Photos Cristina Massei When the first thing you see arriving at the venue is two men in penguin suits, the truth of the matter is that some semblance of a party will be the case on this summer evening.

The Hostiles kick things off with an OK set, however their Less Than Jake-esque show and the fact they’re the opener means that despite polite applause the crowd doesn’t show that much enthusiasm, perhaps storing their energy for later. Next the New les Town Kings from Colchester bring the ti s o H e s/Th memories of two-tone back to Stoke for Town King ugust 2012 another night as they get the energy levels with New A th - 15 l il rising, and if you’re a fan of ska in any form m r a g u Stoke S this band are one to keep an eye out on.

Reel Big Fish then keep the party in full swing and in all honesty, how can the atmosphere start dropping off when you have hits like ‘Trendy’, covers of Van Morrison and the inevitable A-Ha ‘Take On Me’, an interlude of ‘Enter Sandman’ sung by the trombone player - leading to one of the MANY sing-along moments of the night – and a running joke with “Blues Ending!” plus of course the guys in penguin suits!

For a few hours the crowd at The Sugarmill can forget the real world – whether it be A Level results the following day or otherwise – as Reel Big Fish do what a true gig is supposed to do: allow some escape via the medium of FUN.

Words and photo by Marcus J. West Most bands just do one London date, so selling out the Borderline for two nights running is no small feat, especially for a band as new to fame as Kvelertak. The Norwegian rockers have made quite a name for themselves on the live circuit across Europe and from the off, it is clear that they are quite a mosher’s band.

London Borderline August 17th

As Erlend Hjelvik, frontman and vocalist of the six piece squad, launches into the opening lyrics of Sjøhyenar (Havets Herrer)and Fossegrim, the pit opens up and the frenzied fans seem possessed in their demonic dance. For those of the crowd who chose to stay out of the pit, however, the experience was quite different.

Without the pumping adrenaline, the flaws in the set became more apparent: the vocals appear too harsh for the songs, there was very little structure and the band’s message was lost in the chaos; it was difficult to let go and have fun. However, the guitarists (Vidar Landa, Bjarte Lund Rolland and Maciek Ofstad) had great chemistry and added some coherence to the whole set, particularly in tracks like Mjød and in the closing with Utrydd Dei Svake.

Overall, Kvelertak could have done better, but we can’t argue that they can pull a crowd. Årabrot did an excellent job as the evening’s opening band, however.

This Norwegian duo (with an ad-

ditional live bassist) are defined and powerful and brought their intense blend of sludge, doom and lot of noise to London with pride. Kjetil “K:N” Nernes’s vocals are true and honest, and Marakel’s drumming is fitting and delivered well; they both have a lot of passion about what they share with their audience. Go and see this band if they’re in town, especially while they are still playing the smaller venues; the only way they are both going is up.

Page 20

Sonic Shocks

LIVE!

Issue 10/2012

By Cristina Massei I need to go and check out Vintage Trouble every now and then, even if it has to be an away gig. There's the addiction for a start, those cravings that The Bomb Shelter Sessions can only exacerbate, hit after hit of the damn CD. And then there's that human fear of losing something that is just too good, fear that one day I'm going to wake up and find they've turned into some self absorbed divas and sold their talent together with their soul in a toxic deal with the devil himself. It happens you know? To the majority unfortunately. So I need to make sure they're still there, talent and soul, because - addiction for addiction - I could live without caffeine at a stretch, but not without Vintage Trouble… Fear not, as once again the boys reassure me they're less likely to sign that evil deal than John Terry is to sign for Man United.

We meet at 6pm for a Google Hangout live from the hotel's bar. Fans are connected through the internet to ask questions and request songs that Vintage Trouble will perform acoustically. One of the questions is ‘what was the best moment so far’ and Ty has no doubt, as he shares with us a recent experience during a Festival in Germany when he got off stage to perform 'Gracefully' to an elder woman in a wheelchair at the front. 'She cried, I cried, everyone was crying, and it was just a reminder to me’ because sometimes ‘days go by so quickly… and you forget why you’re actually doing what you’re doing’.

A few unplugged gems and many hugs later, is time to head to the venue, and time for me to get to the front to steal some shots; no photo pit tonight so I expect the usual push and fight and ‘I was here first’... None of it. What a weird, mindblowing vibe. This crowd smiles and opens up to let me and my camera through. As I get to the front it’s like being with old pals, and we share my shots of the afternoon’ hangout while talking Vintage Trouble. Behind me a curious newbie who heard about them from friends and came to check out for herself: we all know how it’s going to end, but it’s always such a joyous feeling watching a conversion in the making!

The band finally takes stage, and it's time for us all to shake it baby! For an old grumpy woman like me, crowd-bathing is never a pleasant experience; long gone are the days when it wasn’t worth going if it wasn’t front row, these days I’d rather disguise myself safely at the back. Yet, like a distant memory from the past, that carefree teenager comes back to kick the grumpy old woman’s ass and - as I lose control of my hips with ‘Blues Hand Me Down’ - I find my recent mantra ‘I hate people’ turning into an ecstatic ‘I love people’. ‘Gracefully’ kicks in an odd instinct to hug everyone, ‘Nancy Lee’ inspires one of the most emotional moments and then there’s ‘Not Alright by Me’ to make everyone feel young enough to believe that we can indeed change the world. But it’s not just the classics on ‘Bomb Shelter Sessions’ keeping this crowd moving, as new songs work the audience just as good and ‘Pelvis Pusher’ ends proceedings on a groovy high. Even uncontrollable global sweating feels right, kind of like when you’re having wild sex.

'People tell us they can't wait to see us get to the next level, but what level is better than this?' - an emotional, smiling Ty Taylor asks the crowd at Komedia, Brighton. And you know, you can feel he’s sincere: Vintage Trouble are enjoying this moment just as much as us. As excited as they may be to share their music with the world, they’re in no rush to ‘make it big’, because frankly, the venues might get bigger but emotions don’t get much bigger than this.

As the night head to an end, I notice a bizarre recurrence in the troublemakers’ universe: the unusually high exchange of ‘Thank You’s. Both band and fans exchange it like most people exchange insults: 'Thank you!' 'No, thank YOU!' ‘No, thank YOU!!’. All spontaneously, reciprocally and truly grateful to be part of something so amazing… Probably if you don’t know Vintage Trouble none of this will make much sense to you, but I hope it will at least spark the curiosity to join us at one of their next shows (roll on November!). You will thank me too then.

Sonic Shocks

Issue 10/2012

BLACK MAGICIAN Nature is the Devil’s Church

CORALSPIN Honey And Lava

SATAN’S WRATH Galloping Blasphemy

SOPHICIDE Perdition Of The Sublime

IMPALED EXISTENCE These Lifeless Plains

By Marcus J. West Perdition Of The Sublime, the debut album by Sophicide, Germany’s technical death metal sorcerers, was recorded, mixed and mastered by founding member Adam Laszlo at his home studio and features a striking cover design by artist Steve Voigt. This is, pure and simple, the archetype of good production; from the very first notes of the opening track, The Art Of Atrocity, Sophicide continue to throw amazingly technical riffs and and attacks at the listener without ever sounding too polished. After a grand hostile opening, Within Darkness surfaces with a looming acoustic section right at the beginning and a truly imposing solo towards the end; just to die for. Both structures outline a very tormented path towards annihilation and the abrasive, turbulent, riffing of the title track presides over the course of this great album. Tracks such as Blood For Honor and Dawn Of A New Age (superb and brutal,) allow the album to progress into authentic wrath which is emboldened by a threatening depth and a dangerous dynamic range. Laszlo’s growling is powerful and strong; there is not one minute in the whole of Perdition of the Sublime without a sense of spell-binding tenacity. A very elaborate show of strength, it is malicious, disturbing and memorable, just like the meaning of the band’s name, murder of wisdom. Recommended if you like: Necrophagist, Obscura, later Death, Cynic, Atheist.

By Matthew Tilt Showing a penchant for the dramatic from the very beginning as opener starts off as an awkward piano melody and quickly builds to something much more orchestral and operatic; it might not be as epic as they wanted it to sound but it’s an effective opener and is in perfect juxtaposition with the beatdown it leads into.

From here on in they effectively batter the listener with their technical brand of metalcore, one that has been honed over their eight years as a band. Everything here moves forward like a well-oiled machine; fingers fly up guitar frets and the odd solo shows a real love of classic rock as they slow things down and really take their time over those notes.

There isn’t much variety in the tracks but the formula is tight and they’ve managed to squeeze some personality into the sparkling production. Drum fills slip in between screams and breakdowns and occasional glimmer of electronics echo behind the band. The whole thing flows quite nicely apart from Through Stinging Eyes, which quickly establishes itself as a worthy part of their cannon with a seriously heavy groove about it, but interrupts the album with a needless introduction which echoes the start of the album but lacks the atmosphere it provided.

It’s fair to say that Impaled Existence don’t care. They’ve been doing this before it was cool, when it was cool and after it was cool and they’ve perfected their brand of it. It’s never going to win awards for originality but at least they do with some passion, energising a tired formula and proving that there might, just might be life in this genre left. An imperfect, but surprising release.

24th September - Shaman Recordings

24th September - Altrospire Records

25 September - Metal Blade

By Matthew Tilt This album is surreal. Should you doom fanatics make it through to Ghost Worship you’ll probably be shocked to find that it sounds like the folk parody on Man to Man with Dean Learner before escaping into something that plays away over the credits of old B – Movies. It’s a massive departure from what has come before, but is equally entertaining, especially if you imagine moustachioed men smiling at the camera while stood next to horses and mustangs.

This quickly slips back into the partially psychedelic, monolithic doom that Black Magician have established over the tracks since the gorgeous piano melody of opener The Foolish Fire. Squealing guitars and organ tracks straight from the creepiest horror film you’ll ever see mix to create a droning back drop to the deep vocal chants. Slow build ups lead to drawn out payoffs, guitar solos echoing through the hazy production.

This isn’t an album you can hear through a laptop, you need this on vinyl, each groove crackling under the weight of each song. Full Plain I See, The Devil Knows how to Row sets the tone for the main tracks here. Mixing first album Black Sabbath with modern influences from the vast array of drone, sludge and noise artists; dripping with malice and occult, creating an absorbing but uncomfortable listen that sounds about as evil as anything you’ll hear this year.

By Matt Dawson It’s incredible how progressive rock’s golden era of the 70’s has been making a big return as inspiration since the turn of the millennium – the comeback of bands like Van der Graaf Generator and Comus being a part, a festival that allows the best of both eras to be showcased and a new generation emerging from the shadows.

Coralspin are a melting pot of progressive and AOR; the symphonic vocals of Ellie Blythe – a graduate of Leeds University’s conservatorium and a member of Oxford Pro Musica singers’ choir – bring to mind the vulnerability of people such as Sonja Kristina Linwood on tracks like ‘Songbird’, but with the power of artists such as Tarja when the melodic rock side of the band comes out in full force.

The melodic rock side is where Coralspin manage to be as strong as their peers, Asia being one that immediately comes to mind given that band’s history; the combined keyboard and guitar solos on ‘Mistimed’ and the most ‘progressive’ track on the album ‘Sons Of The Sleeping Giant’ mange to work without causing a clash between the two genres – let’s say you won’t be seeing them thinking dubstep will be a good idea to go down anytime.

They may be new to the prog scene but, in a world where diversity manages to work more than most, ‘Honey And Lava’ manages to relax the listener and invites them to figure out another band that no doubt in so many years will be an inspiration for the NEXT wave of progressive melodic rock.

By Marcus J. West Full of necrometal, sacrificial blood and relentless blasphemy, and led by founding member, Tas Danazoglou, Galloping Blasphemy is not a bad start for Satan’s Wrath’s debut album with Metal Blade Records. As the thousand-faced moon rises, Galloping Blasphemy regurgitates scorching attacks drenched in sacrificial blood.

Evil is everywhere, in every note, starting with Leonard Rising – Night of the Whip; Leonard is Satan, he appears on the Sabbath in the form of a goat. The ceremonial intro with bloodcurdling screams and the daunting storytelling of the lyrics leave the gates open for heavy Celtic Frost inspired riffing which emerges from every corner. The solo which closes this chilling track could last for ever and ends on the verge of pure explosion. Scythe like vocals and grating guitar riffs are the foundation of Between Belial and Satan, the track that follows; brutal and Slayer-esque, it attacks without benevolence.

The title track is all instrumental, a boisterous near three minute tribute to the Master, is a jaw wrenching riot of sharp riffs and destructive solos. The screaming of Death Possessed is both defiant and malevolent and sets the path towards total massacres with Death to Life, Slaves to the Inverted Cross and the Sabbath-esque Satan’s Wrath.

DEAD COWBOY’S SLUTS The Hand of Death

DUBLIN DEATH PATROL Death Sentence

18th September - M & O Music

By Matthew Tilt Starting with some desperate attempt to be disturbing with a whimpering woman sample, sensitively entitled B.T.K., and slipping some gentle, acoustic number in two thirds of the way through so that skinny jean clad girls will come to their shows despite a rather horrifying mix of glorified misogyny, unoriginal riffs and poor vocals.

Despite the ridiculous name and mildly gory artwork, Dead Cowboy’s Sluts are nothing more than a rather childish deathcore troupe. Never as technical as they want to sound, it’s all mid paced trigger drumming and pinch harmonics that aren’t used to emphasise any particular part of a track but thrown in every couple of seconds like some new fad word that the cool kids use.

Each song flows into the next, not out of some great production or some really well synched ideas, but because everything sounds the same.

They’re seemingly competing for most unoriginal band on the planet because I’ve heard this album, bar samples, a million times since I first started listening to bands like Blood Has Been Shed and it had been done a million times before that.

While every band suffers because everything is unoriginal now, most try to escape the hole by using the worn down ideas as starting points; the building blocks to creativity out of which decent bands rise through the combination of ideas and genres. Dead Cowboy’s Sluts clearly thought this was too much effort and have run the genre further into the ground like some elderly rent boy who never found his way out of the game.

I can’t even put these guys in the same league as Eskimo Callboy because at least Eskimo Callboy threw something new at the genre. These guys have the dubious honour of making things worse without even trying anything new.

Out now on Mascot Records

CRASH STREET KIDS Sweet Creatures

20th September - Vanity Music Group

By Cristina Massei So my glittery friends, who’s been missing an unhealthy dose of sleaze lately? Worry not and get ready to shake those locks, as Crash Street Kids are coming to your rescue! Opening with title track ‘Sweet Creatures’ – a raw uptempo tune for Ramones’ fans- the band makes no mystery of their intentions with this new full length and set the thermometer straight on rock’n’roll, ready to unpretentiously entertain you.

As we venture further into ‘Sweet Creatures’, we find more varied influences keeping the interest pumping. There’s a couple of Motley Crue type intros in ‘Bang Bang’ (soon evolving into a more lighthearted Pretty Boy Floyd style – and ballad ‘Third Avenue Vampires’, happily blending piano and Beatles-esque pop hooks. Swaggering ‘Mary Queen of The Rock’ hints to vintage rockabilly influences, a potential favourite on some dance floors lately coming back in style. Alice Cooper and Bowie are also lurking in the background, while ‘Sad Julia’ and closing ‘Harlot of the Flies’ bring out yet different shades off the colourful Crash Street Kids musical rainbow.

I can’t see ‘Sweet Creatures’ getting a Grammy, but I have a strong feeling Crash Street Kids would rather have some fun and share it with a like-minded audience and some scantily clad girls in for a good time. Isn’t that what rock’n’roll is all about after all? Out September 20th, just in time for the weekend!

Page 21

By Matt Dawson Take the vocalist of Testament (Chuck Billy), a former vocalist of Exodus – and Testament - in Steve Souza, Willy Lange from Rampage along with people from Tesla and Vio-Lence combined with members of Chuck’s family and local musicians of Dublin, California to create a supergroup that’s worthy of the much bandied around term.

It’s been quite a long wait for Bay Area thrash fans for the group’s second album, as following a year’s worth of recording they managed to find a home for this and the previous 2005 album DDP 4 Life – fans of professional wrestling. The title does not also refer to Diamond Dallas Page, purely Dublin Death Patrol - on Mascot Records which quite honestly is a relief.

Why? The timing couldn’t be any better as Testament have just released their latest work Dark Roots Of Earth, giving us a double shot of one of the strongest vocals in thrash metal along with Steve Souza’s, a voice you could say influenced Cam Pipes of 3 Inches Of Blood along the way; one big flaw is an echo effect on Souza’s vocals used on the album too much to the point of distraction.

What also makes Dublin Death Patrol a well deserved supergroup is that, despite having 11 members (7 on Death Sentence) including 3 guitarists, the skill of the musicians makes sure that it doesn’t sound like they’re trying to one up each other, more so on the solos on ‘Blood Sirens’ and ‘Conquer And Divide’.

What we get is good old fashioned Bay Area thrash with NO ballads in sight, done by legends of the scene and - if you can ignore the flagrant use of echo on the vocals - one of the most powerful thrash supergroups.

Out Now - Hammerheart Records

Out Now – Self Released

FOZZY Sin And Bones

Out now on Century Media

By Matt Dawson It’s interesting to see how Fozzy have progressed over the years: from a cover band with wacky aliases and a story about how they planned to move to Japan to be huge rock stars - which was abruptly halted after the company went bust - to a band that have toured the world and had people such as Myles Kennedy and Annihilator’s Jeff Waters guest on albums.

As we reach their latest Sin And Bones - described

by Jericho as ‘Fozzy’s Black Album – in regards to what they set out to achieve, we have a band that has broken out of the cult following bought upon them by Jericho’s WWE appeal into more mainstream territory , with one notable exception near the end of the record.

Following the creepy intro that leads to ‘Spider In Your Mouth’ - with imagery that would probably make Alice Cooper proud - we get the only guest appearance on the album in M Shadows from Avenged Sevenfold on the track ‘Sandpaper’ which allows both vocalists to show their rock roots, plus in the case of Jericho makes it exceptionally clear that his voice has matured more comfortably over the years.

As the album progresses we see an enhanced sense of power musically, with ballads such as ‘A Passed Life’ evoking the softer side of Ozzy and Maiden and the final two songs being concept heavy; ‘Dark passenger’ is inspired by the Dexter TV show and a continuation of a theme from the last album, as the prog influenced closer goes from Revelations to Normandy shores in ‘Storm The Beaches’.

Along with strong musical work by Rich Ward and a welcoming for new bass guitarist Paul Di Leo, Fozzy have made an album that should – if all indications are correct – get them to exactly where they want to be: at Black Album level.

REPUGNANT Hecatomb

Out Now - Hammerheart Records

By Marcus J. West “Putrid odours rising, From beneath the ground. They climb up from the tombs with a freezing horrid sound... From beyond the grave”.

With the eerie, penetrating Intro that Hecatomb starts with, any listener would expect to have the soundtrack to the next Stephen King horror saga. However, the atmosphere of the album quickly turns away from horror as From Beyond the Grave resurrects old school death and thrash metal reminiscent of Grave, Entombed and Possessed. This song is pure head banging bliss and so is the following track, Morbid Ways; with killer solos and unforgettable pummeling drum destruction, this song is a gem and like zombies from the underworld, the pervading riffs and menacing vocal attacks brim with strength and self-confidence. Death-influenced Rapturous Genocide explodes with a captivating guitar path and again, more destructive drumming that shreds and blasts without mercy. The Usurper is both endearing and violent; there is no escape from the spine-chilling guitars and strapping, guttural vocals. This EP shows plenty of promise, watch this band.

Sonic Shocks

Page 22

KORPIKLAANI Manala

Out Now - Nuclear Blast

By Matt Dawson If there’s one Finnish band that sums up the mood to get up and dance while drinking various alcoholic beverages it’s Korpiklaani: past songs such as ‘Happy Little Boozer’ and ‘Vodka’ (easy to figure what THAT’s about!) have led to people feeling merry for many a time dancing their hearts out - granted some the likes of the MACARENA to Rob Zombie’s Dragula are rather ridiculous.

On Manala we enter a much darker story than previous work, as the Underworld as described in the Kalavela - a title that other bands such as Amorphis have used - becomes the focus yet retains the spirit of classic material.

With elements of thrash, doom and even a cover of a Finnish classic ‘Ievan Polkka’ (Ieva’s Polka in English) the crazy yet catchy hooks work in BOTH Finnish and English, and a special deluxe version contains an English language version so it’s up to you which version to listen to; this proves how wonderful the band are at crossover, particularly on a track such as ‘Rauta’ (The Steel) where the use of ‘iske/ strike’ causes the song to build up gradually until a full on folk assault kicks in at the end.

It’s good to hear a folk metal band that have been consistent in quality, more so as their last record was only released in 2011 and for fans of music that just makes you want to dance like a maniac once again Korpiklaani have done the job: just make it dancing that fits the mood though!

THE MAINE Pioneer And The Good Love

11th September - Rude Records

By Ben Twemlow Ok, so what we have here is the European release of last year's "Pioneer" album. To make up for the 8 months delay since the US version, "The Good Love" EP has been tacked on for good measure. But was it worth the wait?

I'd previously only heard of The Maine from a couple of covers that they'd contributed to the "Punk Goes..." series so wasn't entirely sure what to expect when I started giving this a spin. In a way, I almost expected an entire album of covers, mainly because the song titles reminded me of a whole bunch of other people's material. But, to my surprise, "Thinking Of You" wasn't an A Perfect Circle cover and "My Heroin" had nothing to do with The Dogs D'Amour or The Wildhearts... but you know what? It was a pleasant surprise.

That's not to say that the album is completely original.

Opening track, "Identify" blatantly steals the guitar riff from the chorus of Tom Petty's classic "Free Fallin'" but, against the odds, doesn't pale in comparison. As opening statements go, this one pretty much puts The Maine's cards on the table right from the get go - it's melodic, kicks in with some VERY heavy guitars, has a bunch of catchy lyrical lines and show cases John O'Callaghan's vocals perfectly.

Speaking of vocals, I'm used to English singers trying to sound American but it's unusual to hear an American singer singing with a vaguely London twang. There are times when O'Callaghan sings with the same kind of Mockney accent that Mike Appleby (from obscure indie rockers Velvet Jones) used to employ but, somehow, it comes across as endearing rather than annoying.

The rest of the band seem to be wearing their influences on their sleeves too. Over the course of the album's 19 tracks various moments remind you of other bands: Fall Out Boy, Jimmy Eats World, Stone Temple Pilots all seem to get appreciative nods but, remarkably, The Maine manage to acknowledge their influences without coming across as a glorified covers band. Even more remarkably, they somehow manage to experiment with a variety of styles (one moment there's a Alt-Country twang to their guitars, the next they're playing 80's rock) but maintain a distinct sound of their own. If I had to liken them to any one band, though, I'd suggest that they were a slightly more radio-friendly counterpart to Go Radio.

Of course, it's very rare to find an album where every song is perfect and this certainly isn't one of those rare albums.

That said, there are plenty of great tracks here to make this worth getting - "Identity" "Thinking of You" "I'm Leaving" and "Like We Did (Windows Down)" are all standout tracks that stand up to repeated listening while a few others (such as "Jenny" or "I Want You") might be less instantly accessible but should grow on you after hearing them a few times.

All in all, a great effort and well worth you checking out.

MONUMENTS Gnosis

Issue 10/2012

THE FACELESS Autotheism

Out Now - Century Media

Out now - Sumerian Records

By Matt Dawson The hype towards Monuments has been reaching a critical spot for the past 2 yearsthe live shows including one in Luton that caught their strong live presence to this writer’s attention and a track called Admit Defeat that garnered interest from the tech metal community.

Similar to their peers in TesseracT, things have changed in those two years with Greg and Neema leaving and Matt Rose - who you may know from his work on the Qemists’ last album - taking vocal duties; as much as Greg and Neema gave their take due to their past with Fellsilent, there’s something refreshing about it.

Those who heard the Qemists work know how Matt can sing, but his defiant growls on tracks like ‘Degenerate’ or ‘97% Static’ take Monuments to a new stage; add the moment during ‘Doxa’ that is close to Cedric Bixler-Zavala levels and you have a vocalist that eradicates any fan that decides to vent over his predecessors easily. With the groove bought on by Olly Steele and Josh Browne’s guitars and the insane drumming by Mike Malyan – and anyone that’s seen any of his live shows with both Monuments and The Algorithm will understand – this is a debut that makes the long wait worthwhile.

Their Facebook simply states ‘This Is Monuments’; with this along with Periphery and TesseracT, the trinity of tech have finally released strong albums over time – now to see the next chapter not only from them but the whole genre.

By Matt Dawson The Faceless have gone through a radical change since the release of Planetary Duality back in 2008, gaining 3 new members in Geoffrey Ficco , Wes Hauch (who some may know from his guest solo on the latest Periphery record) and Evan Brewer, formerly of Animosity.

This has led them going for a route that may surprise fans at first in the concept album rather than the odd track or two from previous work , Autotheism being the journey of a man’s discovery that he will become the all powerful God of his reality, bringing with it the positives and negatives of the case.

What makes this idea intriguing is the way the debate of science vs. creation is handled - there’s even a track titled ‘Hail Science!’ - but aside from it the idea executed manages to remain manageable and not forced upon you , as the band make the listener consider the final decision sensibly.

Geoffrey Ficco brings with him a beautiful balance vocally which makes you think the points of view are ironically the angel and devil side of the protagonist – moments such as the 3rd part of the autotheism movement titled ‘Deconsecrate’ come to mind (Fun Fact: The man behind the YouTube meme Sexy Sax Man, Sergio Flores does a sax solo). It also must be made clear that if you enjoyed Wes’ guest solo on the Periphery track ‘Mile Zero’ you will enjoy his use of the guitar on the whole record.

Taking a leap from being labelled ‘Sumeriancore’ into a more prog-tech metal crossover, a new chapter for The Faceless is about to begin and even if the concept may not grasp all at first, the music is strong enough on its own merit.

THE ROBERT CRAY BAND Nothin But Love

Out Now - Provogue Records

By Cristina Massei Grammy winning legend Robert Cray returns with a brand new studio delight produced by Kevin Shirley. Blues, jazz, rock and soul beautifully blend in one of the best albums of 2012 so far.

Intense bluesy opener ‘Won’t be coming home’ barely prepares you for the storm of emotions to follow, as soul takes centre stage with ‘Worry’ while ‘I’ll Always Remember You’ spices things up with a sexy jazz sound to taste, followed by a ‘Side Dish’ of the best rock’n’roll in town. Elegant yet exciting, Cray’s poignant work keeps it rather raw – the album was recorded live in two weeks – to maintain that vintage 50’s feeling lately coming back into fashion.

The smooth ten tracks on ‘Nothin But Love’ are a four-season blessing for any music lover, an incredible no-filler collection of classics that will keep the sun shining in summer and the fireplace burning on a cold winter night.

It’s hard to believe you can find so much quality on one record these days, hard to still find talent and passion in such an absurd amount in one band, but there you have it: an album that will give you a hug, a smile and a dance, then ask you to be played again over and over.

Now, how’s that for a slice of oldies gold?

PROJECTED Human

MODE MODERNE Strange Bruises

18th September - Yaya Papu LLC

By David Lees No art is created in a vacuum, as the saying goes. Every musician has influences and those influences always shine through, particularly in early work while the artist is still trying to develop their own identity. But should artists always be striving to grow and change or is it just as acceptable to knock out some decent tunes in the style of the giants whose shoulders you're standing on? Your answer to that will probably be the biggest factor in whether Mode Moderne are for you or not because, boy, do they wear their influences on their sleeves.

The Cure, The Smiths, Echo and the Bunnymen and Joy Division all spring to mind while listening to the seven tracks of their new EP, Strange Bruises and any time singer Philip Intile isn't trying to sound like Ian Curtis it's only because he's trying to sound like Morrissey for a bit instead. It's pure pastiche but the thing is, it's actually quite good pastiche. All the songs are pretty strong (if a little samey) and Intile's Ian Curtis impersonation is an enjoyable one. The question is, is that enough? When the EP ends do you want to hit play again, or do you just want to listen to the bands that inspired it instead?

For me, the answer was the latter.

Mode Moderne straddle a line between homage and derivation and maybe they will develop their own identity in the future (this is only their second record, after all) but for now they just don't feel far enough removed from the world of cover bands and tribute acts to garner anything but a lukewarm recommendation to the most hardcore of New Wave nostalgics.

By Matthew Tilt So we have members of Creed, Alter Bridge and Sevendust working together on an album part produced by the guy who helps Puddle of Mudd sound like the wet sack of shit they are; if this doesn’t sound like the worst idea this side of telling Black Veil Brides they should go glam then I don’t know what is.

Pretty much everything about this album is awful. Even the fan produced artwork has that same nasty, cheap feel to it as the songs contained within. The music is exactly what you’d expect from the above combination, sounding like some distinctly average rock band got beaten around the head and castrated. About half way through I started imagining that Arnie from What’s Eating Gilbert Grape had written this album so at least I wouldn’t be too mean when I wrote this review.

The willing recipients, and there will be some, of this 40 minute dog turd are even given the offer to rape their hard earned savings and hand over $50 for “Limited Edition Unlimited V.I.P. Passes” which gives the (un)lucky few a chance to go backstage at every single show these guys play.

Now while I seriously doubt anyone would want to see this band more than once this does offer the rare opportunity to hand the band bribes, petitions and poison pen letters in the hope that they will give up this feeble dream of writing anything that anyone swill care about.

Maybe I am been a little harsh though. I mean the band said they did this for fun, outside of the restrictive musical backgrounds they come from (the ones where they release the same shite but with more label backing), and if this level of masochism is what gets these puppies off then I only ask they keep it more private next time.

Obviously they have higher immunities to this shit than most.

3rd September - Light Organ Records

KRYPTOS The Coils Of Apollyon

21st September - AFM Records

MAKE Trephine

Out Now – Devoutter

By Ross Pike Trephine is American trio, MAKE’s, debut album and covers some familiar sonic ground.

Despite the obvious misgivings one has at employing such an amorphous and abused description as ‘post-metal’ MAKE are as close to an archetype as you’ll find. Their songs are lengthy, wax and wane over epic, twisting arrangements, feature harsh and clean vocals and deal in fluctuating volume.

That said, MAKE are pretty damn good at what they do and on Trephine the band go the extra mile by devoting the record’s narrative to the psychological tremors experienced by the living following another’s death creating a truly heavy atmosphere and elevating the record beyond the usual stoner dirge of the uninspired post-whatever pack.

At turns mournful, raging and meditative Trephine is a slow burner, revealing a little more of itself with each listen. Sure, there are moments where your brain will undoubtedly be illuminated with the word ‘Isis’ but MAKE have enough nous to use those recognisable motifs sparingly. Trephine is a record full of promise and intrigue and goes a long way toward rehabilitating that dirty ‘post-’ tag.

by Matt Dawson Kryptos hail from Bangalore and, while Skyharbor and Demonic Resurrection have the progressive and death metal markets covered, it’s very possible that with their recent signing to AFM Records the thrash metal scene in India will have them leading the charge.

With influences such as Iron Maiden – the gallop known in Maiden songs is attempted on tracks such as ‘Nexus Legion’ by Rohit Chaturvedi - it’s easy to see where their love for metal came from and throughout the album it is very clear that Kryptos have been wanting to release their strongest material.

For those who also expect their thrash to be fast with no shift in the tempo, Kryptos do provide that; however the main qualm with this debut is the production with a clash of guitars in the mix, notable during the solo on Starfall that leads to an echo effect hindering the true impact the solos could leave on the memory.

Aside from this, there is a chance for Kryptos to gain some acclaim not only in India but globally if the live shows are more powerful.

The trick will be to see how the follow up does before they can truly break out.

SYLOSIS Monolith

8th October - Nuclear Blast

By Matt Dawson It’s been very interesting to see Sylosis evolve over the past few years: from seeing them in a pub venue in my home town to playing with Cavalera Conspiracy and gaining a lot of new fans from their last release Edge Of The Earth last year Sylosis, manage to capitalise on their current momentum by releasing Monolith in a decisive fashion.

Some of the songs were written back in 2010 and that there’s an underlying concept similar to the last record. This time the focus is on a story inspired by Orpheus and Eurydice, so the progressive tag given to them by Wikipedia is more than likely covered, but the story is parallel to how good the music is.

Sylosis have always had elements of the melodic in their world – even as far back to tracks on the Casting Shadows EP - but on Monolith this becomes a bigger force. For example, the track ‘What Dwells Within’ has a great shift in tone to the clean vocals without derailing the process, the way to do melodic death metal right.

One major advantage with this album over the previous one is the main criticism of its length has been fully addressed; the need for keeping to a reasonable length – aside from ‘Enshrined’ which has a surprise for those who wait- has been taken on board to make Monolith more concise.

Monolith builds on what came before it and, fully established what many know, Sylosis are one of the UK bands to keep watch on; it’s only going to get bigger from here.

Sonic Shocks

Issue 10/2012

by Dan Balchin

Introducing

Here you’ll find some full length reviews, alongside more succinct summaries of the latest in Unsigned and New music. All of these artist’s deserve your time and attention, so look them up and maybe you’ll find something special.

4. BILLY ONE MOVE – Reflections

1. TITANS EVE – Life Apocalypse With their second full length album in ‘Life Apocalypse’, this Vancouver outfit are bringing it hard and heavy. Demonstrating how melodic metal should sound, Titans Eve haven’t shied away from writing tracks of significant length and delivering them solidly. The inclusion of two instrumentals can often be less than enjoyable, however with musicianship at the standard of the these guys, it’s a welcome addition.

Page 23

Slow and steady rock, courtesy of Billy One Move. The band possesses certain qualities which suggest they are a respectable outfit who have potential to grow in the future. ‘Check your pulse’ is by far the best effort on the EP, although a shocking remix to end the EP almost jeopardised this. I wouldn’t write Billy One Move off at this stage, but they’ve got work to do moving forward.

Visit them here - http://www.facebook. com/pages/Billy-One-Move For fans of: Order of Voices

7. MISS VINCENT – No One Knew Miss Vincent have a confident and clean pop-rock presentation and their debut single ‘No One Knew’ is a great stepping stone for the Surrey based trio. If the UK were to embrace Miss Vincent as they do with international bands with a similar sound, there is no reason why this band can’t be seen hopping onto bigger tours in the future and building a strong fan base.

Visit them here - http://www.facebook. com/missvincentband For fans of: Rise Against, Senses Fail

Interview with guitarist Kyle Gamblin Photo credit: Shimon Karmel

Visit them here - http://www.facebook. com/pages/Titans-Eve For fans of: Trivium, Motorhead

Who are ‘Titans Eve’ and how would you describe yourselves to potential new fans?

Titans Eve are a modern thrash metal band that is honest and real. We write for ourselves and hopefully people dig it haha.

Which artists do you cite as influences on your sound?

Judas priest, the big 4 (Metallica, Megadeth, Anthrax and Slayer) and Swedish death metal pretty much sums us up.

5. ISRAIN – Trees Never Sleep 2. DEPTH – Waiting for the wave Depth are perfectly placed to enter headlong into the competitive world of ‘rock’ bands. Musically, this band are on form and guitar riffs are full of angst you’d expect from a rising act. Normally with groups of this nature, inevitably a poor vocalist let’s them down and they fall by the wayside, however Depth have a competent singer at the helm and this should be embraced. A strong EP and great listen from start to finish.

Visit them here - http://www.facebook. com/depththeband For fans of: A day to remember, Funeral for a friend

Take Rammstein and Nine Inch Nails, throw them in a blender and solidify the contents and somewhere down the line IsRain will rise. This album is quirky, dark and a refreshing change from the norm. My only concern is that the offbeat and ill placed guitar and drum input often comes across a little too crass and less professional than the band clearly are. Reigning in the background noise will give a more accomplished feel.

Visit them here – http://www.facebook.com/israinband For fans of: Rammstein, Nine Inch Nails

8.CAULS– EP2 There is no doubt that Cauls have got something intriguing about them.

Combining progressive and at points, manic sounds, an untamed vocal darts in and out of earshot. Altogether a captivating, yet currently rather rough output, this has been enough to put Cauls on the map, but perhaps not where they might like to be. Under the wing of the likes of At The Drive In and The Mars Volta, they may hone and deliver their ambitions more succinctly.

Visit him here - http://www.facebook. com/Caulsband For fans of: Mew, At The Drive In, The Mars Volta

You have recently released your new second full length album. How did you approach the writing and recording of this record? How does it differ from you debut?

We take a good riff and write a song around it. We wrote this album faster and with more aggression and we're very happy with the result. We recorded in Calgary with Sacha Laskow (Divinity, Walk as chaos guitarist) at his perfect fifth studios all in one month.

Have you learned anything new about yourselves / the business this time around?

We've learned slowly that you have to do everything yourselves and it’s a long way to the top, but it’s a hell of a lot of fun to get there!

What has the feedback been like so far from press, fans, family?

People have been lovely about our latest album, the reviews are usually around 4/5 so we know we've done something right.

How do your songs translate live? And are there any personal favourites for both yourselves and the fans?

We wrote this album with the intention of playing all of them live. They take on a new energy when we hit the stage and the reaction has been insane. Our personal favourites live are Destined to Die and The Abyss.

Do you have any plans for the latter half of 2012- tours, festivals, videos?

We're going on tour with Arch Enemy in Europe for 10 dates in October. Nothing really planned after that.

If you could share the stage with any band, who would it be and why?

Judas Priest because they've been hauling some serious ass for 40 years.

Tell us a funny story from life on the road!

Ummmm... our bass player one time got wasted and shit his pants a little while he slept.

Just enough to leave a round shit stain on the hotel rooms bed sheets. We laughed for hours.

Where can we find out more about you online? www.titanseve.com has everything you need

6. WE ARE THE PHYSICS – Applied Robotics 3. FATES UPON US – Self Titled This band are your typical, modern day metalcore group. They walk the line between ripping off their idols’ riffs and sounding ‘familiar’. Mighty breakdowns and technical drumming stand the lads in good stead for follow up releases, but they should avoid group vocals at all costs, as this is a real low point in their songs. ‘Have fun storming the castle’ is the best track on the EP. Visit them here - http://www.facebook. com/FatesUponUs For fans of: Asking Alexandria

This quirky lot were definitely worth a mention, even if their sound has the potential to be a little grating at times.

Imagine a band who are off-the-wall, construct foot-tapping, jerky licks and then apply fast, relatively incomprehensible lyrics on top. My instant comparison would be a more radio friendly, pop inspired System Of A Down. They are weird and unusual, but they could become a guilty pleasure.

Visit them here - http://www.facebook. com/wearethephysics For fans of: The weird stuff

9. GLO – No one hears me This band have spent a little too long with their ear to the wall outside Muse’ rehearsal space, collecting disused riffs.

The music is relatively infectious but weedy chorus lines leave a lot to be desired and Glo seem to be desperately trying to find the genre where they belong. If they simply stuck to one sound, rather than throwing everything commercial at it, they’d be a lot better off.

Visit them here - http://www.facebook. com/glotheband For fans of: Boy bands who play guitars

Any parting words for the Sonic Shocks readers....

Thanks for having us! If you're in Europe in October try to check out one of our shows with Arch Enemy! Or check us out online!

10. Les Jupes – Myth #7 (Honour) Les Jupes feature in this spotlight section, as despite having record contracts overseas, they don’t seem to have broken the UK market just yet. The single in question ‘Myth ‘7 (Honour)’ isn’t awful; however it doesn’t inspire me with any confidence in those labels who have already signed them. Atmospheric, clumsy and overbearing, Les Jupes have got lucky.

Visit them here - http://www.facebook. com/pages/Les-Jupes For fans of: The sound you get when you open a car window and stick you head out.

ank

...Th

YOU

!!