SONIC SHOCKS July

WELcOmE . . . tO SONIc ShOckS ON papEr W

by Cristina Massei

ISSUE ONE – JULY 2011

£1

Were you getting wet at Donington this year?

elcome to Sonic Shocks oN PAPeR. Real, tangible, suitable for Tube and bog reading and full of typos we’ll have to live with for the rest of our lives, but hey… The point is, if you’re reading this, WE MADE IT. We created something new, and it’s not just another music mag: Sonic Shocks wants to be an instrument for all those involved in the industry we love, from labels to fans and most of all musicians.

These 32 pages, we hope, are just the beginning, but really, it’s up to you. Maybe you bought this issue from your local band at their merchandise stall, maybe straight from our website, maybe from your local indie record store, maybe

from one of our awesome contributors. What you may not know yet is that you can buy a bundle of 50 issues for a mere £5 + P&P, sell Sonic Shocks from your merch stall, website, tattoo parlour or to your friends at Uni and KeeP THe moNeY. We want Sonic Shocks to be YoURS, we want to reward you for helping us reach as many people as possible and we want to help you buy a couple of pints and a slice of pizza after a gig. We know it’s tough out there.

So, what do you say?

Are you in? Have a read before you decide, we’ll be here.

DOWNLOAD A M O H A L K C O R KICKS OFF THE UK FESTIVAL SEASON

by Becky Kremer

D

ownload Festival 2011 – the only place on earth where fully grown men chase each other around in cow costumes, no one gets arrested when a pair of tits come out, the weather changes faster than christina Bale’s mood swings, and the “authentic curries” stall is deserted It’s a place of phenomenal atmosphere, where people of all ages Photo by Cristina Massei and all creeds come togeher (as cliché as it sounds) all because of a largerthan-life mutual love for good ol’ rock n roll. And this year I was lucky enough to be a part of it.

I saw some strange things, some hilarious things and some thngs that I don’t thinkg I’ll ever forget.

To find out what went down, keep reading . . .

INSIDE SONIC SHOCKS a revIew of the l wIth festIva ve exclusI Images

IntervIews wIth askIng alexandrIa, alter brIdge, bIohazard, black stone cherry, cheap trIck, down, duff mckagan, IllumInatus, malefIce, twIsted sIster and your demIse

lIFE, lIBERTY, AND THE PURSUIT OF ROCK

A record-breaking crowd of over 35,000 fans were on hand may 27-29 to celebrate at RocKlAHomA 2011, the memorial Day Weekend camp and rock festival that features a mix of the best classic bands and today’s top rock artists at “catch the Fever”

Festival Grounds in Pryor, oK. over $10,000 was raised at RocKlAHomA for the American Red cross Joplin Tornado Relief.

Denise Britt reports

2 Sonic Shocks - July 2011

Sonic Shocks Ltd 19 Jansons Road, London N15 4JU www.sonicshocks.com info@sonicshocks.com Editor in Chief Cristina Massei thewickedwitch@ sonicshocks.com Assistant Editor Matt Dawson cygnus@sonicshocks.com Unsigned&Listings Editor Dan Balchin zorro@sonicshocks.com Videographer Cayleigh Shepherd US Correspondent Denise Bales Britt Burlesque & Nightlife Sophia Disgrace Photographers Cristina Massei Leah Britt Dobbs Cayleigh Shepherd David Lees Mike Hughes Writers in this issue Matt Dawson Becki Kramer Cristina Massei Dan Balchin Denise Britt John Morgan David Lees Mike Hughes Cayleigh Shepherd Sophia Disgrace Matthew Tilt John Cascio Advertising advertising@sonicshocks.com Classifieds classifieds@sonicshocks.com Distribution distribution@sonicshocks.com

rED HOT ALBUM FrOM THE CHILLI’S NEW ALBUM OUT IN AUGUST

M u lt i - p l at i n u M , Grammy award-winning rock band Red Hot Chili peppers have announced their tenth studio album, i’m With You, which will be released by Warner Bros.

Records on august 30th, Recorded at East West In Los Angeles and Shangrila in Malibu, CA, I’m With You was produced by Rick Rubin, who has produced the band’s previous five albums: 2006’s Stadium Arcadium, 2002’s By The Way, 1999’s Californication, 1995’s One Hot Minute, and 1991’s Blood Sugar Sex Magik. The album was mixed by Andrew Scheps and Greg Fidelman.

I’m With You is the band’s first new album since the two-set Stadium Arcadium, which debuted at Number One in 28 countries around the world, Red Hot Chili Peppers will perform for the first time in Hong Kong on August 9th at

MIChAEL MONrOE BAND:

DREGEN REplacEs GINGER

the AsiaWorld Arena as well as headline Japan’s Summer Sonic Festival in Osaka on August 13th and in Tokyo on

August 14th. They will also headline at the Rock in Rio Festival in Rio de Janeiro, Brazil on September 24th.

rIp: CLArENCE CLEMONS JANUAry 11, 1942 - JUNE 18, 2011

EvER since childhood when his father gave him an alto saxophone at the age of nine Clarence had musical aspirations andhe also wanted to be a american football player; he won a football and music scholarship at Maryland State College but fate intervened when just as he was about to get a tryout with the Cleveland Browns he was in a serious car accident.

From the age of 18 when he took part in recording sessions with tyrone ashley’s Funky Music Machine -f eat uring future members of parliament Funkadelic the tenor saxophone played by Clarence Clemons became iconic as he travelled the clubs of the Jersey shore.

During this time he met Bruce Springsteen: “a rainy, windy night it was, and when i opened the door the whole thing flew off its hinges and blew away down the street. the band were onstage, but staring at me framed in the doorway. and maybe that did make Bruce a little nervous because i just said, “i want to play with your band,” and he said, “Sure, you do anything you want.” the first song we did was an early version of “Spirit in the night”. Bruce and i looked at each other and didn’t say anything, we just knew. We knew we were the missing links in each other’s lives.”

From this point Clarence was part of the E Street Band performing solos on tracks such as ‘Born to Run’, ‘thunder Road’, ‘Badlands’ and‘tenth avenue Freeze-Out’, alluding to the night they met. Springsteen referred to him as ‘the Big Man’ , capable of many feats of heroism. after Springsteen e n de d the band

in 1989 Clarence performed for aretha Franklin on ‘Freeway of love’, Ringo Starr and the all Star Band and the Grateful Dead along with three solo albums.

Springsteen reformed the E Street Band in 1999 which led to the Rising in 2001 followed by an extensive tour.

Despite being plagued with health problems including tow knee replacements and spinal surgery Clemons also was recently heard on two tracks on lady Gaga’s Born this Way: ‘Hair’ and ‘the Edge Of Glory’ even performing with her on american idol.

Sadly complications from a stroke suffered on June 12th led to his passing six days later. in a statement on his website Bruce Springst een wrot e: “Clarence lived a wonderful life. He carried within him a love of people that made them love him. He created a wondrous and extended family. He loved the saxophone, loved our fans and gave everything he had every night he stepped on stage. His loss is immeasurable...”

lEGEnDaRY Wildhearts frontman Ginger has left Michael Monroe’s band to be replaced by Dregen (Backyard Babies, Hellacopters).

Ginger played his last gig with Monroe on June 17th at the Provinssirock Festival in Finland, and blamed his decision to leave on management issues: “ I didn’t agree with the management of the band, but didn’t have enough of a position in the band to change anything. It was basically me or the manager, and Michael chose the manager…

Choosing one thing I didn’t like about management policy would be like choosing one hair on a dog’s back. Put honestly, that dog has a very hairy back… There are too many points that I disagreed on to choose any specific ones.

I think Michael should have had stronger management.”

Michael himself commented: “Dregen is the perfect choice for this band…

We are a group of very strong individuals and we really needed a great personality as a guitar player. Dregen has the whole package together — he’s a killer guitarist, a brilliant showman, looks great and has the right kind of attitude and taste in music….

I feel very glad and lucky that he was willing and able to join us.,, Dregen is a real star and a true rocker at heart. I can’t wait to start rockin’ out with him in the band!”

The new guitarist added: “…I was listening to KISS and SEX PISTOLS when I was a kid, but it was HANOI ROCKS that made me do it! …99.9% of my record collection as a kid was either u.K. bands or bands from the uSA and everything felt so far away and untouchable apart from one band… HANOI ROCKS! If they could make it, I could make it!... It’s an honor for me to be in the band together with Michael and Sami (Yaffa) who were the brightest shining stars when I grew up, starting to play rock and roll music, AND bonus to that is also to share stage with Karl and Steve who are incredible players. So. I. Am. A. Happy.

Fucking.

Dregen!”

While the Backyard Babies went on an indefinite hiatus after their 2009 European

DREaM THEaTER new album title revealed

tHE recent announcement that current Rhythm cover star Mike Mangini would be joining DREaM replacing tHEatER, departed drummer Mike portnoy caused such fanfare that Mangini was a trending topic on twitter, second only to the Royal Wedding. now, the band reveal more information about their upcoming album: the much-anticipated release is titled a Dramatic turn of Events. and marks Mangini’s recorded debut; will be unleashed via Roadrunner Records on September 12th and will be supported by a massive world tour. “i’m incredibly psyched with the way this album came out and can’t wait to share it with everybody,” enthuses guitarist John petrucci, also the producer for a Dramatic turn of Events. “We are currently in the mix stage with the great andy Wallace and it’s all sounding amazing!”

Tour, Dregen is also working on his first solo album. He will debut as Michael Monroe Band’s new guitarist on June 26 at Kalasatama in Helsinki as the support act for the Foo Fighters.

MUNIcIpal WasTE sign with NUclEaR BlasT MuNICIPAL W ASTE have announced that their next album will be released on Nuclear Blast.

“It took a real long time to decide what we were going to do for our next record,” states WASTE frontman Foresta.

“We wanted to work with a label that were not only fans of the band and our music, but were willing to get behind any ridiculous idea that we could think of. Once we realized this, Nuclear Blast was the obvious choice. The Blast has been friends with the band long before doing a record was even a possibility. I feel like we’re starting off with a clean slate and decade of experience to start back up on the right track. Expect some great things in the near future from the WASTE. This is only the beginning!”

“Nuclear Blast has shown their love for the WASTE for years,” Witte continues. “And when it came time for a new deal, it was a no brainer in my eyes. NB all the way. We are thrilled to be included among a roster of great bands and hard working people that love them. I can’t wait to get into that studio!”

The WASTE will be entering the studio this summer to record their fifth full-length album and Nuclear Blast debut in their hellbent quests for infectious riffs and never-ending headbanging sessions. A 2012 release is expected.

Sonic Shocks - July 2011 3

Friday - DUFF McKAGAN’S LOADED was fi rst band of the weekend for me, on the main stage, and let me tell you – this man knows how to play to an audience. Sunglasses cemented to his face, he casually announced to the fi lled out crowd that it was his 5th appearance and that Download hosted the “best rock and roll around on the planet”, before blazing through tunes like Sleaze Factory and Executioner.

Backed by a talented set of musicians, Duff gave a powerful performance leaving many with that infectious, sleazy feeling and desperately wanting more.

G r u n g e h a s n e v e r b e e n given a better revival than

with JAPANESE VOYEURS, and there is something about this band that is spell-binding.

Despite a rocky start when some mics weren’t working, the band charged on with gritty songs Dumb, Milk Teeth, Get Hole and latest release Cry B a b y w h i c h w a s m e t b y rapturous cheers. This band is what music should sound like, and it was so refreshing to see Romily headbanging harder than

any dude, a bit of crowd surfi ng and energy so contagious that their set literally gave me chills.

Mark my words – this band have the potential to be HUGE, so get on board while you still can.

They are sick.

THE DAMNED THINGS were up next on the second stage, and got a warm welcome from the eagerly awaiting fans before crashing down Ironiclastas the fi rst song. Ol Keefi e really fl exed his commanding presence on stage as the band riffed out fi erce guitar licks like they were signalling in the apocalypse.

They got the crowd of thousands riled with Friday Night, A Great R e c k o n i n g , We ’ v e G o t A Situation Here and a bit of cheeky banter about Thin Lizzy. It was almost scary how many people knew the words, but the b a n d a p p e a r e d almost unfazed as if they eat, sleep and breathe this music – and they probably do.

They really lived up to their supergroup title and are totally worth checking out live... You will not be disappointed.

Oh, what’s that you say? Last time you sawCHILDREN OF BODOM they were shit? Well look’s like they decided to step up their game for Download! As they began their set Sexi Alexi eyed the crowd while they frantically ripped through old favourites likeAngels Don’t Kill, Hate Me and, In Your Face.

Beer cups grew wings and mosh pits ground holes into the earth as the melodic metal rang out through the arena. With a touch of more recent songs like Blooddrunkand Shovel Knockout, the band shook up the crowd, causing many fi esty pairs

of boobs to be put on display and sending fans hurtling over the heads of others and the across the barriers, into the arms of waiting security men. Not so sure if I’ve fully recovered from the horror that was the last gig I saw them play, but my respect level for them has defi nitely gone up.

I w e n t t o g o a n d see BRING ME THE HORIZON fully expecting them to be shit, but you know what, I was surprised because actually... they were really shit.

I originally wasn’t planning to catchALTER BRIDGE as I’ve never really been a fan, but I have to say after seeing them live I do feel slightly converted.

These boys gave one hell of an effort, and it was evident that they felt very privileged to be a part of the Download experience. They were so much

better than I had expected and had some stellar songs, like Slip To The Voidand Metalingus.

Miles Kennedy’s gravelly voice comes across beautifully live and the manic soloing that was fl owing from their guitars was nicely complemented against t h e s t e a d y f o o t - s t o m p i n g rhythms. The popular Ties That Bind was met with unanimous cheering from the fans that went absolutely mental as the band jammed through it like it was a

second skin.

Granted I only stayed for about 10 minutes of THE DARKNESS’s set, I spent half of the first song wondering where the fuck Justin Hawkins was. It was only when his glass-shattering vocals came out that I realised he was the scrawny, tattooed-tofuck, three-musketeers looking fucker. Despite the drastic image change, they played about as good as I thought they would.

And although not on my list of favourite bands they did pack quite a bit of fi re power (literally) and cheesy, rock n roll theatrics.

It was entertaining and the three songs I did hear – Black Shuck, Get Your Hands Off My Woman and Growing On Me – were played almost perfectly.

Would’ve been fun to watch the rest, but that’s what they get for playing at such a stupid fucking point in the bill.

KORN had what seemed like the entire arena crammed up to the stage watching them, and they defi nitely played up to it. Kicking off with Blind it was pretty obvious these boys have been doing it for years, and the insane crowd were glad for it.

It was packed out to fuck, so much so that I couldn’t even get remotely near the stage without being nearly trampled to death.

With Jonathan Davis prowling the stage, in full kilted attire, growling out pitch perfect notes through classics like Freak On A

4 Sonic Shocks - July 2011

Leash, Here To Stay andComing Undone, it took only a glance to see how much the crowd was thriving in the presence of their heroes. As the unnerving, heavy clouds loomed above the stage with trepidation and Davis produced his infamous set of bagpipes the fans stood rigid, desperate to not miss a second of the action. Waves of fans’ arms rippled in motion to the songs against the heavy force of the crowd, and it was hard not to be in awe at a band that are such utter pros at what they do.

the arena ready for the madness but in need of a little perk. So I sauntered over to a stall for a pick-me-up, only to find – to my horror – that Red Bull cost a whopping £2.50. 2 fucking pound 50 pence!!!! Apparently the organisers think that the only people that attend festivals

Final headlining act of the night DEF LEPPARD did not disappoint.

Bringing their struttingly old school stadium rock to Donington and livening up Friday night, they swerved through classic tunage like it was the 80s all over again in an inspirational, epic display of awesomeness. Up against an impressive flashing backdrop the likes of Armageddon It, Animal, Love Bites and Rock Of Ages tumbled off stage and into the ears of fans, with grasping hands stretched toward the sky.

It got rather soppy at one point where a lovely speech was given about the continued support of fans for Rick Allen and the entire band over the past 25 years that nearly brought a tear to the eye. But they wasted no time in getting right back into rock mode as they screeched in with pant-shittingly catchy Rocket.

The solos were hypnotising, the drumming solid and Joe Elliot’s control of the stage was something spectacular, but unfortunately most of the site were watching Pendulum so the Sheffield 5-some didn’t quite get the numbers that they deserved.

Nonetheless, they powered on like everyone in the world was watching and managed a stunning set to behold. It was both breathtaking and bad ass, and was a perfect end to a fucking rocking day.

Saturday - Day 2 in the Big Download house, and I entered

are fucking billionaires. This shocking discovery was shortly followed by a woman – seemingly already drunk – asking me if I had seen a bloke walking around dressed as a bride. I’m guessing the wedding didn’t really go as she had planned. Weird start to the day, but nonetheless, here’s what filled the rest of it: First up to bat for me that day

was ALL THAT REMAINS and despite being surprised at the amount of people that had gotten up “early” enough to see them, they really came to impress. Their first appearance at Download, they really seemed like the sort of band that I should hate – an all too familiar yet ordinary blend of hardcore and melody – but they bounced around the stage warming up the crowds and seriously winning over new fans. They even managed to get somewhat of a pit going, whilst beating the shit out of their double bass pedal and intricate guitar rhythms. But possibly the best part of their set was when the singer, pointing at security, rowdily announced “You see these people in yellow and green? They’re here to take care of you – you’re here to keep them busy!” before the band leapt into the final raucous song, which left crowd members flung over the barriers in a destructive crowd surf-athon.

N o w , I r e a l l y liked VERSAEMERGE’s latest album so I was extremely looking forward to their set, but I have to admit it was slightly disappointing. The Pepsi tent was packed out with teeny bopper “vultures” and a strange handful of chavs when the band racked up a few of their finest such as Stranger, Mind Reader and Fixed At Zero, with their signature pop-punk stage antics. But there was something not quite right – blame the sound guy, blame the band, blame the crowd, but either way the atmosphere was off. Even with all the head banging, crowd surfing and tasteful aggression on stage, I didn’t enjoy it as much as I would have liked and even had to leave before their set ended as Sierra’s high-

reaching voice kept going so off key that it made my teeth grind.

Better luck next time guys.

YOUR DEMISE showed up with a pretty hefty backstage entourage which was surprising for such a small band, but it wouldn’t be surprising if they were all there just to watch the show that these chaps put on.

Bounding about the stage as if he were playing leap-frog with

it, vocalist Ed McRae kept the crowd on their toes, and it was plain for all to see that they really are a 5 piece that have a huge passion for what they do. Hardcore kids raged, mosh pits were formed (there were a few broken bones coming out of those), and weirdly even a sombrero went spinning through the air at some point, as the manic punky energy consumed the entire Pepsi tent. Hell hath no fury like Your Demise.

I was walking to see SKINDRED at the main stage and made the mistake of asking a bloke what the time was, to which he replied “show time”. Although joking, he was right – and I was about to witness a show and a half.

Strutting on stage after the

20th Century Fox fanfare blared out of the speakers these reggae/metal lads were given a worthy welcome and wasted no time in tearing the crowd a new one. I’ve never been a big fan of Skindred, but after Download I would happily pay to see them live because they were fucking amazing! Bottles soared above a blanket of raised horns as Benji bopped about in a union jack-et and top hat, shredding

through tunage like Nobody, Pressure and a mix up of Tinie Tempah featSelector. It was impressive, but the best was yet to come – last song of the set, Warning, the crowd was ordered to remove a piece of clothing and at the count of 4 swing it around above their heads for something called the Newport Helicopter. Standing far back enough to see the entire crowd, it was one of the most incredible things I have ever seen – thousands of arms raised toward the heavens, rippling up and down along the walls of people from front to back in time with the music. There are moments in your life that make you so proud to be a part of rock n roll – and this was one of them beyond a doubt. I hate to break it to you, but if you weren’t there you MISSED OUT. HOLLYWOOD UNDEAD are one of those bands that I really cannot warm to, and I think it’s mainly because they can’t seem to figure out who they are. One minute they’re gangsta, the next they’re doing ballady pop crap, and the next they’re Linkin Park.

In my opinion life is too short to wait around for a band to make up their mind. Bland, boring, sloppy, and by the way: it was cool when Slipknot wore masks; when these guys do it it’s just lame.

If you ever run out of cotton buds just go and see SKUNK ANANSIE live – Skin’s high pitched shrieks will be sure to

Sonic Shocks - July 2011 5

clean your ears out for you.

Skulking about the stage, bald, in a skin-tight catsuit with what looked like a winged creature wrapped around her neck it was hard not to admire her for her siren-like (if not scarily deafening) vocal abilities, and I will give her kudos for the

awesome crowd surfing she did.

But I couldn’t shake the feeling that it’s not the 90s anymore and this sort of music just doesn’t fit in next to the metal likes of Down and Sevendust. Skunk Anansie are great performers but it seemed a bit silly putting them on right before A7X, when most of the crowd were too young to remember them any way. It was moderately entertaining but at the end of the set everyone but the die hard fans looked thoroughly bored out of their minds.

AVENGED SEVENFOLD sure have a lot of fans – albeit little ones that are barely out of prams. But after seeing them live for the first time I can kind of see why. To start off with, they sounded so polished that they may as well have been playing their songs straight off their CD. Thousands of hungry people practically grabbing at their ankles sang along to opener Nightmare as the boys came out guns blazing. The expected duelling guitar routine of Synyster Gates and Zacky Vengeance was quite sexy live and the crowd lapped it up, fists punching the sky in unison. Piling on the scary breakdowns, growling drums and boisterous vocals, they tore through Welcome To The Family, Almost Easy and Bat County to the delight of the audience. And it seemed that even the sun came out to see these boys, as it ironically peeked through dense clouds during their touching tribute of Afterlife to “our brother upstairs”, The Rev. It was also

clear that the tit camera was on full alert, and through all the swaying arms and air full of chanting the band fired on, even managing to impress me. Just a little...

Who knew that TWISTED S IS TE R w e r e s u c h f u n n y fuckers? Despite the shameless DVD flogging and not being in full-on drag (as I had almost prayed for) they completely blew me, and the rest of the crowd, away. Dee Snider was still lil goldilocks, writhing around on the stage floor with his curly instant-noodle hair flowing in the wind as he banged his head in time to the classic tunes, such as You Can’t Stop Rock And Roll, Burn In Hell and the ever brilliant We’re Not Gonna Take It. Despite a lot of people staying to watch the A7x boys, TS still had an amazing turn-out with 90% of the crowd knowing and singing the words at the top of their old school lungs. Rocking out their “dinner theatre” as Dee described it, he encouraged every last row of fans to get involved when he changed the classic I Wanna Rock into an updated “I Wanna Fuck” and bet that we could all sing louder than Avenged’s fans – and he was right! After being told to wrap it up – which he retorted by grabbing his crotch and telling them to “wrap this shit up mother fucker” – he successfully initiated the loudest chants of I Wanna Fuck that this world has ever heard. I’d like to think that

within a 15 mile radius of the arena, telephone wires went dead, packs of dogs went mental and birds’ feathers got singed so badly that they fell out of trees – it was truly, truly immense and I was so grateful to be a part of it.

People soon began moving while waiting forALICE COOPER –oldies filtered in and newbies filtered out to go and relentlessly wait for SOAD. As the creepy looking Alice banner slowly rose, a double rainbow littered the sky in time for the special occasion – raising people’s high hopes for the set. As the banner fell to the openingThe B l a c k Widow Mr Nice Guy himself was stood atop a staircase with a ropey looking spider arm costume that was more odd than fascinating.

The crowd went wild, knowing the spiky leather jacket and stick had not gone into retirement just yet, and that apparently he doesn’t seem to age at all. Riffling through fiery songs like Brutal Planet, Hey Stoopid and No More Mr Nice Guy, the band cranked the stage show into overdrive,

but it still felt more cheesy than dramatic. I didn’t stick around for too long – partly because I was getting crushed, and partly as it unfortunately wasn’t living up to my grand expectations – but from what I did see he put on a good show, and there is still a hell of a kick left in those ageing bones.

SYSTEM OF A DOWN were the final act of the night, and they sure as hell brought half the arena with them. There was hardly a cloud in the orange sky as thousands waded through the arena, in an almost pilgrimage

fashion, to recapture a small portion of their youth. Restlessly they waited (sort of) patiently as there was about a 20 minute delay while the band probably sat about counting their wads of cash and the roadies fucked about with a failing curtain.

But when the first few chords of Prison Song blasted out slowly and flashing lights spotted the stage, everyone knew it was time for some downright craziness. As the glaringly brash metal carried on, with blasters like Deer Dance, Aerials, BYOBand Chop Suey, Serj pranced about the floor howling the lyrics like a man possessed along with the audience while madness descended in the form of a series of mosh pits.

So much so that as I waded through the back of the audience I managed to walk in on about 4 pits, and nearly died in all of them. Funnily enough, 17 year old moshers don’t find it amusing when someone making notes accidentally walks in between them... Even though I was multitasking and dancing like an idiot to Radio/Video at the same time! It was a good enough set, but there was somewhat of a distance between the band members, and I don’t mean

physically. I’m not sure what went down before the show but they didn’t seem very connected and it really showed in their performance. Despite this, I heard the songs I wanted to hear, I jumped so hard my feet nearly broke and for a split second I really, truly felt like I was 13 all over again. But I’m not sure if that’s a good thing!

Sunday - Sun day my arse.

More like the day to end all days... It would appear that the heavens above opened and unleashed enough fury and violent downpour that day to

make us all look like scraggly, drowned animals. So much so that it was bordering on fire and brimstone. Even the queues for the loos were pretty much dead. Some scampered off like little bitches at 11 o’clock and others braved the thunderously savage elements, charging forward through the floods like intrepid warriors in an unending struggle against the force of mother nature’s army. Okay, well it wasn’t that dramatic, but here’s how I saw it: MADINA LAKE were the first band of the last day for me, and despite a decent display of energy, they play a brand of pop punk nonsense that I just don’t get. This sort of music is so not for me and most of the crowd looked like they agreed – though, be cynical if you must and blame it on the weather.

The only song that I recognised was Here I Stand, and that was only down to Kerrang’s rinsedto-fuck songs that got played over and over for about a month and had people clawing for their remote. Saying this I do admire them for their enthusiasm so early in the morning and their determination to win over the crowd. They put in a hell of an

6 Sonic Shocks - July 2011

effort, looked great on stage together and even managed to make a teen girl cry (which got shown on the big screen unfortunately for her) when they made an emotional speech about the UK supporting their bassist. Not my cup of tea, but not a bad start to the day.

The clouds lifted a little

in time for BOWLING FOR SOUP mainly because, as singer Jaret Reddick explained, they’re “god’s favourite band”.

And if that’s the case, God has a fucking good sense of humour.

Coming on stage to two huge inflated sheep, the jokey fourway tag team flew through hits like 1985, Bitch Song and Punk Rock 101 (including a series of guitar flips and pick tricks) but something seemed a bit off. It wasn’t until Jared announced that he was “as hungover as a hockey team” that it made sense. But as the set went on and they warmed up it got better and better, and even entertained the crowd with hilariously massacring one of the sheep with a giant penis, to the tune of Another One Bites The Dust.

Possibly the funniest band I’ve ever seen live, they couldn’t stop the gags, pausing in the middle of songs to take photos on stage, singing a rendition of Boys II Men acapella, and reading a birthday card on stage that a fan passed over the barriers. It was a joy to watch a band that set a trend copied by bands like Schism, and I will definitely be going back for more next time they’re over here.

If you like the PRETTY RECKLESS: look away now.

Download fucked up royally with this one. Putting a hopeless 17 year old on stage with zero confidence and less than zero stage presence was one thing, but then having to watch her sway along to recycled riffs and stale

melodies purely because she has a pretty face was another.

It wouldn’t have been so bad in the Pepsi tent or even a fucking cardboard box, but seriously?

On the main stage??? Despite having a pretty decent singing voice Taylor Momsen had about as much energy as a dried up corpse, and unfortunately had to resort to cheap tactics of flashing

her miniature boobs at the lessthan-impressed metal crowd.

These rock pre-teen wet dream wannabes were so not ready for such a huge audience, which I can understand – but regardless of that Taylor has to learn to suck it up, deal with the heckling and at least try and pull some shapes on stage. And if she can’t do that then she’s in the wrong business. Please go back to the US now and leave metal alone.

Pretty, yes. Reckless, no.

I had no idea how T-34 even made it on to the Download bill until I noticed their drummer, who just so happens to be Al Murray.

Yes yes, we all know you’re a (crap) comedian, but it does not automatically grant you the ability to play drums very well in a rock band, or to impose Happy Hour on everyone who comes within 5 feet of you. I suppose the phrase of ‘it’s not what you know, it’s who you know’ is truer than I thought... Even before I noticed the baldy pub landlord on drums I was far from impressed with this oldrockers bunch.

They started off well, winning the crowd over with their ballsy onstage camaraderie and their interesting male lead singer who

strode to the front in a giant, YMCA-style feathered chief headdress. But once the songs kicked in, starting off with a cover of Iggy’s I Wanna Be Your Dog they quickly began losing support from their bored-out-ofour-minds crowd. As everyone soon became aware that the entire set was made up of old school covers like 20th Century Boyand Whole Lotta Love, it dawned on me that there was really no point for the male lead singer, as the cutesy female singer completely overshadowed his flaccid voice with her high notes and pitch perfection.

Unfortunately for her this was probably already spotted by the band, and, realising she could easily upstage all of them, she barely got to sing anything. It started off with about 80% of the Pepsi tent filled with people simply trying to stay out of the rain, but nearing the end of their set T-34 had somehow managed to scare about 40% of them back out into the downpour.

BUCKCHERRY seriously came to play on Sunday, regardless of how lifeless the crowd were.

As I inched my way across the swampy arena, dragging my fatigued wellies through the miles and miles of sloppy earth, I managed to catch about half of their set and it was like peering into another world.

Completely unaffected by the rain and horrifying temperature, they bounced around the stage with each band member really making use of the space they had. In full swing, they powered through the likes of Lit Up, Everything and the infamously awesome Crazy Bitch, along with Josh Todd nattering with the crowd in his husky american voice. Strolling around without a shirt on, it was nice to see his intricate tattoos woven into his stomach, but I couldn’t help but

want to get up there and throw a coat around his shoulders before he got hypothermia! Their set was inspiring in the conditions they had to put up with, and they showed no sign of letting up as they grooved through their sleaze-filled tunes. Great effort, great band, and I seriously commend them for their fearless attitude and ability to make me feel just a bit warmer for a little while.

BLACK VEIL BRIDES play some pretty fucking dire music.

Although I couldn’t quite tell which one of the chicks in the band was the prettiest. Shame their boobs are a bit of a let down...

I missed most of ROB ZOMBIE’s set, but from what I saw and heard from a few mates who stuck it out, he was pretty awesome. Opening with a huge black backdrop display screen that kept scrolling the word “ZOMBIE” like a massive macabre news feed, the riotous chants for the ghoulish guy himself were so loud that they were bordering on booming. After quite a wait he finally burst on stage through a giant, menacingly spidery robot that towered over him with Jesus Frankenstein to the delight of many that had braved nature’s demonstration of power all day. Spooky and morbid (just as expected) he took control of the audience, who were nearly rabid with enthusiasm, alongside a variety of props and flashing clips of old horror films as Piggy D, John 5 and the boys jammed at his side. While doing what looked like a disturbing

dance up against a multi-armed skeleton, Zombie rocked out the monster tunes like Living Dead Girl, More Human Than Human and Superbeast, with a look in his eye that was chilling.

It was the last band of the day for many – apart from the pussies that chickened out to go partake in PG-rated Linkin Park’s attempt at a show – so Zombie definitely brought it hard and pleased his fans, despite making us wait around for him to show for near on half an hour. He closed on Thunder Kiss ‘65 and did an all too expected encore of Dragula, and many went home (or back to be tucked into

their little tents) with a settled feeling inside them after seeing a show that was what I call a spectacular Grim-Reaper-A-GoGo. And yet after saying that, I unfortunately have to admit that all the dreads and corpse props in the world can’t help but escape the simple fact that White Zombie was still better...

Conclusions - Download Festival 2011 was pretty stellar. All in all, it was cheesy, tiring, fantastic, miserable, mindblowing, freezing, hysterical and down-right filthy. But my ethos is: what’s the bloody point in signing up for a kick ass festival unless you’re willing to get a bit fucked up? For everyone who didn’t show, because they had better things to do like being a cunt – sucks to be you. But for everyone who was there, getting sick off the stall food, losing sleep for the sake of rock n roll, drinking the booze tents dry and freezing their bollocks off, with horns raised to the sky for days on end and a smile on their face – I fucking salute you.

Sonic Shocks - July 2011 7

by Matt Dawson For a man born in Middlesex, England can be seen as a second home for Kirk Windstein, one of the legends when it comes to the ranks ofdoom/sludge metal as a vocalist, guitarist and bassist for two of the most seminal bands in Crowbar and Down.

2011 so far has been a busy year for Kirk with both bands - the former releasing Sever The Wicked Hand in February - touring with both projects and once again leading to an appearance at Download.

“This is my favourite festival by far, there’s a certain energy in the air and I run into friends I haven’t seen in a long time so it’s cool.

by Cristina Massei In the over forty years of their legendary career, Cheap Trick have played a hell of a lot of festivals, but Download 2011 is their very first Donington experience. ‘They never invited us, we’ve been waiting 50 years’ – explains Tom Petersson, jokingly – ‘and if they don’t like us tonight we’ll have to wait another 50 before they invite us back!’. But how could ANYONE not like Cheap Trick?

The atmosphere’s hectic but kind of relaxed at the same time.” he recounts 2006 as being his personal favourite.

Kirk also believes that Down’s strength is at festivals themselves, particularly with Phil Anselmo as the frontman, but mostly due to his belief that Down “bring something a little bit different to the table along with laughing and having fun as it’s supposed to be while people are drinking and having a good time.”

When it comes to the records that have been his favourites throughout 2011 Kirk cites Saxon and Accept as the two that have stood out and his love of the old school rock continues by picking

Often referred to by the Japanese press as ‘the American Beatles’ –Rick Nielsen wears today coordinated Beatles shirt and shoes – these rockers from Illinois managed to appeal to a public made of young and old, bikers and bankers, musicians and housewives and they lasted over time, fashion, labels and the lack of them, playing to sold out crowds worldwide and recording 17 studio albums and some impressive live ones as well. So, for the

Thin Lizzy and Motorhead.

For the rest of 2011 Kirk is keeping productive ‘but not

uneducated, what’s the best album to start from if you don’t know Cheap Trick? ‘Just get them all, why buy one?

Start from ‘the latest’ and then go backwards. Or start from the Budokan record, then you can go back and forward.

Or from the first one and you can only go forward. There’s no wrong way to go really’.

And they’re right, it would indeed be impossible picking ONE record from their catalogue. The aforementioned

to burn out, at this stage we know how to pace ourselves after touring three years

straight’ with plans to record and tour with both Crowbar and Down in South America.

‘Live at Budokan’, however, may give you a taste of what Cheap Trick are live as well, and let’s not forget it won them a Classic Rock Award last year. ‘That was good fun, it really was nice. We get accolades and people talking about us, but we didn’t get many awards’.

I’m kidding! He frowned once! Hey Phil, good to see you!’; they’re also looking forward to see ‘the only good Armenian band they know’ - System of a Down.

It’s bizarre in fact how Cheap Trick have always been regarded as a living legend of rock’n’roll but never saw that reflected formally or commercially.

How does that feel?

‘Being a living legend? Better than being a dead legend!’ – it’s sure they don’t lack a sense of humour.

Then somehow we get talking about the weather and even the Kinks: ‘Where are the Kinks when you need them?

I heard Ray Davies was yelling at everybody back here from afar, he’s mad at everybody here ‘cause he’s not here. Is it true? We love the Kinks, we toured with them in 1977 I think’… And as we start discussing a dream bill for next year’s Download, it’s time for Rick and Tom to get back to their dressing rooms and get ready to show the kids how it’s really done.

Asked if they’ve seen any interesting band at Download so far, the conversation verges on Phil Anselmo, here with his ‘other’ band Down: ‘I can’t believe what happy music it is. Was actually good to see him, I knew him from Pantera from years ago, and he still has a happy smile on his face 24/7… Oh,

So, what’s next for Cheap Trick? ‘We’ll play our show and if we don’t get booed off stage we’ll come out again for an encore’…

Ok, but anything further down the line? New music?

‘There will be, but not yet’.

And now ladies and gentlemen, boys and girls, please welcome to the stage the best fucking rock band you've ever seen…

8 Sonic Shocks - July 2011

by Matt Dawson As the final day of Download Festival came someone up above must have realised that GWAR were going to make their debut at Donington because the rain decided to flow and the mud began to take hold.

Following a set that involved ‘police’ being shot and photographers, as one described the experience later on that day, ‘getting GWARed’ with red goo an audience was granted with Beefcake The Mighty.

Beefcake has been described as ‘the perfect rock star’ and given his love for the more classic rock and metal this seems to be the perfect description.

“I’m not a fan of any band that’s less than twenty years old, bands like Destruction and Angel Witch are what I

listen to, none of that you hear nowadays.” Beefcake then proceeds to do an imitation of a certain vocal line from a song that encourages you to Get Down with the sickness as his prime example.

It also becomes very clear that as always GWAR believe that they are THE band of the weekend purely in the theatrical stakes, when asking Beefcake about Lady Gaga his thoughts of her face looking like a ‘horse’s vagina’ conjure up an amusing image, who knows when in time that will be the next thing Gaga will emerge from.

Despite GWAR going for 25 plus years this is their first time at Donington Park due to what Beefcake describes as the organisers “being scared we’re going to fuck shit up, which of course we did” but he also feels a sense of achievement that GWAR

of the nineties, Biohazard, returned in 2009 ready to unleash a new record in 2011 and - as part of the build up – the occasion called for a return to the venue where the band were stopped after two songs due to a stage invasion in 1994.

By Matt Dawson One of the hardcore bands

So the question was, would it happen again?

“A couple of people asked us if it was going to happen, we

both last year at Bloodstock and at Download finally got to do the festivals in the UK, more so due to GWAR starting one of their own back in the US called the GWARbeque which according to the band is done to help pay Oderus’ bills due to one narcotic habit of his.

So with that in mind what would Beefcake put in his ideal festival concoction? “ Mud, Jager maybe a tampon or two!” as it also fits with what could be described as the perfect companion

to the weather condition that the Sunday brought, hell during the course of interviewing Beefcake the tradition of GWAR drinking Jager was passed down to this humble interviewer.

For those that missed GWAR this time fear not as there are possible plans for a tour in January 2011 where if the British weather is anything to go by it’ll probably end up snowing just as GWAR land.

don’t control what happens.” states Bobby Hambel. “the energy we give ends up bouncing off the crowd.” For those curious no stage invasion took place this time around.

band as he sees it “as a great change for the better for us and in some ways it brought us back to that point in 1994 when we were making State Of The World Address.”

cord of Biohazard’s career”.

The more immediate matter is that Biohazard’s new album, as yet still to be titled, is due in September; the recording process - according to Billy Graziadei - was helped by having Bobby back in the

Just prior to the Download performance news had broken through that Evan Seinfeld had again decided to leave Biohazard. but Billy feels that despite this the new record is “the re-

Like many times before both Bobby and Billy state that Biohazard are “survivors, and as they say when you go through hell you keep going, there’s nothing that can fucking stop us from putting the new record out there.”

Biohazard’s new album is out in September through Nuclear Blast.

Sonic Shocks - July 2011 9

by Matt Dawson

Malefice have become one of the rising bands in the

UK metal scene over the past few years, and with a following that led to them taking the second stage at Downl o a d this year it isn’t hard to see why.

As their new alb u m ‘Awaken The Tides’ is due for release on July 15th, Ma-

Asking Alexandria also had the chance to work with Sebastian Bach at a recent awards show in the US, James’ recount of the ex Skid Row frontman is “a brilliant performer who we’ve kept up a good friendship with since.”

In one particular news story however for the band the reckless side caught up with lead singer Danny Worsnop, as a video uploaded to YouTube showed a performance where the vocalist was in such a state that the band asked the crowd whether Danny should get some help with his drinking addiction.

The crowd emphatically replied yes. Danny then posted on Facebook that he would

try and clean himself up.

So since then has Danny been able to do that the best he can?

“He’s doing OK, what he’s trying to do is not drink at all during the tour, in fact it opened up all our eyes as we were drinking way too much on that tour so we try and keep it calm, have a few drinks and wait

lefice took a gamble by playing all new material for their set, but as Ben Symons sees it on their part “There were no complaints to be made.”

With a recording process that according to Tom Hynes that ‘was a lot quicker than the last album’[2009’s Dawn Of Reprisal] due to the songs being in the band’s minds for quite a long time, Malefice expanded their sound by adding elements such as strings, giving it more of a symphonic feel due to the addition of new equipment Ben had obtained just before recording began.

This also bring a new element to the band when playing live with backing tracks but in Ben’s words ‘it’s easier

than hiring a synth player!’

One band Malefice believe are worth checking out when asking them about emerging talent is Xerath, no strangers to the boys after performing a Download warm up show in their hometown of Reading and described

by Ben and Tom as ‘having an album ridiculously heavy to the point that Ben couldn’t even pick it up’.

The future for Malefice looks bright with performances at 2000 Trees festival and more gigs to be announced for later in the year, and quite frankly it couldn’t happen to a more deserving band.

Awaken The Tides is out July 15th on Metal Blade Records

By Matt Dawson As the sun shone for the first day of this year’s Download one of the bands that people were talking about was Asking Alexandria.

Their chance to crack America through Sumerian records has been described as ‘an experience with the shows there and looking forward to cracking the UK some more’, but this summer Asking Alexandria are still going to keep busy on the other side of the pond by participating in the Warped tour.

James then reels off the other countries as “Australia before one more run in America” before 2011 is out, proving that the relentless part of their latest album title is accurate.

until after the show; I would say that my performance has definitely improved as well.”

Relentless but less reckless: the rest of 2011 brings bright things for Asking Alexandria.

10 Sonic Shocks - July 2011

by Matt Dawson Following an electrifying performance at Download Festival Black Stone Cherry have grown from a band that opened festivals like Graspop back in 2008 to performing on the same bill as Thin Lizzy.

As such the band bought a surprising cover with them to their set in the form of Adele’s Rolling In The Deep. Jon explains that the band felt it would be interesting as “most rock bands don’t have the balls to do that, at the same time we have a lot of respect for Adele, any woman that can smoke cigarettes and put on a show like she does along with staying in small venues and keeping ticket prices down which we also believe in.”

Jon also couldn’t “express how excited I am” to be back at Download festival after taking a break for nearly a year but “it’s hard to take time off when you’ve been touring for so long that you just want to get back on tour.”

Not that the band should worry however with ‘Between The Devil And The Deep Blue Sea’ going to the top of the UK rock chart and number 28 in the top 100 in the

By Matt Dawson Following an appearance in the tent in 2010 Download organisers wanted to bring back Duff McKagan’s Loaded to the hallowed ground that is Donington Park and for Duff this was appearance number five. It feels “like a second home” – says McKagan - ever since the day twenty-three years ago when Guns ‘N’ Roses took to the stage and even more so when Loaded played in 2010, an experience he describes as ‘killer and a kick-ass gig that I’ll always remember.’

During that time Loaded have had to make sure the records got a wider space of attention: their second album ‘Sick’ had received very small distribution anywhere despite being released on Century Media, leading to Armoury stepping in and recently bringing out ‘Sick’ in a special edition with live DVD just after the release of brand new album ‘The Taking’.

Déjà vu occurred however when in April - despite being on tour – Loaded’s latest offering also seemed hard to find.

As Duff puts it “It wasn’t anything I had experienced before, we were on tour and our record wasn’t available.”

When not touring, Duff likes to partake in the use of social media as a common user of Twitter and also a writer for his local paper Seattle Weekly and ESPN. com on being a sports fan, in particular how to follow your favourite baseball team (in Duff ’s case the Seattle Mariners) during the festival season.

Returning to Donington ,when asked for his favourite time there once again the

been received well by fans and critics especially” he says with a little chuckle in his voice while saying the latter positively.

US with one song title that intrigued a few people in ‘Blame It On The Boom Boom.’

Jon explains that the song title came about as a ‘collusion of thoughts following a cruise from the end of 2010 where a crew member disappeared and was found with no clue how he got there!”

Black Stone Cherry will be returning to the UK later this year in an arena tour with Alter Bridge, the third time they’ve done so following tours with Def Leppard and Nickleback. “It’s a little scary as I know a lot of our fans love Alter Bridge and their fans love us so I’m just hoping the arenas flow up!”

Between The Devil And The Deep Blue Sea is out now on Roadrunner Records.

Catch Black Stone Cherry on tour with Alter Bridge this November.

show with the tent is bought up; however Duff also recalls the Guns ‘N’ Roses show in 1988 as “ the end of my innocence” - referring to the death of two gentlemen during It’s So Easy - “It was all fun and games until that point when it suddenly came to a screeching halt. It wasn’t our fault but then you start thinking those thoughts of ‘If we weren’t on stage, maybe those guys would still be alive.’ If you were 22 like I was it starts to fuck with you a little bit.”

Another heated subject lately has been who will be the new singer of Velvet Revolver. Earlier this year, many thought the search had been made complete with Corey Taylor making allusions, but this was denied by Slash and others in the VR camp. At this moment in time it seems that search is continuing, but Duff makes clear that ‘if someone comes along, gives me a CD to check out and it’s mindblowing then that might change’ although due to his and Slash’s tours the duo aren’t actively looking.

Of course the final question becomes the inevitable one with Guns ‘n’ Roses…

While Steven Adler has hope that it could happen even going so far as to jokingly say he’d take Chip from Enuff ’z’nuff with him, Duff, just like the rest of us has two words: ‘No idea’.

by Matt Dawson Alter Bridge have become one of the rock bands to watch since their first album ‘Open Your Eyes’ was released in 2004 and since then have gained growing acclaim up until their latest record, titled AB III. On the day where rock legends Def Leppard headlined alongside The Darkness, Brian Marshall sees it as a good day to be at Donington.

“Playing on the same bill as Thin Lizzy and Def Leppard is enjoyable as well as playing alongside friends such as Black Stone Cherry.” States Brian.

Alter Bridge themselves have come across a lot of critical and fan acclaim for their record released last year: “It’s

by Matt Dawson And here’s a chat that had to be brought to you word by word... Enjoy!

Jess, you guys opened up the main stage at Download this year. How does it feel to be on such hallowed ground?

JM: It was good, the crowd got really into it right away which was nice.

How does it feel to be releasing a B-sides and rarities album after all this time?

JM; It’s been in the making for years and years so we’re happy it’s finally out.

Chad Ginsburg: It’s got some new tracks on it as well, all remastered stuff of shit we’ve never released, I’m happy to release it.

What bands are you looking forward to seeing this weekend?

Matt Janatis: Thin Lizzy Daron Miller: (screams) DEF LEPPARD!! But we’re gonna miss them JM; Pretty bummed about that.

Plans for CKY during the rest of 2011?

JM: More shows!

Any in the UK at all?

JM: Hopefully.

Winter however brings a new challenge in the UK for Alter Bridge with playing arenas with Black Stone Cherry to which Brian sees as a sign of the UK’s hospitality towards the band.

“We’ve been to the UK around six or seven times and every time I’ve seen the crowds take more effect, there’s more of a receptive vibe of ‘yeah cool!’ in the UK, whereas in the US it does take a few times for that to take hold.”

Brian chuckles as a comparison is made about mosh pits and crowd surfing and while most reports of Alter Bridge don’t necessarily feature them as gospel, he does believe that there is ‘slightly more of a movement amongst the crowd” throughout on songs such as Metalingus.

As winter comes in, however. the sign that Myles asks for on one of AB II’s tracks is clear: Alter Bridge’s time is now and arenas better prepare themselves.

CG: We love coming here, they love rock and roll far more than they do in the States where it’s full of country, rap, Katy Perry and Ke$ha. (puts on high pitched voice) I like boys! I like boys!

Do you think Lady Gaga’s metal at all?

JM: She looks like she has a python in her vagina!

MJ: Too much like Marilyn Manson.

Manson did a remix with her that he kept playing for 20 minutes when he was at Download last time.

CG: Really?

Yep, a remix of Lovegame that he played for 20 minutes on a loop.

Daron grabs the microphone.

DM: Oh God, fuck Marilyn Manson!

Conversation moves to Daron’s side project World Under Blood (accidentally referred as World Painted Blood!)

DM: Slayer ripped me off by calling their album World PAINTED blood because I called my band World UNDER Blood which is out July 28th.

Any plans to tour?

DM: I’d love to but I doubt there would be any money to do financially, you have to consider that. We’d love to play shows but there has to be like a profit or some kind of financial stability to do that tour.

Any words in closing?

MJ: Have fun seeing Def Leppard and the next three days.

JM: Get the B-sides album!

Sonic Shocks - July 2011 11

by Cristina Massei & Sophia Disgrace So, do blondes have more fun? This one certainly does: meet pink punk lady Kiria, making waves on the UK scene with debut album ‘Radio’ and some unforgettable live performances. Describing herself as ‘the lovechild of Marilyn Monroe and Ziggy Stardust’, Kiria is not afraid to flash her colourful pin-up image, confident it won’t overshadow her bubbly positively charged brand of rock’n’roll.

Our Sophia catches up with Kiria after her performance at the Pink Punk Teaparty to find out what’s been happening lately in her pink universe and what she’s got in store for us next.

The Pink Punk’s Teaparty I really enjoyed that gig, ALL of the acts on the bill were amazing. We opened with Polly Pocket, it was her first ever show and she went down a treat. She had no musicians available, so basically just sang with three microphones and a vocal mixer – it was superb and she’s certainly one to watch out for!

Next up was a fabulous acoustic set from the Soho Cobras, followed by Pussycat and the Johnson’s, who were out of this world, I specifically wanted them on the bill because I Love their front gal Puss, I think she’s extraordinary and her show didn’t disappoint! Our good/bad Alice performance from alternative Burlesque Starlet “Sophia Disgrace” was next, (as you know!), which cheered up the crowd and broke up the bill; it’s always great to have something different on a largely Music event. After myself came a crashing set from The Priscillas, who are a fantastic, thumping Girl Rock band, everyone was amazing and it made the show a pleasure to work on for Alison and I – as running around getting these things organised can be a real drag, but I’m already looking forward to the next one!

Shows coming up My next show will be at the St Moritz in Soho, for a night called “club for losers”.

Seeing as it’s in the sleazy heart of sinful old London town my band will all be dressed as Vicars and Tarts, and I hope my fans will be coming along to do the same as they usually make the effort to

get involved, which makes it all worthwhile for me!

Then in August I will be supporting fabulous German Glam Rocksters “The Pleasures”, who may well be giving me a run for my money on the make up front, so I better get practising…

In early September I will be putting on my own show again, hopefully with Alison from Bubblegum Slut Zine (if she has recovered from working so hard at the last one!), which I want to have a Back To School theme for…. It’s a good old classic smile raiser that no one can get out of making the effort for in the costume department.

New album and the future in general I’m currently working on two new projects, and I’m yet to decide which one will come out first. I get so excited I can’t keep an order to things very easily so I think I’ll try it all head on and see what happens! I always find the best things happen on the spur of the moment, so I’ll see how it goes. I’ve definitely grown in confidence since the first album, so this record will have more of a raw, energetic feel to it, definitely. I’m also feeling more confident at performing in styles I Love, I don’t feel confined to what I feel brave enough to sing or play, so that’s definitely having an effect on my new tunes.

The artwork is shaping up pretty well too, which just shows there really is no method to my madness, as I haven’t even recorded the Music for it yet and have that all mapped out…

Line up With regard to the line up of Kiria, I never say never! I think I finally have a good core to my current band, we have a lot of fun and work well together,

which matters and is not easy to find, but I’m always looking to keep things fresh and varied, so new people to work with are always welcome. I’ve

come along way in confidence since I wrote that record and would like to experiment on new ideas and with new musicians as much as humanly possible in future….

Surprises With regard to surprises, I am working on a little video project I am sure will inspire/amuse anyone who is interested, so keep an eye on my Facebook page or website for that late summer!Links here; www.facebook.com/kiriamusic www.kiria.co.uk

by John Cascio It was 2005 when Dani and Luana decided together to create ‘a vehicle to record and play live the rock noir songs that were pouring out of us’. And if you look up ‘Rock Noir’ on Wikipedia, you will find that ‘is a term used to identify a subgenre of rock characterized by dramatic performances of theatrically rendered lyrical storytelling. It was originated by Italian band Belladonna, whose debut album Metaphysical Attraction (2006) is the first full-length Rock noir album ever released’ Unsigned by choice and with a Grammy nomination on their curriculum, Belladonna have recently released their second album ‘And There Was Light’ and are touring the UK this month.

We suggest you catch them now before they take over the world; in the meanwhile, read what Dani had to say to Sonic Shocks...

What was the inspiration for your style?

Cliched as it sounds, whatever style we have is what me and Luana are, it comes out from within us and it's never a consequence of us wanting to make music that even remotely resembles someone else's music. It's a fire entirely of our own making.

"Metaphysical Attraction" was groundbreaking and the phrase "Rock Noir" was coined due to that, tell me how that made you feel?

Everytime anyone feels moved by our music it is a source of enormous joy for us.

You stayed unsigned, do you think that the simplicity in control of your own fate played into the music?

To us it has always been paramount to do whatever we felt like doing, and when you are signed to a label - however "indie" and pro-artist that label claims to be - it's just not possible. So we choose to stay in control of everything. It's a hell of a sacrifice, but the Music stays Pure, so it's totally worth it.

Belladonna was called by many an internet sensation, "Foreverland" was given a Grammy nomination for an unsigned, independent band. A major step for you all, how did that inspire you to push even further?

Our motivation in making Music is absolutely spiritual, so any kind of recognition is great, but it certainly doesn't make us strive any harder than we've always done. It would be impossible for me and Luana anyway: this band is our life, and we have always given to it everything in our powers, and we always will.

Recording with Sylvia Massy in California and also on the new album with Alex Elena seems to have made a huge impact, do you feel the same?

Everytime we work with people of that stature and talent is always not only a great joy but also a tremendous source of inspiration, and you cannot ever be the same afterwards.

"And there was light" shows off talent and soul... What do you think the difference is between this album and earlier works?

Thank you very much John! We are not very good at evaluating our own music actually, making it it's very much a spiritual and unconscious process so we cannot really properly speculate on it.

Do you have any upcoming gigs we should know about?

We'll do a short tour in the UK in early July, including a date in London on the 3rd. Then we'll do several open-air shows in Italy, and we're planning to tour the USA as soon as possible: we can't wait to be back in the States, we absolutely love it there.

What does the future hold for Belladonna?

Who knows? Hopefully it'll be full of light...

12 Sonic Shocks - July 2011

London: for years the heart and soul of the European – or shall I say the world – music scene. From the big venues to the underground charismatic shitholes, North to South, the UK capital was a swarming nest where you could find anything would musically rock your boat. It was the place to be, the place to see and be seen. Marquee, Astoria, Intrepid Fox, so many places where legends unfolded and stars were born.

Sadly, London is being stripped of its musical landmarks one by one, be it by some franchising or a new useless train station which will – maybe – be in use by the time we will all be able to fly.

Every month, Sonic Shocks is going to remember one of these much missed venues or bring up the case of the next theft about to shake our community. We’ll start from London, but surely there’s plenty more across the country – and the world – being taken over by yet another capitalist monster; let us know by emailing info@sonicshocks. com with SAVE MY VENUE in the subject line.

In the meanwhile, we’ll start with The Gaff, one of the most sudden and unexpected losses in recent London history…

by Cristina Massei Holloway Road was slowly

but surely taking top spot as the location of choice for London’s rock and punk types: the combination of giant rock pub The Big Red and more intimate, charismatic live venue The Gaff right opposite was all you needed for a perfect night out; bar prices were acceptable, they both had pool tables and some awesome people making it all happen.

But what was more important about the Gaff – and the biggest loss of all – was the way it would open its doors for any band to play a gig, indie labels to launch new records and generally help new music being heard.

One day, ugly rumours started circulating on Facebook about the Gaff being shut by the end of the same week to be replaced by another bloody useless Caffe Costa. Yes, in Holloway Road opposite The Big Red, who

wouldn’t want an overpriced cappuccino in a sterile environment after too much booze and rock’n’roll? Genius. By the end of the day the rumours were confirmed, and Londoners were left mourning and looking for a new place to play.

Weeks later, a flash mob descended on the corporate coffee shop in protest. The small crowd, guided by Gary Lammin – Bermondsey Joyriders frontman – took chairs and tables and started peacefully jamming on the premises like the horror transformation never happened. Others joined in, also paying musical tribute to Johnny Thunders on the 20th anniversary of his death. When the mob was finally removed, it moved to the Big Red in a round of applause.

We have some comments directly from Gary Lammin: : "I became involved with the flash-

mob gig at Costa, when I heard hushed talk of descending upon it one Saturday afternoon with a few other "Sonic Warriors". So, armed with acoustic guitars and songs of protest we decided to give it a crack. The Gaff was a venue that I’d played at and also

socialised at and I valued it as a neat place to go. The thing I can’t understand is that The Gaff was often quite well attended, so I can’t really see why it had to go. The afternoon was a great success but what an unexpected bonus to be cheered on by not

only the customers drinking coffee and eating cakes but also by the counter staff!

It was mental! Things only turned ugly when a chocolate chip cookie display unit was booted over, but what do you expect when there ain't no Wagon Wheels or Kit Kats on sale? They only had those poncy designer energy bars that seem to be made up of some sort of dusty particles of cardboard, so let’s face it they were asking for trouble in my book.

If you’re only going to one gig a week then that's not enough, we all owe it to each other as a gig going community to support each other and to pass the ball around. If you’re not doing that then don't start moaning when you suddenly realise that another gig has been turned into a coffee shop, or worse a venue for tribute bands… I've seen this before in the 1970s when gigs were then turned into bingo halls."

Thanks Gary, and please guys, support your local venues, bands and all those involved and trying to keep things going.

You never know when your favourite spot may become just a cherished memory.

Sonic Shocks - July 2011 13

DAY 1 My first festival as a certified, fully credentialed media person! What a way to start don’t ya think? Just a little glimpse of my first day out of the gates... Drive up to the backstage/artist entrance as instructed. Show my official “you get to cover Rocklahoma” email and drivers license and get waved through. Heart racing and I feel like shouting a big ole” HELL YEAH”, but I refrain and drive on. Park, walk 20 feet to the media tent and show email again. Get an envelope with my name on it with my badges and photo pass inside. Almost shout again. My first interview is in 15 minutes with an on fire, hard rock band straight out of Texas! I look up and here they come, all 5 of them. Immediately I calm down. Weird huh?

It’s like I was meant to be here.

Texas Hippie Coalition (left) – These hard hitting, self proclaimed outlaws from (guess

where?) Texas took the Hard Rock stage with the swagger of true rockstars. THC (coincidence?) is made up of lead singer, Big Daddy Ritch, lead

guitarist, Randy Cooper, Wes Wallace on guitar, John Exall on bass and Ryan “The Kid” Bennett on drums. They played songs from their CD, ‘Rollin’

anthem in the house! Great energy, great performance, actually it was reminiscent of early Crue. The highlight for me may have very well been Sal

ary performance. But I cannot leave out the guitar solo dual between Reb Beach and Doug Aldrich, and the drum solo that rivaled some of Neil Pearts performances.

Brian Tichy tears it up. After throwing his sticks into the crowd and continuing his solo with his hands… bloody amazing is about all I can say to that. www. w h ite s na ke. com DAY 2

with the crowd favorite being ‘Pissed Off and Mad About It’. These guys rock it in a true southern style… almost a cross between Pantera and ZZ Top. www.thcoutlaw.com My Darkest Days – I could sum this performance up in one word: Damn. But, I need to tell you how fantastic they were. They had the honor of being the first band of the festival to play the Main Stage. A great beginning to a great weekend. When they played ‘Move Your Body’, I’m pretty sure everyone was obeying.

The sound was amazing. Props to your sound guy because he had it right! ‘Porn Star Dancing’ was just that.

Scantily clad…. umm…. dancers came onstage and pretty much porn star danced all over one of the stage crew. Move over Motley Crue, there’s a new strip club

Coz Costas insane shredding.

The highlight for every male at Rocklahoma…. probably the porn star dancers. www. mydarkestdays.com Jonathan Tyler & the Northern Lights (right) – Loved this performance.

JT (Jonathan Tyler himself) whipped out a harmonica and tore it up!

This Texan band (well, most of them are from here) had the Hard Rock stage crowd fired up. With backup singer Emotion Brown on tambourine and JT’s harmonica it was a perfect combination of rock, blues, and soul. If you love The Black Crowes, you will dig these guys. www.jonathantylermusic.com Whitesnake (left) – Does David Coverdale even need a review? No, his name speaks for itself. I almost cried with joy when he took the stage. 60 years old and still rocking like he was when he was in his 30’s. This man is a legend and he gave a legend-

Pull up to the backstage/artist entrance, flash the badges and drive in like we belong. Oh wait, we do! Wave at Eddie Trunk while parking, he waves back like an old friend. I’m digging this life.

The Gracious Few – What happens when you combine members from two phenomenal bands? (Candlebox & Live) Yep. ‘The Gracious Few’. They were first in line to play Main Stage on Saturday. Guitars, vocals, drums, damn near perfection. www.thegraciousfew.com Pop Evil (right) – Well, what can

you say when you get to watch and listen from the STAGE. Yes, the stage. We befriended a recently engaged couple from 103.9 Rock Radio from Bryan, Texas and they were friends of the band so… of course we were friends of the band.

This was one of the top 3 performances of the festival. The crowd was eager, especially when front man Leigh Kakaty stood ON the crowd and sang an entire song. Putting all his trust in his fans he actually stood on the hands of the screaming crowd. Their sound was perfect. Everything about this performance was perfect. www.popevil.com Drowning Pool (left) – I’m telling y’all…. that music just pisses you off in a good way. Makes you want to hit something.

That’s good, head banging music. Any band that has maimed doll heads stabbed down the microphone stand is alright with me. I hate freaking dolls!

The sound was phenomenal.

I had an empty Bud Light can (imagine that) sitting on the ledge in front of the stage and the bass had that can dancing in circles to the beat. It was awesome! www.drowningpool. com.

Sebastian Bach (right) – I’ve wanted to see Sebastian for 20 years. He looked great! He sounded pretty good as long

14 Sonic Shocks - July 2011

sebastianbach.com.

Staind – Aaron Lewis’s voice was just beautiful. So clean and crisp. I like my music a little more raw but this performance was really nice. Nothing too exciting or rowdy about it though. A nice end to the night. www.staind.com DAY 3

as you were standing in the right place. I think the sound guy was passed out somewhere or something. Everyone was talking about how horrible the sound was. He put on an energetic show, played lots of Skid Row tunes which was a great but the sound sucked.

The best part of Sebastian Bach’s show was his 21 year old drummer, Nick Sterling. This guy has played with the following; Aerosmith,Kid Rock, Cheap Trick, Cinderella, Steve Vai, Joe Satriani, Eric Johnson, Gary Hoey, Peter Frampton, Gavin Degraw, Bachman–Turner Overdrive, Jackyl, Guns N' Roses and finally Sebastian.

Recorded his first CD at 10 years old! Check this dude out: www.nicksterling.com Oh yes, you can find Sebastian at www.

Blah, blah, flash badge, park next to one of Zakk Wylde's tour buses and get going. Ok, yes I actually did holler out a big ole “HELL YEAH” at that point.

I’ve earned it I think, all weekend of rubbing elbows with rock stars and not ONE incident.

Crooked X – Hailing from Coweta, Oklahoma this group of teens can rock! Someone told me that I just had to go see Crooked X… they were only like 12 years old when they started playing together and now they are a ripe old age of 17ish. So I did. Ran. Stepped in a hole and fell down, jumped up and looked around to make sure no one saw. They did. Thank you nameless man whose arm I grabbed to keep me from biting it all the way. The band? Pretty good. Not sure they were worth a bloody knee but… not bad boys, not bad at all. Give them

a listen. www.crookedx.com Papa Roach (left) – Good grief these dudes know how to rock!

They sounded fantastic. Clear, precise and just plain rocked.

I mean everyone loves Papa Roach right? www.paparoach. com Pretty Little Suicide – These guys played in the hottest (I mean HOTTEST, it had to be 100 plus degrees in there) stage on site. They were suffering from horrible allergies. They blew me away. These boys are good! I can’t wait to see them when they all are at 100% and feeling great. www.prettylittlesuicide.com Black Label Society (right) – Oh man. If any band ever deserved to be a 3 day headlining act (and they weren’t btw) it was BLS. Playing from the Hard Rock stage (because Zakk Wylde wanted to be closer to his fans) they blew the place apart.

As a matter of fact, Poison was playing over at the Main Stage and the crowd was standing in front of the Hard Rock stage chanting, “BLS, BLS, BLS”. It was crazy! One man was even waving his prosthetic leg in the air. (I know, right??)

I was front and center when Zakk came on stage. He came out with a full Indian chief headdress to the song Crazy Horse and ended the night (after making Motley Crue delay their show at the Main Stage)

with Stillborn. The crowd was insane. My favorite performance of the whole festival and I don’t regularly listen to them… at all. Now I will. www. blacklabelsociety.com Poison (left) – First of all, CC looks fantastic. Hell, they all looked fantastic. Bret sounded great even if his semi truck was advertising his new line at PetSmart. Hmmmm. Whatever, I love me some Poison and so did the crowd of almost 40,000 people! www. p ois onweb. com Motley Crue – To be honest I stuck around for about 2 or 3 of their songs.

They are the Crue, we all love them, but to be honest, Black Label Society should have headlined the festival. Wow, did I just write that? Me, who in the 80’s was going to marry Vince Neil someday and have bleached blonde babies with him?? Did I just choose Zakk Wylde over him and his Crue? YEP.

Top 3 performances in order – Black Label Society Whitesnake - Pop Evil I’m going back to Texas and popping me open an Alamo (ok, a Bud Light) in celebration of my first, official event.

Cheers.

Rock On, Denise Britt

Photos by Leah Britt Dobbs

Sonic Shocks - July 2011 15

16 Sonic Shocks - July 2011

by Matt Dawson & Cristina Massei Sonisphere = The Big Four.

We all know that by now.

Most of us also know that The Big Four = Metallica, Slayer, Megadeth and Anthrax.

These four metal giants will turn Knebworth into some massive, head banging moshpit on Friday night, and for many that night alone will be worth the price of the ticket and even a weekend supply of extortionately priced chips and beer.

We are here to remind you that there’s more to Sonisphere than The Big Four, so if you’re there for the main attraction don’t forget to check out the amazing amount of diverse and interesting music the festival has on display.

And if you’re not a fan of any The Big Four, happy days, as whatever rocks your boat this weekend is sure to keep you entertained. You wanna bet?

Here’s a pick from the extensive line up to help you choose what stage you’re gonna run to next. As for us, we’re looking forward to check out especially some of the bands not included in this list and tell you everything about them next month… And now let the Sonic-Sphere party begin!

BLACK DAHLIA MURDER: Get ready to hold on to

something unless you want to be caught into the circle pit because as our review of Ritual shows BDM are to be reckoned with.

MY PASSION: Hitchin’ electro rockers My Passion are playing home, expect them to give their very best. Recently scored a deal with Spinefarm UK and released new album ‘Inside This Machine’.

KILLING JOKE : This postpunk legendary outfit announced its reunion last year with the original line up after the death of Paul Raven, re-

of post-hardcore such as Refused, Fall Of Troy and At The Drive In with melody similar to Saturday main stage headliners Biffy Clyro this three piece from London will be right up your street.

PROTEST THE HERO: One of the best bands to come out of Canada in recent years and approved by Devin Townsend himself. Get ready to be thrown in all manner of directions with songs such as Sextape, Blood Meat and Sequoia Throne.

WATAIN: The self proclaimed saviours of black metal with their recent album ‘Lawless Darkness’ the Swedish band will bring the grim reality of a bleak world to Sonisphere. A warning to

cording acclaimed comeback album ‘Absolute Dissent’.

Simply UNMISSABLE live.

DIAMOND HEAD: Picked

by Metallica themselves to open the Friday at Sonisphere due to their major influence - as heard on the infamous Am i Evil cover and Hetfield's emulation on demos before Kill 'Em All the NWOBHM veterans will be able to connect to a whole new generation along with bringing back memories for the old one.

ARCANE ROOTS: For those that enjoy a mixture

those near the front during the set… there will be blood.

ROLO TOMASSI: Headlining the Red Bull stage on friday, get ready for the primal screams of Eva mixed with the insanity of songs such as Party Wounds, Kasia and I Love Turbulence.

GOJIRA: Pure crushing death metal from France and with a new EP due later this year featuring appearances

from Frederik from Meshuggah and Devin Townsend expect them to be bringing brilliance for a while

ders KIGH are about to unleash a new album – In Gold Blood – supposed to take

PARADISE LOST: Sub headlining before the gothic legens The Sisters Of Mercy one of the three renowned

for bringing Doom metal back to the UK in the nineties Paradise Lost are ready to bring a Draconian time to Knebworth.

THE SISTERS OF MERCY: celebrating this year their 30th anniversary, punk goth legends The Sisters of Mercy are spending 2011 touring UK, Europe, Japan and more. No new music but we’re not complaining. If you haven’t seen them live yet, grab your chance now.

R I C H A R D CHEESE: If you want to hear Slipknot and other rock classics done as only the Las Vegas lounge crooner can get ready to unwind as he makes his UK festival debut.

GALLOWS: what to expect from them? Pure unadulterated chaos and with being on the second stage this year it's going to be a wild one that you should NEVER forget.

KIDS IN GLASS HOUSES: Welsh latest pop rock won-

them in a ‘radically different direction’, according to lead singer Aled. We’re hoping to hear a bit more than the lead single presented in May… SUM 41: Canadian pop punk veterans Sum 41 may be a surprise choice for Sonisphere, but Good Charlotte worked well last year and Bowling For Soup were one of the winners at Download, so why not. We like latest album ‘Screaming Bloody Murder’ and their live energy is contagious.

MARS VOLTA: The band that will be awe inspiring and head scratching in equal measure over the weekend as they bring their prog/jazz jam to Sonisphere (and their only UK appearance in 2011) Get ready to enter the mindfuck.

SYLOSIS: One of the rising

stars of UK metal, see them on their biggest stage yet as brilliant songs such as Sands Of Time and Empreyal open the main stage on Saturday ARCHITECTS: With a direction that has been debated for going 'too mainstream' in some circles but still keeping their fire this is a band to keep an eye out as they climb even higher to the the top.

BAD RELIGION: Veterans of the punk scene for 20 plus years, the band that gave us classics such as Los Angeles is burning, 21st Century Digital Boy and Leaders Not Followers get to show why they are one of the punk acts around.

WEEZER: in the past year they’ve put out a new album,

cally acclaimed Crack the Skye. Get ready for one of the few mind altering musical trips you shall hear all weekend.

the psychedelic to the Jager fuelled dreams of Kiss trying to kill them, a perfect Rock and Roll band to headline where else but the Jagermeister stage.

JETTBLACK: the up&coming arena rockers should be ready by now to give us a good taste of the new album. For what we’ve heard so far, brace yourself and don’t miss their set: live is where these boys give their best.

BILL BAILEY: One of THE comedians of the past decade through his use of surrealism combined with music whether it be drum and bass, Kraftwerk homage’s or joking that you wouldn’t say Slayer sounded tinny Bill Bailey is a perfect fit to be the only comedian in UK festival history to have a sub headline slot just before Slipknot hit the stage.

VOLBEAT: Combining rock and roll with influences of rockabilly and elvis., Volbeat are ready to bring their vision of heaven to Sonisphere, get ready to party!

a collection of unreleased material and reissued classic ‘Pinkerton’, expect to hear plenty of that. A nice break from the heavy stuff with one of the most interesting pop punk bands ever been around.

BIFFY CLYRO: Some say that putting Biffy Clyro as a headliner is a gamble but when a band can sell out Wembley Arena and vicariously through some ‘reality star’ get one of their songs as Christmas number one it’s time for the crowd to scream ‘MON THE BIFFY!’ as they get their chance to shine.

BLACK

SPIDERS:

From

This year Sonisphere is determined to make sure everyone has a good time.

never experienced Motorhead live you need to go watch them so you can tell your kids someday. And you can be sure you’ll always get ‘Ace of Spades’.

LIMP BIZKIT: Striking back with the Gold Cobra get ready to relive the 90's all over again as you find your baseball cap to turn round and dance like a lunatic forgetting about the world through Fred Durst, Wes Borland and a man that will be doing double duty no doubt in DJ Lethal.

SLIPKNOT: One of the most emotional performances you are likely to see given recent reports as the Knot pay tribute to their fallen brother Paul gray. Expect elation and

CANCER BATS: Every show they do involves manic engery particularly off Liam and as the metal that shows a mixture of southern metal mixed with hardcore hits Bohemia will be torn apart!

HOUSE OF PAIN: Get ready to recite Jump Around all over again as the rap-rock crew reunite for their first UK show in a number of years. See where bands like Limp Bizkit all began.

AIRBOURNE: All the way from Oz, these explosive headbangers bring some AC/DC type of energy to Sonisphere. If you like your rock’n’roll powerful and a bit old school, make sure you catch this lot.

COMEDY & SPOKEN WORD

MOTORHEAD: Doesn’t really matter how good or bad the show is going to be, Lemmy is a classic. If you’ve

THE DEFILED: Following a great set of dates with Murderdolls earlier this year they return to Sonisphere ready

to bring their raucous show back once again to Knebworth.

Sonic Shocks - July 2011 17

ARCH ENEMY: Ferocious vocals, powerful riffs from Michael Armott and a call to join the Khaos Legions is all you need to know to be encouraged to see Arch Enemy.

MASTODON: The southern rock/progressive masters return with possibly some new material following the criti-

tears as the festival comes to a triumphant close.

What do you think then?

Found something you fancy?

I had no doubt. The only thing you may not find at Sonisphere this year is the way back to your tent...

And it’s not just rock’n’roll....

We talked about Bill Bailey opening for Slipknot on main stage, but there’s plenty more in the comedy depatment.

Here’s Matt’s pick: STEVE-O (Comedy): You know him as a Wildboy and a Jackass but if you haven’t seen the Don’t try this at Home series be prepared as Steve-O does his first ever solo set in the UK. Not one for the faint of heart.

ANDREW O’NEILL (Comedy): A occult plasticising, heavy metal loving, cross dressing, steampunk band playing comedian that is sure to appeal to all walk of rock and metal life. Perfect for a laugh inbetween headbanging.

BRENDON BURNS (Comedy): A man that describes himself as ‘The Thinking Man’s Idiot’ Brendon will make you think more than laugh in a mixture of shock and relief as he tackles subjects such as his days in rehab, the time Dizzee Rascal was a pundit on Newsnight and how Australian life is.

Have fun, be safe, don’t forget the usual supply of toilet roll and wipes. All we need now is three days of bright sunshine! See you all at Knebworth x

18 Sonic Shocks - July 2011

Sonic Shocks - July 2011 19

Hey Rob, welcome back! Bril-

liant single, when have you been writing that?

It was an afterthought really. I had been writing some songs and putting them down on a very simple recording device and I thought I had done all the work and we were ready for the studio, and then this idea came in and I just started sketching downstairs and was like ‘oh wow, that’s quite a strong riff and a strong vocal idea as well’, so I kind of carried on with that and the next thing we knew we had to make room for another track on the album.

The vocals remind me of Jaz Coleman, would you agree?

Yeah, I’ve always been influenced by Killing Joke since the beginning. I’m trying to branch out a bit more vocally and allow some different tones, some different vocal styles to come through from myself rather than just the familiar ‘grrrr’ growl.

What can we expect from the rest of the album?

Knights of the Black Sun is actually the last track on it and it’s a very good way to end the work we’ve done. The album itself is very much about engaging the listener in a piece of work, a piece of art rather than just purely from a musical perspective. There’s a lot going on, a lot of landscapes that we’re creating and we’re sewing together all the tracks so that you have a continued feeling going throughout. It’s very deep, not technical but very engaging.

It’s something you can sit down and listen to from end to end, and has some very startling landscapes in there.

You sound very enthusiastic!

And it’s been what, 23-24 years since your last release?

Yeah, you’re right, must be!

How does it feel being back after being away for so long?

It’s unusual to re-emerge in the digital age with new material, for instance tonight putting out the animation video and finding that there’s 150 hits, people are looking at it immediately; back in the day was more a case of waiting for somebody to swap a tape or something and maybe the word would start getting around. Things are a lot more immediate now. The way we approach music is the same as it ever was: very relaxed and allowing things to gravitate, allowing inspiration to come out when it’s here and recognize when it’s not. With this all pro-

ject we were worried, would we be able to write music again?

How was that music going to sound? Would it be Amebix?

And it ended up we didn’t have to consider any of those because we had no choice. When myself and Stig write music together it has that vibe anyway, and now Roy is a central part of this band, he has given it strength and structure and a lot more focus. It’s like having the ideal band that was always in our head and finally being able to realize it.

Roy has been handling the production of this album and the previous EP, talking of which, did the re-recording of old songs inspire you to write new ones?

The old songs were actually an afterthought. There was a project for a DVD about Amebix with a filmmaker. He thought we had an interesting story, asked if we wanted to tell it and send him pictures and material from back in the day. Really, the exercise was to look at this as a way to put into bed a long story, tell it to people how it was without half truths. The band was quite a mystery back in the day, people didn’t know much about it because it was very very unavailable so we kind of wanted to summarize what we had achieved in that time

and put an end to it, like ‘this was Amebix, goodnight folks!’.

Then something completely different happened. We had to finish off the DVD adding some tracks but we couldn’t use Spider because he had tinnitus. We started looking around. I had heard about Roy from someone on MySpace called Alicia, from the band 13; I had forgotten all about it, then when we were about to close the DVD I got on Skype and Alicia had been in touch, saying ‘I’ve got you Roy’s number , give him a ring’. I did, he was in LA and said he’d love

to do it; was a real surprise and it followed through from there.

We flew him in, he met Stig, we got to spend some time together, know each other, we became friends, was like finding a lost brother: the same sense of humour, into the same kind of things, a very healthy, very positive bond immediately, and when we went to actually record the music together it all clicked.

Did having one of you in the production chair make things easier?

Totally! Roy is multi talented, he can handle all the aspects that we don’t understand. I can shout and play bass and Stig can play guitar, and that’s it, that’s the extent of our knowledge!

But Roy can pretty much handle all the technical angle of things. When we travel around together we can record songs because he understands every aspect, the engineering, the mixing, everything, so it’s great, very good person to work with.

So now that we have this ideal version of Amebix, are we going to see you on tour after the album is released?

Yeah, but there’s no rush.

Now that worries me, last time we had to wait 24 years…

(Laughs) Not like that! Ok… I think we should go in 2012.

What I mean by no rush is that normally a band makes a record, merchandise of the album and tours pretty much everywhere for months on end selling that, but we don’t really have to do that. We’d rather do what we’ve done so far, take 1012 shows, spread them over a month and do those, then come back and think ‘was that good, where can the band go, can we do something else’. I’d really like - rather than saturate the whole gig circuit with Amebix – to be selective, do a tour of Scandinavia for instance, see some more places in Europe. I’d like to go see people in Japan, Australia, maybe return to the States again, just a few gigs now and then. At the moment we’re still mixing the album and mastering, and that’s going to keep us busy until September.

When will it be released?

September 23rd.

What are your expectations for this album after all this time?

I’m surprised about how solid it is, and how good, how things turned out. I’m very very proud of it. I think I can speak for everyone when I say, doesn’t matter if 10 people buy it or 10,000, we’re very proud and I think it

vindicated the journey that we did back in the 70s and 80s, the times Amebix wasn’t recognized at all by anybody for what we were doing, and coming back now knowing that people have a reference point, that’s enough, you know?

You’ve seen a lot of changes in the alternative scene throughout your career, did you find any-

thing inspiring?

Well, for me my personal journey has actually taken me out of the sphere of music all together. I kind of turned my back on everything 21 years ago and disappear to a Scottish island, so I’ve been living a life which is so far removed from anything but what was involved with Amebix before, that I don’t really have the same points of reference.

Tell us about the animation video for the single.

We got together with a friend of ours, an animation artist, Andy Lefton, in Minneapolis; he plays with a band called War Plague. He’s always been a real supporter of Amebix and I kind of admired his work from afar. After we finished recording the album, we were not really thinking about doing the single but maybe approaching him and ask how he felt about putting together a short clip for us. He ended up getting really involved, working full on for months on this and making something which is really dramatic, as much as a representation of Amebix from the past and some of the iconic artwork that we were using. It’s a journey from the soul, very literal in some places and follows the lyrical line but also introduces some things that people will pick up on subconsciously.

In the era of the internet and social networking, what’s the best place to find out all things Amebix?

www.amebix.net is the primary source for material; we also have a MySpace page, I don’t know whether it’s fashionable anymore but that’s pretty good for showing videos and post updates from studio and tour.

We will be posting a new studio report online very soon to give you a bit more of an insight into what we are doing, hopefully with some more clips of the songs and stuff so you can have an idea of how it’s coming together.

Is this comeback just a one off, are you back to stay or is it just something you intend to do every 24 years?

I don’t know. Rather than a comeback I’d call it a reconsideration: it really meant we have to think about what we were doing. Because we made a statement that this would not happen and we had to go back on that completely. It was dreadful for me to say ‘well, I made a statement which I’m gonna reverse now and we will play again’, but the opportunity was there and the door was open and I think it has been a very good experience. Now, Amebix is not primarily a vehicle for playing endless tours and making endless albums or anything like that; what we are very aware of is that inspiration comes and goes and if you want to create something true in art you have to be aware of that.

The door may close tomorrow, the door may stay open, we have to follow that for as long as it goes. I’m not arrogant enough to say that Amebix is gonna be continuing, it may close down, things may happen. At the moment, we’re riding the wave that we’ve been given, and that’s all pointing to doing more stuff, I’m happy to say.

So enjoy it today, and enjoy it while it last?

Exactly! Because this is the lecture in all of our lives, isn’t it?

Exactly! (laughs) Anything else you would like to say before I let you go?

We hope that people enjoy what we’ve done, and we really appreciate when people actually ‘get it’ as well, because Amebix has a depth to it but some people manage to get their head into it and understand and I always like to see that, it’s very much appreciated that people spend some time thinking about our music.

by C. Massei & J. Morgan Photos Fin McAteer

20 Sonic Shocks - July 2011

by Sophia Disgrace

Doors 7pm, show starts at 8pm

Welcome to your one stop drop for all the news on the best burlesque nights, in the capital and beyond. I’m Sophia Disgrace, 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 often incorparate other elements such as fire play - into my routines.

This monthly night is at the heart of Birmingham’s vibrant burlesque scene. July show is going that extra mile with its promise of the most extreme, avantegarde performers gracing the stage. Famed fetish performer Marnie Scarlett heads up this month’s show, so expect thrills and spills aplenty!

Also on the bill are, amongst others, Kassandra Killjoy, Marie The Painted Lady and me - but shhh! Can’t tell you what my routines about - you'll have to get yourself a ticket and come see...

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

London as always 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...

Black Country Burlesque XTREME 2!

Friday 1st July 2011 @ The Valley Tanhouse Avenue, Barr, B43 5AB

Hard rockin' hell kitty needs greasy kats 'n' dolls, for rock 'n' roll band with a punk, rhythm & blues edge. Johnny Thunders, Gene Vincent & Lux all welcome - failing that a live double bassist will suffice. Attitude a must, London, hurry the fuck up... missylepink@gmail.com Music journalism and broadcasting graduate passionate about rock, metal, cult movies and TV seeking opportunities to make a career legionaod@gmail.com 07766292215

Geek Night Out - Robot Chicken Starwars Special Sunday 3rd July 2011 Downstairs at The Comedy Club SW1Y 4EE Starts 7pm Run by geeks for geeks, this event is celebrating the cult TV series Robot Chicken and the legendary Star Wars in style, by putting on a show that includes 'comedy, sketches and improvisation'. Heralded by The Guardian newspaper as an 'ostentatiously nerdy night club'. I'll be there performing my own 'lil homage to 'The dark side...'

LOOK GOOD ON YOU TUBE! A PICTURE PAINTS A THOUSAND WORDS ... or songs! Professional lighting cameraman with sophisticated editing suite - happy to help. Prices start from £300.

Ring David MacDonald on 07943 820799

Photography live and on location, specialized in live music, London based. Extensive library available, Contact me on cristinamassei@hotmail. com

This month I'll be performing a curious homage to Little Red Riding Hood - men behave and beware!

Miss Pandora – Pandora’s Box Saturday 30th July 2011 @ the Spyre, Bournemouth ,BH2 5PQ 8pm to 3am

Club Pedestal Friday 29th July 2011 @ Club Collseum SW8 5NQ 10pm to 5am This infamous fetish night is well established on the scene and focuses on Dominant Females and the worship of the latter. Promising a fully equipped dungeon, house slaves there to cater to your every whim, tantric massage, face and body painting (to name but a few of the – ahem - delights on offer) spanking and caning are combined with some downright amazing performances, all in keeping with the female tone of the night of course.

A free talent contest for 'burlesque artists, pole dancers, cabaret starlets and more'.

Come along and settle yourself in the sumptuous surroundings of The Spyre, a gothic-esque exchurch come club venue, and watch as a bevy of newcomers and more experienced performers battle it out for the hallowed prize of being crowned 'Miss Pandora'.

Miss Pandora will win a photoshoot, cash prize and the chance to perform at Bournemouth’s premiere alternative event Pandora’s Box later in the year.

The Tassel Club, London Ongoing Events This esteemed entertainment company holds regular nights around London and prides itself on the quality of its performers, who are available for

Special price laser on hair removal for Sonic Shocks readers at Accurate Lasers, right in the heart of London. Skin treatments also available.

Places still available on our next Crew Class. Book now and start working at festivals, gigs or theatre this summer with our world class training.

Email trainme@crewclass. co.uk now or find us on Facebook at www.facebook.com/ crewclass for more info.

What are you waiting for?

The Velvet Curtain Presents....

Spotlight!

London Fetish Fair Sunday 10th July 2011 @ Parker Macmillian,47 Chiswell Street, EC1Y 4SB 12 Midday to 6pm Fetish Market, 6 to 9pm Aftershow Party This monthly event has become something of a staple to the London fetish scene. A market by day, where any manner of latex garments or eyewatering sexual aides can be purchased at a bargainous price, come nightfall the entertainment is provided courtesy of a menagerie of handpicked performers.

This month sees Marnie Scarlett once again lead the way with her unique, cutting edge burlesque, which is as erotic and enticing as it is surreal.

on the way out for their journey back; record stores, stock some next to your CDs and vinyls. The opportunities are endless.

Get your legs ready for those festival shorts!

Check us out on Facebook at www.facebook.com/AccurateLasers or call us on 0207 078 9797 to book a free consultation.

bookings for corporate and private events.

Keeping one elegantly stockinged toe firmly in the world of traditional burlesque, The Tassel Club takes inspiration from the world of vaudeville, cabaret and side show.

Contact no -07981909177

SONIC SHOCKS WANTS YOU! Help distribute Sonic Shocks across the UK, take us to your next gig, club night, venue and all cash is yours!

Buy a 50 copies bundle instead of just one issue for only £5 + P&P, sell the paper and keep the change: that is about £45 in your pocket. Bands and labels, put Sonic Shocks on your merchandise stand; venues, sell it to your punters

Visit www.sonicshocks.com to get your copies of Sonic Shocks or email distribution@sonicshocks. com

For a free classified or featured ad in this section, please email classifieds@sonicshocks.com We also offer different advertising solutions tailored for every need and pocket.

Please email advertising@ sonicshocks.com for more info.

Sonic Shocks - July 2011 21

DECAPITATED Carnival Is Forever

by Cristina Massei

18 July - Nuclear Blast

by Matt Dawson

by Matt Dawoson The story behind Carnival Is Forever begins with tragedy back in 2007 as a tour bus collision with a truck led to the death of drummer Vitek and vocalist Covan being in a coma - for which at present time he is still recovering. For two years Decapitated as a band lay dormant until Wacław "Vogg" Kiełtyka revealed that Decapitated would be returning with live shows.

Credit has to be given towards Vogg for making this choice, his belief was that “he [Vitek] would have wanted me to continue with the band” and that “There's no sense in stopping this amazing thing we built up so many years ago together with Vitek, Sauron, Martin and Covan."

So with Rafał Piotrowski on vocals, Kerim "Krimh" Lechner on drums and Filip "Heinrich" Hałucha on bass Decapitated have returned with Carnival is Forever and in a year of releases that have already shown some power Decapitated have come to raise the bar even higher in triumph.

From opener ‘The Knife’ and ‘United’ the message becomes clear: Strap yourself in for one hell of a ride as we show how it is done.

Follow these two up with ‘Carnival Is Forever’ itself and you have a combo worthy of causing a crick in the neck from headbanging WAY too much..

The relentlessness is certified by the fact that the production is very raw, no drum triggers or double guitar tracks making the achievement of the ‘organic and natural sound’ Vogg was looking for possible.

As the reflective instrumental ‘Silence’ closes the album it gives the listener a chance to lie back as all that has come before it is finally allowed to sink in.

The conclusion is quite simple: throughout the obstacles Vogg and Decapitated as a whole have shown that anything is possible with Carnival Is Forever being a death metal record that most bands will try and imitate by this time come 2012.

LIMP BIZKIT Gold Cobra 27 June - Interscope Records

Eleven years has passed since the original lineup of Limp Bizkit were last together and within that time we’ve had Wes Borland leave, return, Limp make an album that flopped in The Unquestionable Truth Part One, take a hiatus and then return to summer festivals amongst a fanfare of fun (unless for a period of time you were Machine Head).

Of course Gold Cobra asks a few questions, firstly can the excitement from their festival appearances be captured on record and secondly is it still funny that Fred Durst acts 13 going on 40+?

After the usual intro that comes with Limp Bizkit albums we hit Bring It Back, combining a form of crunk and the rap-metal as Fred raps about what he does best - getting ready to party - and how they’re still raining blood in the club like Slayer in a line that will probably amuse and outrage in equal measure.

Some of the lyrics are ridiculous but it is Limp Bizkit after all, and Morbid Angel would cause revulsion with supposed lyrics that sound like a Bodycount record, at least a chuckle of remembrance is brought on by Fred going against the haters on songs like ‘Get A Life’ and ‘Douchebag’.

Granted, songs such as Autotunage could have been left on the cutting room floor; Fred can do moderate when he sings but rapping is his strongest asset and just adding an instrument that causes chills is just adding insult.

What makes Gold Cobra worthwhile is how Limp Bizkit are actually feeling cohesive as a unit again.

Free from thinking about side projects in Wes’ case, and free from demons in John Otto’s case, the band just feel like they’re having fun again and that’s what matters

THE BREAKERS Self Titled 11 July - Wicked Cool Records

Rock’n’Roll baby! You know it from the front cover and the name Steven Van Zandt: this is going to be one of those timeless albums chanting at Motown and the glorious Fifties, following the need for new classics Vintage Trouble are channelling so incredibly well. Huge cheers to Little Steven for signing these hot newcomers before they set up to conquer the world.

‘If You Please’ is one of the most soulful ballads of our days, followed by hip-swinging ‘New York City’ and preceded by the raw guitar/languid vocals fatal mixture of ‘Riot Act’ . Two more titles: ‘The Jerry Lee Symptoms’ and ‘Temptations’ – need I say more? Otis Redding meet The Stones, with the sexual innuendo of Marvin Gaye and the irresistible dancing oomph of Wilson Pickett. I rest my case.

I’m in love.

The Breakers are Danish, but don’t hold it against them, sometimes soul grows even under a very white skin. Just like Vintage Trouble, they’ll be supporting Bon Jovi at Hard Rock Calling, so if you fancy some time travelling this summer get your tickets now. Oh, and get this album on July 11.

begins with a drum ‘n’ bass version of the English national anthem before hitting with ‘Warning’, giving memories of the late nineties and early 2000’s scene including a cameo by Jacoby Shaddix which co-exists well with the Benji’s dominance.

As Union Black progresses, effects such as the filters on ‘Cut Dem’, the intro to ‘Living A Lie’ and the ska infusion on ‘Gun Talk’ and ‘Bad Man Ah Bad Man’ are unleashed due possibly to the help of James Loughrey.

With Union Black Skindred have created their biggest record yet, perfect anthems throughout and - given the fact they have toured with artists such as Zombie in 2011 alone - it is time for others to notice what we already knew: Skindred are one of THE bands of the past few years.

DEVIN TOWNSEND PROJECT Deconstruction/Ghost

madness - you need Deconstruction in your life.

As the Devin Townsend Project comes to a close, it seems that the man himself has finally found peace with everything, as while Deconstruction is the heaviest record we have seen off Devin in quite a while, the anger that was heard on records such as City is more restrained. Ghost itself becomes the calm after the storm has passed, a man at peace with the world and willing to share the beauty of it all.

There are whisperings that the next project codenamed Epicloud by Devin himself will be ‘Big, heavy, romantic kind of melodic stuff.

Pretty, ethereal and simple.’ For which we await with anticipation.

OF MICE & MEN The Flood 20 June - Rise Records

Out now - Inside Out Records

by Dan Balchin

Wow.

SKINDRED Union Black Out Now - BMG/7pm records

by Matt Dawson If there’s one thing about Skindred that has been THE talking point since their formation back in 1998 - following the end of Benji Webbe’s previous band Dub War it has been the live shows and the collective agreement that in the arena Skindred know how to make it count.

From a recording aspect, they had hits like Babylon, Pressure, Roots Rock Riot and Stand For Something to name a few, but the feeling that a piece of the puzzle hasn’t quite clicked always lingered in the back of the mind. Union Black is that piece.

We finally see Skindred prove themselves in both worlds; the hints of the diverse influences of jungle, dub, reggae and nu-metal become the forefront, as the album

by Matt Dawson There’s only one person in the world that could make a concept album about meeting the Devil and bring cheeseburgers into it while keeping the idea accessible.

If you haven’t already guessed, Devin Townsend brings us the third instalment of his project in Deconstruction, where the protagonist from the previous releases Ki and Addicted confront the demons that have plagued him bringing some friends along for the ride - Mikael Akerfeldt, Oderus Ungerus, Greg Puciato and more.

Usual elements can be seen from Devin’s previous work, such as the arpeggios on The Mighty Masturbator recalling Ki and the manic multitude of voices during Deconstruction recalling infinity’s Ants and Ziltoid, but they’re twisted to make Deconstruction the heaviest record in Devin’s career.

Greatly assisted by Dirk Verbueuren from Soilwork and Ryan Van Poederooyen on drums –depending on the madness of the song - this is one of the craziest records released this year and, aside from the track Pandemic seeming anticlimactic following the epic progressive inspired track The Mighty Masturbator, the combination of storytelling combined with the inner child makes for a record all followers of music should hear.

A record that balances genius and

Of Mice and Men are bringing something heavy to the table with ‘The Flood’. Of course, their instantly recognisable split vocal approach still presents itself as one of the finest examples in their post hardcore/ metalcore crossover and they tackle some masterful breakdowns and melodic licks with great prowess. This album also sees the return of founding member and lead vocalist Austin Carlile (formerly of the American metal core outfit Attack Attack!).

I first came across Of Mice and Men after hearing ‘Second & Sebring’ on MySpace. Interestingly their cover of Lady Gaga’s Poker Face outstrips the play count of Second & Sebring by almost 500,000 hits – go figure. Nevertheless, Of Mice and Men have been a continued draw for me and I dip into their music frequently.

This album induces numerous and instantaneous opportunities for a bit of head-banging (even from the armchair) and the guys have truly gone back to their hard n’ heavy roots. The production is well balanced and allows for each members contributions to be showcased at integral points; such as the rhythmic drive of guitars and bass, whilst drums pound relentlessly and growling vocals rumble through the mix.

‘Letlive' allows for the cleaner vocal to make more impact on the overall

22 Sonic Shocks - July 2011

sound, relying on Carlile’s screams during the mid section to reinstate some vigour and grit. With sharp time signatures and palm muted chops, the arrangement takes the listener on a journey through tempo’s and varying structures which are really commendable. This is without doubt, one of my favourite tracks on the album.

‘My Understandings’ is the closest you’ll find to a ballad, but it doesn’t suit Of Mice and Men as much as I had initially hoped. ‘Product of a murderer’ is a furious onslaught of power and would reliably whip up a circle pit in any live setting.

Some inspired double-foot work from Valentino Arteaga confirms that this band really is coming back with a vengeance. Other tracks of note include album opener ‘O.G. Loko’ and penultimate number ‘The Great Hendowski’.

Of Mice and Men have never sounded better.

MINDLESS SELF INDULGENCE Tighter 19 July - The End Records

by Matt Dawson Twelve years after the original release of ‘Tight’, the album finally gets a more widestream availability, rather than having people spend $300 on Ebay for a copy.

For a debut record it is the most basic MSI record and, while songs as Molly still manage to showcase the craziness that the band can bring, there is a sense that Tight has not aged well, and in all honesty there’s only so many times that you can hear a guy like Jimmy Urine talk about getting pussy.

The DVD does capture their early shows well enough and shows the slight change from subdued shows at places like Squeezebox in New York and the smallest show in Subculture back in 1997 to the more interactive shows such as an instore appearance on - when else the 20th April.

One for the hardcore MSI fans, even if then they will have already paid the $300 for ‘Tight’.

THE ANSWER 412 Days of Rock’n’Roll Out Now - Spinefarm Records

by Cristina Massei The Answer? It’s been a while, just remind me a bit about yourselves…

Or better even, show me.

New DVD/CD luxury package ‘412 days of rock’n’roll’, released on Spinefarm Records, is a thorough profile of the Irish rockers who had the honour to support AC/DC around the world, preparing old and new fans for their upcoming appearance at Sonisphere and a new album – produced by Chris ‘Frenchie’ Smith and mixed

by Chris Sheldon – planned for an Autumn release.

With the CD being pretty much a greatest hits (with two added live tracks on I-Tunes), the DVD is the main focus of this offering and it’s made of three ‘chapters’: The Film, documenting the 412 days on the road with AC/DC; The Live Set, a collage of carefully chosen live performances on that tour and The Promos, a collection of all of their promo videos including recent Rose Tattoo cover ‘Rock’n’Roll Outlaw’- with Angry Anderson’s blessings.

In one product you get to remember, or indeed discover, all three sides of The Answer: their joyous personality, their mind blowing live performances and their more polished on-record sound. If you had to find a common denominator to all of them, one word to describe them all, it could only be ENERGY. Be it a video, a gig or one of their CDs blasting out of your speakers, you won’t be able to resist their raucous, uplifting sound, so get yourself this ‘412 days of rock’n’roll’ package and get ready to sing at the top of your lungs and headbanging until your neck comes off at Sonisphere, while waiting for the leaves to fall.

Welcome back to The Answer, looking forward to Autumn and the next 412 days of rock’n’roll.

THE BLACK DAHLIA MURDER Ritual Out now - Metal Blade records

By Matt Dawson Some believe Black Dahlia Murder are not as the kids say ‘da metulz’ due to them looking a little bit different than most - e.g. having short hair - which in all honesty is a bit ridiculous.

Consider that BDM have put out a new record every two years since 2003 and it becomes clear that a strong sense of work ethic cannot be denied; with ‘Ritual’ they have made their strongest record to date.

‘Moonlight Equilibrium’ and ‘Conspiring With The Dammed’ are close to being what we expect

from the band, with Trevor Strnad’s voice being at the forefront, but there comes the addition of strings on songs such as the opener ‘A Shrine To Madness’ which, at first, may cause some concern; but - rest assured - it adds more enhancement to the experience.

As the album closes with Blood In The Ink, a return is brought to the live string section and, while not as intense as other bands like Septicflesh, it gives a very good indication for future work which should shake off the generic deathcore tag.

The main change is that The Black Dahlia Murder are now focusing on songs allowing for the guitar work of Ryan Knight and the technical drumming of Shannon Lucas, bringing to mind Heartwork era Carcass to the point that Jeff Walker joined them for a cover of ‘This Mortal Coil’ recently.

If people still think Black Dahlia Murder are generic after hearing Ritual, the advice is to get their ears syringed because they aren’t listening hard enough at this refreshing slice of melodic death metal.

CAPTAIN DANGEROUS Forgive Us We’re British (single) 4 July - I’m Not From London Records

by Cristina Massei You may have stumbled across Captain Dangerous as a support act for Ash, Marina and The Diamonds, Dirty Pretty Things or the Holloways, to name a few; if you did, you’re probably already looking forward to their new single release and subsequent tour.

A much talked about rising star in the UK indie live scene, the brainchild of singer-guitarist Adam Clarkson joins forces with Nottingham’s I’m Not From London Records and is set to take over the world starting with excellent single ‘Forgive Us We’re British’; an original, uplifting, soul-nourishing tune, enriched by a variety of instruments embroidered together in a sublime motif which will leave you begging for more… and guess what? You have it. ‘Everything Beautiful Reminds Me of You’ – I believe CD fans are already familiar with it – is an addictive knockout punch of swinging harmonies, it’s like the Jam and the Libertines with Robert Smith from The Cure on lead vocals.

One issue only with this single: you’ll want the album, and you’ll want it fast. You can complain to www.imnotfromlondon.com, and while you’re at it, keep an eye on their gig calendar to soothe your soul at one of Captain Dangerous’s upcoming shows.

KEVIN RIDLEY Flying in the face of logic 4 July - Global Music

by Cristina Massei It took five years for Skyclad’s Kevin Ridley to ‘learn to fly and make his own rules’ or – in less poetic terms – write and record his first solo effort. In 14 atmospheric folk tracks, ‘Flying in the Face of Logic’ re-opens and further develops the native Northeast (England) theme previously explored in Skyclad’s classic ‘Semblance of Normality’.

The line up for this record is entirely made of original NorthEasterners: Andy May is the man behind the characteristic pipes, Folkworks’ Sophy Ball is the chosen fiddle player while bass duties are covered by Blitzkrieg’s Dave Anderson; to complete the picture – and most of all the sound – current members of Skyclad also give their contribution.

The outcome is an album which, as you may expect, is not for every palate, yet will stimulate everyone’s curiosity with its eclectic mix of genres and influences; after all, Ridley is also well known as a long time producer for the likes of Venom and Anathema – to name just a couple of the black metal and progressive bands his name is linked to.

As diverse, rich and ever surprising as ‘Flying in the Face of Logic’ may be, however, 14 folk oriented songs – 14 of whatever type of songs really – can be a bit too much; in making his own rules, it feels like Ridley ended up writing mostly for himself. Half way through the album the novelty wears out, and my attention is just momentarily grabbed again by the folk metal piece ‘They dance till tomorrow’, a bit like Maiden in a Northern pub jamming with the locals and their pipes after a few too many pints of real ale.

A good, interesting album to be taken in small doses, unless you really love your American Pie with a sprinkle of metal and an extra serving of pipes.

SUICIDE SILENCE The Black Crown 19 July 19th - Century Media

By Matt Dawson Suicide Silence gained a new mass of fans with their previous album ‘No Time To Bleed’ and now, two years later, it is a case of proving themselves even further with ‘The Black Crown’.

What is apparent from the start is that, while deathcore remains the main genre that Suicide Silence partake in, they’re doing their best to stand out a bit more rather than getting lost in the shuffle by going for the Slipknot influence on songs like You Only Live Once, Fuck Everything - bringing back memories of Surfacing - and getting Jon Davis and Frank Mullen to do worthwhile guest spots on two tracks.

Mitch Lucker’s voice continues to be strengthened as he builds up the bile, screaming with that extra bit of clarity in his lyrics which on this record are more personal than ever rather than the controversial nature of past albums.

The breakdowns that Suicide Silence have become known for through Chris Garza and Mark Heylmun still maintain their manic energy, particularly on ‘Smashed’ and ‘Witness The Addiction’, mixing the melody similar to KoRn for Jon Davis’ guest spot.

An album sure to cause circle pits when performed live, ‘The Black Crown’ cements Suicide Silence as leaders of a genre with a multitude of followers.

ROLO TOMASSI/ANTARES Split Out Now - Holy Roar Records

by Matthew Tilt You’re probably reading this review because Rolo Tomassi are involved because if you’re like me then you’ll have never heard of Antares before this moment, and there’s also the horrible possibility that you will ignore this split once I reveal that the reliably chaotic, and yet strangely conformist Tomassi offering Pillfox is on their recent discography Eternal Youth.

I plead that you don’t. Antares are frankly incredible, and while Rolo Tomassi deliver the goods on their breakdown infused track Antares steal the show with two insane tracks. Each track throws you around from one beat to another while the guitars fly up and down the frets at incomprehensible speeds all around frantic scream and that’s just the first track To Youth and Valour.

Zanussi Versus Ant ups the ante even more as it circles around you, somehow how creating melody within the frantic signature changes and vicious beats, cementing the fact that Antares are yet another un-ignorable prospect in the UK

scene. In fact by the time we spin back round to Rolo’s track it seems positively simple in comparison; standing as one of the Sheffield group’s more easily digestible tracks as it follows a more predictable, if no less brilliant, path then we may have expected.

THE ERGON CAROUSEL Dead Banks Out Now - Holy Roar Records

by John Morgan After an absence of some 24 years, CrustCore legends Amebix return to the fold with new album Sonic Mass released this September. As a taster, Friday sees the release of new single Knights of the Black Sun.

by Matthew Tilt The first time I heard The Ergon Carousel was at a grindcore all dayer in Birmingham last year and their chaotic set completely blew me away. You didn’t need to be told that 3 members of Narcosis graced the line up as the result so blindingly fast that it couldn’t have come from anywhere else and their self titled tape was quickly snatched up by the people in attendance.

Since then the Ergon camp has seemed quiet, apart from a sublime Kyuss cover on their split with Throats, so when this little ditty dropped through my letterbox I was filled with a fan boyish delight and devoured it quickly. Of course this been the phoenix that rose from Narcosis (not to mention members of Beecher and Carmen) quickly is the only way this album can be consumed, blasting out seventeen tracks in just over nineteen minutes each one guaranteed to take your breath with the speed and precision in which they are executed.

Only one track dares to venture to the three minute mark, the suitably crushing title track consisted of a surprisingly midpaced breakdown while vocalist Christopher gargles razor wire, while every other flies by at around the minute mark at a speed so intense that it should come with a warning to anyone attempting to headbang. Incredibly tight riffs swirl around an impossibly fast drum beat that threatens to derail and at times the production struggles to keep up and everything sounds a bit muddled, but at its worse the production never detracts from the experience. The experiment to create the fastest/ noisiest album possible; whether they have succeeded is up for debate; (although without the advancement of extra limbs it’s hard to find many contenders) what isn’t up for debate is the sheer quality of their debut full length.

AMEBIX Knights of the Black Sun (Single) 3 June - Easy Action / Amebix Records

Weighing in at just under six minutes, it showcases a new, modern Amebix sound, and this reviewer is very impressed with the results.

The discord riffs, heavy tribal drum beats and attitude remain, yet Amebix seem to have found a production that really showcases their talent; Rob's vocals have never sounded better, delivering the sort of menace that Jaz Coleman would kill for.

The whole thing has a very anthemic sound about it and should gain the band the credit and respect they deserve. The future is bright... The future is Amebix!

VINTAGE TROUBLE The Bomb Shelter Sessions Out Now - Vintage Trouble

by Cristina Massei Music fans live hoping there will be a Next Big Thing. Critics live in the hope of being the ones to discover The Next Big Thing. Musicians live in hope of being the Next Big Thing. Well, the wait is over: the Next Big Thing is finally here. Musicians, I can hear you asking, ‘What did it take then?’, I can hear some whispering ‘Surely they knew someone who knew someone’… Well, not really. All it took was GOOD SONGS. Actually, ‘brilliant songs’ is more appropriate. No need to invent a genre or a post-one, no need for gimmicks, flying monsters, politically incorrect costume choices. Just good old irresistible blues.

Please say welcome to Vintage Trouble, the band who in just a few months conquered rockers and pop fans, old and young, good and bad, headbangers and boldheads, men and women and pretty much every human being I know who had a

chance to listen to them, plus my dog. ‘The Bomb Shelter Sessions’ is not just an album: it’s a landmark, and hopefully the first sign of a long awaited return to REAL music. ‘Blues hand me down’ is quite simply an anthem, with the groove of James Brown and Marvin Gaye’s sexual innuendos, ‘Nobody Told Me’ will trigger emotions you didn’t know you were capable of; you’re going to shake it to ‘Still and always will’, sing along to ‘You better believe it’ and finally fall in love with ‘Nancy Lee’.

If like me you’ve been holding a grudge against God for not being born in the Fifties, justice has finally been done. Get the album, catch them live, join the ‘troublemakers’ army and spread the gospel’: Music is alive again.

TOPBUZZER Outside is a World 18 July - Back2Forward Records

By Cristina Massei TopBuzzer debut full length is not only ONE pleasant surprise: it’s more like a goodie bag with an excellent mix of tunes begging to differ from the rest and from each other. Well, most of them anyway, as some swerve occasionally towards typical Blink 182 pop punk; however the British humour of their lyrics still saves the day.

Check out Ramon-esque ‘Are You In?’ and ‘You’re So Good You’re Great’ with its Misfits’ 1950 vibe and Damned-style vocals; top kudos for the line ‘You’re a smooth operator, Sade’s got nothing on you’ on ‘When I Look at You’ but most of all for the hilarious ‘Pop Musik’, paying homage to everything pop from Electric Six to Ghostbusters and Huey Lewis.

Fresh, funny, catchy, never boring, definitely a pleasant listen we can only recommend. It will make you dance, sing and grin, and that’s a hell of an achievement for a first album.

Submit your material to info@sonicshocks.com or Sonic Shocks Ltd, 19 Jansons Road, N15 4JU If your music didn’t make it to this issue, check http:// www.sonicshocks.com/Music-Reviews.php for more reviews.

Sonic Shocks - July 2011 23

SONIC SHOCKS PREVIEW EVILE – FIVE SERPENT’S TEETH Out on Earache Records on 26th September 2011

by Matt Dawson As one of the leaders of the new thrash scene over the past few years Evile have made it to the point where they made their debut on the hallowed ground that is Donington but for Matt Drake “It just feels like any other time we enter a building, we still just feel ‘wow’ when walking in, even more when playing the same day as System Of A Down’.

With their third album ‘Five Serpent’s Teeth’ on the way the band once again teamed up with Russ Russell “more prepared” according to Matt, making it a lot more easier than ‘Infected Nations’ was and that can be seen in the fun particularly when watching one of the studio report videos, as a cover of Rebecca Black’s Friday made an appearance.

“Russ just showed us his autotune and I thought it would be a bit of a laugh” says Matt, he also jokingly states that a Girls Aloud cover may be done in a future report just for a laugh.

For Joel Graham this was his first album with Evile after the tragic death of Mike Alexander in

October 2009 but for Joel it wasn’t as difficult: “It just felt easy, we did all preparation before we went in and just hammered it out, we can’t wait to hear what people think of it.”

One major influence that may surprise some however is that for Matt and Joel their first band they grew to love was Queen; for Joel the seminal A Night At The Opera while for Matt it was the Greatest Flicks video set.

Matt and Joel also feel that their ideal festival would be Beatles and Abba possibly covering Carcass (Now there’s an image folks…); there’s definitely some fun to be had there.

As Evile progress from small pubs in Staffordshire to supporting Megadeth in 2008 to Five Serpent’s Teeth, it becomes clear that - by the end of 2011 if not already – they will be a name to reckon with.

24 Sonic Shocks - July 2011

HOLY ROAR RECORDS turns 5 Alex points out “If we have influenced anyone though, then that's great!”

by Matthew Tilt Five years ago Alex Fitzpatrick and Ellen Goodwin made the move down from Birmingham to London, leaving behind the webzine TheCommunion, through which they had put on shows and released a compilation along with two E.P.s, and started up Holy Roar Records. It’s a dream that might never have come true were it not for a loan from Ellen’s dad so as you can imagine neither really planned for the label to become as big as it has.

“I think we both wanted it to grow and develop in some sense, maybe not necessarily quite how it has because the UK independent music scene is a pretty difficult thing to pin down,” Ellen points out, “so I never think we sat down and went 'in 5 years we want to be doing XYZ'. It's all happened quite organically I think.”

While their first two releases were fairly obscure (the mental grindcore of Phoenix Bodies, which Alex mentions “ticked every single box for

me, but sold sod all”, and the doomy, post rock split between Kayo Dot and Bloody Panda about which Ellen says they will “[probably] never have the balls to do such an experimental release again”) their third release would become a massively sought after piece of spazzy, post hardcore in the shape of Rolo Tomassi’s E.P. From here Alex and Ellen went on to release various debuts from some of the most respected and acclaimed U.K. hardcore bands around including Gallows and The Ghost of a Thousand, while still releasing upcoming and underground bands, but both are modest about the label’s undeniable influence on U.K. hardcore scene. “I don't think it's necessarily that we are influential, more that we have a good balance between bands who have gone on to bigger things and others who haven't,” says Ellen, while

Hardly sitting back and riding on the wave of successful bands that have left their roster, Holy Roar are constantly searching out and releasing new bands introducing fans of the more established acts to the furious underground the U.K. is currently enjoying, which is something Alex shows incredible enthusiasm for: “People are going mental at Kerouac shows on the south coast…at Last Witness, Brutality Will Prevail and Hang The Bastard shows nationwide. All this without records in mainstream press, without managers, without booking agents. It’s sick… there's loads of others and

loads of other great bands too.”

It’s clearly important to both Alex and Ellen that they continue to support the people around them, working closely with lesser known labels to make it possible to release

some of their releases something which Alex points out came from several different reasons: “Sometimes we do it due to financial constraints, sometimes we do it because we aren't sure how much the band is going to…generally promote themselves, but mostly we do it so we get to work with other labels and people that we respect and enjoy the music of.”

Despite all their hard work they are far from immune from losses due to a drop in sales of vinyl and CD’s, but, in true underground style Alex and Ellen have moved quicker than the major labels and put the majority of their releases up for direct download from their site.

“The reason most of our releases are available as downloads is because some people like buying music this way. It also gives people the option of buying from us digital.

We see more of the money if someone buys direct rather than via iTunes!” Ellen also mentions the trouble with people not paying for the music: “It directly affects us but we do what we can to work around it, e.g. a more interesting product so you might be more inclined to buy it… [We] recognise there are a lot of people out there who won't pay for music but will want to buy a band's tshirt.”

This “interesting product” is in the shape of coloured vinyl, credit card shaped CD’s and limited releases, sometimes even tapes.

Both show a love of nostalgic formats, Alex points out that vinyl is “a more substantial product” while Ellen thinks tapes are “super nostalgic and look brilliant”. They also point out a rise in vinyl sales directly through their site means that they will no

doubt continue to do vinyl/ MP3 packages due to the “the amazing packaging/ sound from the record” and the ease of having MP3s.

Holy Roar is a labour of love with neither Alex nor Ellen willing to openly admit a favourite release of theirs, instead Alex says that the “most exciting thing for me is always the stuff we have coming up” although they both give nods to Brutality Will Prevail’s album Root of all Evil and the Throats mini album, of which Ellen raves “they were so close to being perfect and this was at their peak, absolutely untouchable.” It’s a label built around an enthusiasm for underground music, with a hard working ethic and the careful use of money by joining together with various labels and ensuring the highest quality of their products, while moving with the times to ensure a constant grow in sales.

Their most recent venture to capitalise on the growth of the U.K. hardcore scene has been to join forces with Big Scary Monsters and Blood & Biscuits to create Pink Mist.

It’s a collaboration which all members hope will increase distribution as well as pooling resources to bring ideas to the forefront. With future plans to include other labels in the collaboration meaning that new bands will get the best distribution on their releases possible as more labels with similar ideals come together.

As it stands Holy Roar is the strongest it’s ever been, and as the hardcore scene continues to produce magnificent bands like Maths, Pariso and Kerouac you can only imagine that Holy Roar will grow bigger and better, and if the past is anything to go by than they will be able to change according to what the market wants.

Sonic Shocks - July 2011 25

10 Best Holy Roar Releases Rolo Tomassi Untitled E.P.

Recently re-released to celebrate their newest E.P. Inflatable Worlds, this first release contains some of the most negative power violence the U.K. has to offer, surrounded by a thick mist of distortion and just when you think they can’t surprise you anymore they throw in a six minute noise track of nasty feedback.

Hang the Bastard Hellfire Reign

emo. Not the mid-noughties emo either, the more grounded, real emo/screamo from the early nineties. Melody swirls around the shouted vocals while the drums build slowly behind it all. Equal parts beautiful and ugly, but always emotive.

Never Again Year One

It may have been re-released twice more with two remixes tacked on the end, but the original debut from noisy hardcore crew Rolo Tomassi sees them at their spazziest, with disjointed time signatures created a battering ram of noise. They may have sounded better, but never this raw and dangerous.

Throats/Maths Split

The Ergon Carousel The Ergon Carousel

Featuring members of Narcosis and Beecher, and playing some of the fastest grindcore you’ve ever heard, The Ergon Carousel are an insane prospect. This E.P. flies by at the speed of light, with stupidly technical riffs and lightning fast drum beats.

Phoenix Bodies Raise the Bullshit Flag

Without a doubt two of the best bands on this impressive roster, and while both Maths and the now defunct Throats have released separate albums that are equally as good as this, having two bands that produce such passionate and volatile screamo on the same record gives it a much deserving place on the list.

Cthulhu Youth Cthulhu Youth

Taking the influence from Converge then pushing it over the age into full on grindcore ...Bullshit Flag batters the listener from the angry shouts at the start to the feedback fade out at the end. Holy Roar’s first release stands the test of time as a full on assault with You Fail Me breakdowns.

A crushing album filled with doomy hardcore that once and for all secured Hang the Bastard’s place at the top of the U.K. hardcore scene.

Hellfire Reign takes as much influence from Black Sabbath as it does Integrity ending with some of the most hateful music about.

Maths Descent

Originally released on Holy Roar as a CD, and now been re-released on vinyl in collaboration with Dog Knights Productions, this is some of the most emotive and passionate music available. Dissonant chords ring out through a wall of sound, while the dark/light approach takes you on a journey. The vinyl also comes with a bonus Deftones cover.

Touche Amore ...to the Beat of a Dead Horse

Incredibly raw, passionate

22 tracks of modern hardcore with furious beatdowns and two step passages that’s sure to send plenty of cannon fodder across the pits.

Brimming with real fury, and with enough variety so that not one of the many tracks on offer feels repeated. Think Terror with the speed and anger doubled.

Jackals Jackals

Co-released between four labels and featuring members from Dorian Gay and Maths, this is a short sharp blast of mid paced power violence with a hint of rock ‘n’ roll.

Two vocalists add some variety to the vocals. Listen out for one of the most impressive screams recorded on Free of Life.

26 Sonic Shocks - July 2011

LIVE! Hard Rock Calling

Hyde Park, London - 24/26 June 2011

by Cristina Massei Photos C. Massei & J. Morgan What a lovely Festival, with too many people glued to the TV screens cowardly watching those wrestling in the

mud at Glastonbury for a glimpse of tax dodging rockstars… Celebrating its 40th Anniversary, Hard Rock picks a family friendly bill that makes everyone happy right in the centre of good old London; a rock bill which, throughout pastel shades of indie, pop, blues and even jazz, delivers a weekend of fun to the multiaged, multicolour, multieverything crowd convened in Hyde Park.

Even the sun, after a lousy start on Friday, and a few sneak peeks early on Saturday, leaves its hiding cloud to enjoy the show; by mid afternoon, revellers lie sunbathing next to their wellies and white beer bellies are unleashed… But let’s go back to Friday night, with The Kills headlining Pepsi Max and the Killers headlining Main Stage – a Kill(er) Bill no doubt.

The Kills live are a pleasant surprise:

Alison’s voice, grit and personality are strong enough to shine even through her unpretentious all black outfit. I have to admit enjoying them despite my dislike of Jamie Hince. The Kaiser Chiefs are on before the headliners on main; the rain is getting heavier which surely doesn’t help, but I’m not too impressed. They predicted a riot, ended up with just an angry mob incapable to make a difference.

The more recent material is no way close to what I was hoping after their debut, and their energy live is not too compelling either. By the time The Killers take stage we’re wet and cold and the sky shows no mercy, but still tonight’s headliners manage to get the party started. People of all age finally let their drenched hair down dancing and singing to ‘Nobody Told Me’, and it’s finally Festival mood. The mud is there, the bars are nearly dry, the queues at the toilets are interminable. Let the fun begin.

Saturday starts with Vintage Trouble and you know it’s going to be a magic day. The grass is still wet but the sun slowly comes out and sur-

renders to Ty’s singing like a horny sailor to a siren. Usual reaction from the public and from the press – when they treat us to an acoustic set in the tent later – which can be summed in three letters: W-O-W. I’m still to find ONE person who didn’t fall IN LOVE at first sight with these guys. If there’s one, please contact me, this is getting kind of worrying.

Next on my schedule is Italian female – well, kind of – rocker Gianna Nannini, bringing to Hard Rock Calling a whole squad of Italians, and one

thing is clear: no public is capable of a warmer welcome. Gianna Is a major artist back in her country, already filling stadiums over 20 years ago, so hope whoever was there had a chance to catch her performance and steal a bit of her fire.

The sun is now SERIOUSLY out, the party is on, the agony of choice forcing us to a ‘tapas’ style Festival experience: running from one stage to the other we manage to catch a bit of Ray Davies on main, then to Bandstand for female garage rock Norwegian outfit The Launderettes and our new favourite band The Breakers – album out this month, and if you like Vintage Trouble and a bit of the old Faces you are going to love this – and finally, the breathtaking Imelda May. This Londoner never really cared about mainstream success, going down her route of rockabilly, blues and jazz, surely not the most popular choice. However, the recent revival trend and her unquestionable talent are projecting her higher and higher in the popularity ladder, and we can only be happy for her and for us after watching in awe some of her performance.

Time now to join the Bon Jovi gathering and, you like them or not, you have to respect these old rockers. You have to respect them for the crowd they still move after all these years; you have to respect them because their setlist is packed with songs even your dog knows and you only realize how many hits they have at their shows; you have to respect them for the length of their performance, always well past the two hours mark, a devote thanks to those who keep following them; and you have to respect them

because, I swear, on that stage they look younger and fitter than they did back in the Eighties. Good old Jon can still sing, run, sing and run at the same time and get the whole Hyde Park to sing along with him EVERY tune.

So, after such a lovely sunny day we are looking forward to some more on Sunday, with Adam Ant, Stevie Nicks

and Rod Stewart closing the party.

However, THREE Tube lines working out of THIRTEEN while London suffers its first heatwave make even Glastonbury more appealing. Packed carriages where you have to wrestle your way in between clammy skin and vile body odours are too much of an anticlimax and we give up on Rod Stewart. Sorry Rod, and Adam, and Stevie.

Thumbs up to Hard Rock and all those involved for a well organized Festival and a perfectly balanced choice of artists filling the bill. Thumbs down for London Transport, and in 2018 when – maybe – they’ll be done digging holes everywhere, I’d love to see a report on profits and losses for London businesses since it all began. And finally, a big thanks to the sun for getting the party truly rolling!

Sonic Shocks - July 2011 27

BACHELORETTE School of Art, Glasgow - 26th May 2011

Words and images by David Lees The Vic Bar, situated in the Glasgow School of Art, is a venerable part of Glasgow's music history, host to a multitude of gigs and club nights throughout the years. It's a dive in the best possible sense of the word and by this time next month it will be gone, redeveloped along with a large part of the School of Art itself. Whatever replaces it, it's almost certain it won't have the atmosphere that accrues in a venue with such a long history.

Annabel Alper's solo electronica project Bachelorette played one of the last gigs at the Vic on Thursday night. Unfortunately, atmosphere

DANANANANAYKROYD, Bronto Skylift, Young Legionnaire The Ivy, Glasgow - 3rd June 2011

was in short supply as, despite the decent-sized crowd, everyone decided to stay at the bar, leaving an empty dancefloor between artist and audience. Understandably it's hard for an audience to get worked up over a solo artist standing behind a bank of machinery (ironic, as Bachelorette's debut EP dealt with the theme of technology creating barriers between people), even with impressive light projections adding visual interest to the show.

However Alper's sweet, dreamy and often melancholic brand of electronica isn't the sort of music that requires an enthusiastic crowd to enjoy. With its themes of love and heartbreak, isolation and loneliness, it's arguably better contemplated along than enjoyed with friends. While far from the most exciting show the Vic has ever seen, Alper's does what she does beautifully and on the strength of this performance is still well worth seeing live.

a meal and pint. It didn't help that I didn't spot a stage on entering, then did spot a cluster of drums, amps and mic stands piled up in one corner of the bar. Once some tables were shifted around to create standing room, opener's Bronto Skylift took to the floor.

Words and images by David Lees The Ivy in Glasgow's west end doesn't feel much like a music venue, though it does seem a very nice place to have

FOREVER NEVER, Order Of Voices, According To Her The Boileroom, Guildford - 2nd June 2011

by Dan Balchin On 2nd June 2011, the Guildford Boileroom hosted one of the finest live music events of the year. Not only were one of my favourite bands Forever Never taking the stage, but with support from a little known group Order Of Voices, this was a gig I had been looking forward to for a very long time.

Having turned up at the venue a little early, the disappointing crowd turnout really did not do the venue or bands playing tonight justice. The first act, ‘According To Her’, a poprock 5-piece , provided a strong start to the evening, including a memorable cover of Black Eye Peas ‘Where is the love’ and showcased the talent of the guitarist's lead vocal. They were really up against it with the poor turnout this evening, yet they gave it their all.

Next up were Order Of Voices. I have been waiting for them to tour ever since hearing their album over a year ago. If you haven’t been exposed to Order of Voices before, then you should certainly check them out.

They took the stage with the intention of making an impact amongst the growing crowd and they did not disappoint, as they performed songs such as ‘Don’t Falter’ and ‘Reaching Down’. I continue to be blown away by their talent and musicianship. For all familiar with the work of Order Of Voices, you will understand what I mean when I say that Aynsley on drums was truly outstanding. I have always likened the guys to Tool and I cannot rave more highly about them.

Order Of Voices simply must be on your 2011 discovery list.

And finally, Forever Never: I never ever get tired of hearing their albums, nor can I find enough live videos online to whet my appetite when they are not out on the road and touring. They have just re-released special editions (with extra live tracks) of their first two records, which are a must for any fans teetering on the edge or new to the world of FN. Their‘I can’t believe it’s not metal’ EP never fails to bring a smile to the face of FN newcomers.

As lead singer Renny said last night, a smile is just as important as a punchup in the mosh Slayer style.

The set was nothing short of outstanding and they put the fans first every time, performing to the max despite the lowest numbers I’ve seen at the venue or an FN gig. But it made for a more intimate, memorable performance and whatever the rest of Guildford were doing last night, it would not have beaten the show at the Boileroom. Renny and co delivered the likes of ‘Eradicated’, ‘Never Enough’, ‘Broken Kingdom’ (showcasing the finest double foot work I’ve heard in a long time), ‘T.I.T.S’ and ‘Empty Promises’ and also nailed Shaggy’s ‘Boombastic’, albeit without Benji from Skindred. Crowd pleaser and latest single ‘You’re The Voice’ had the audience in high spirits and singing along with the infectious choral line.

It really was one of the best nights out I’ve had in a long time and full credit to all bands involved. The sound desk did a great job last night and it was the best I’ve heard at the Boileroom to date. Their layout has also improved.

Get some Order Of Voices and Forever Never in your life NOW!

It's a mystery how just two people can create such a deafening wave of noise but these guys have the kind of energy most bigger bands would kill for. With some tremendous technical drumming and the bizarre but entertaining decision to move their entire act, drums and all, to a a tabletop for a chunk of the set Bronto Skylift were a fantastic start to the evening.

Moving from a duo to a trio in Young Legionnaire and that corner is starting to feel really cramped. It doesn't help that sound issues resulted in the support having to clamber over piles of amps for much of their set but the band coped with the seat-of-yourpants conditions well and delivered a dynamic set of some of the more interesting post-hardcore I've heard recently.

If things felt cramped before then sticking six-piece Dananananaykroyd in that corner with a swollen crowd was just chaos. Any separation between band and audience quickly vanished as vocalists Calum Gunn and John Baillie Jnr leapt into the crowd to bounce, mosh, deliver hugs and climb onto tables.

Dananananaykroyd's shows are legendarily energetic and this one was no different, though the band had to call a halt to a pub-wide moshpit for safety reasons. Dananananaykroyd gigs are all about fun - this is a band that love playing their songs and love entertaining an audience with their self-styled "fight pop" sound.

If they can keep up the level of energy they showed tonight, long may they continue.

28 Sonic Shocks - July 2011

RUSH Frank Erwin Center, Austin, TX - 12th June 2011

GODFLESH, GOATSNAKE, D.R.I. HMV Forum, London - 16th June 2011

The last time I saw RUSH was 1984 in Odessa, Texas during their Grace Under Pressure tour. To be perfectly honest with you I don’t remember a whole lot of that performance. You have to keep in mind, this was the 80’s, I was a teenager, weed was cheap and the drinking age in Texas was 18. Fast forward (in the Time Machine no less) to 2011, Austin, Texas.

RUSH had no opening act.

They produced a video to accompany the show. No elaborate stage set up, no fancy costumes, not even a big RUSH sign hanging behind them. Just 3 musicians doing what they love. How do I know they love it? You can’t play like that and not love it. I kid you not. I got teary eyed when the first song (The Spirit of Radio) played. Teary. AT A ROCK CONCERT. Maybe it was because I could literally see the age on the three men before me and identified. Perhaps it was the memories of the past 27 years (and where in the hell those years had gone) that hit me. I just know that for 3 hours my heart, soul and ears were the happiest

time we get to set closer '5 year plan', everyone lucky enough to get in on time, we're reminded that D.R.I. are just as relevent as the"ve always been.

they have been in quite some time.

‘Limelight’, ‘Subdivisions’, ‘Tom Sawyer’, they played them all. Drum solo was perfection. Everything was perfection. I really can’t say this enough… If you have the chance to catch this tour, DO IT. Thank you Neil Peart, Geddy Lee and Alex Lifeson for the music.

Rock on, Denise Britt

EASY STAR ALL STARS The Relentless Garage, London - 16th June 2011

by Sophia Disgrace Easy Star All Stars are perhaps most loved for their dub interpretations of classic albums such as Radiohead's 'Ok Computer' and The Beatles 'Sgt Pepper's Lonely Hearts Club Band'.

My first, personal experience of Easy All Stars was when I came across their excellent reworking of Pink Floyd's momentous 'Dark Side of the Moon'. I actually - Shock! Horror! prefer their version to the original, and was looking forward to hearing this played live.

Easy Star All Stars are a rotating collective of artists originating from New York; they were founded in 2003 and have since amassed a steady, widespread fan base.

Tonight the venue was only half full, but the audience were in high spirits and city workers bopped along, shoulder to shoulder with cool skater kids -- a testament to the bands eclectic appeal. From the off, the 'Stars sounded great and created a wel-

come, laid back vibe, with infrequent banters and big, big beats.

Their set was so laid back in fact, that I found myself letting the music slip into the background, as my friend and I looked on in amusement at the drunken moves and grooves of the middle aged men around us. It was however impossible to be too cynical when the crowd were clearly having so much fun.

Playing selected tracks from their back catalogue, including my favourite 'Money' along with some of their original work (which I'm not so familiar with) the gig passed by with ease. So, I got to hear some of 'Dark (Dub) Side of the Moon' live and it may have been a cold, rainy night outside, but inside there was a distinctly exotic, free and easy feel.

A different sort of gig to my usual metal ones, but a good evening out none the less!

by John Morgan With the expense of festival season upon us, headline shows really need to have that certain something at the moment, and tonight's show had that little bit of magic that would have left even the most particular of gig goers happy.

First up we have a band that should need no introduction: D.R.I. were one of the pioneering bands during the punk/metal crossover period of the early eighties, a major influence on everyone from Green Day to every member of the so called 'big 4' thrash monsters at Sonisphere in a couple of weeks.

It's great to see these guys work with a large stage and a worthy sound system. They didn't disappoint in '87 when I last saw them, and they don't tonight, tossing out gem after hardcore gem including 'I'd rather be sleeping' and a thunderous version of 'violent pacification'. By the

Another hardcore band would have found this very hard to follow, but Goatsnake are no hardcore band. After an obligatory 4 count the opening riff of 'flower of disease' breathes life into all members of the crowd who have a love of all things heavy. Goatsnake are a loveable underdog of the stoner rock scene, and the world loves an underdog; by the time we get to 'easy greasy', it's clear that if you like your Sabbath riffs and blue cheer bass rumble, then these guys can mix it with the best of them.

A band that are far less predictable are Justin Broadrick's industrial monster known as Godflesh. Justin has forged a reputation as one of the most influential musicians on the industrial scene, and has been busy writing and recording with many of his numerous projects over recent years; however, tonight is all about Godflesh.

Returning to their original concept of bass, guitars and drum machine/ programming, the band delivers a set formed very much from early material, and the crowd laps it up. The sound allows the texture of the bands music to be fully embraced by all and reminds everyone just what an original concept this band are.

All the crowd left having been blown away by something tonight. Three totally different bands that can all demand an audience's attention. Top night.

Sonic Shocks - July 2011 29

BLACK SPIDERS The Hip Priests, The Honour Roll Stoke Sugarmill - 11th May 2011

JULY GIGS - OUR PICK BLACK BREATH

DEATH CAB FOR CUTIE

@ DIEBURG

July 2011

July 2011

8th – KNEBWORTH, Sonisphere 9th – PLYMOUTH, White Rabbit 10th – BRISTOL, the Fleece 11th – BRIGHTON, The Hydrant 12th – MANCHESTER, Star & Garter 13th – LEEDS, The Well 14th – LONDON, The Borderline

4th – MANCHESTER, Academy 5 th – NOTTINGHAM, Rock City 7th - LONDON, Brixton Academy

6th GUILDFORD – Boiler Room 7th DEVONROX @ Powderham Castle, Exeter

BLACK COUNTRY COMMUNION July 2011

By Matt Dawson Tonight’s rock and roll proceedings take a slight detour to begin with as The Honour Roll take to the stage.

With a very small number of people showing half-hearted enthusiasm towards them - and those showing any more being possible close friends their hardcore leaning styling feels ridiculously out of place.

Also making comments about Myspace is quite 2009, just letting you know, along with joking about more girls taking pictures of a member’s crotch.

The Hip Priests make up for the previous band in style with their sleazepunk combined with the stage presence of Nathan Von Cruz, bringing up memories of The Eighties B-Line Matchbox Disaster and Turbonegro.

From the look of the crowd it seems they are also thinking the same - even that one guy who, whether he was joking or not, during the Honour Roll’s question ‘who’s here for Hip Priests’ said no.

Cue the spaghetti western music and a chant of Fuck You Black Spiders, which is a term of endearment in this case I must add, as the Black Spiders return to Stoke for the first time since their support of the Wildhearts.

With songs such as the psychedelic journey of ‘Meadow’, the tribute towards one of THE rock bands of all time in ‘KISS Tried To Kill Me’ inspired by Jager fuelled dreams, the anthem ‘Stay Down’ and the answer to the question ‘What Good’s A Rock Without A Roll’, Black Spiders show exactly why they are one of the bands you must see live, as Pete Spiby gives a great commanding performance along with the rest of the band and proves without a doubt that this is the year of the Black Spider.

23rd –LLANDUDNO, Cymru Arena 26th –LEEDS, O2 Academy 27th –NEWCASTLE, O2 Academy 29th –GLASGOW, O2 Academy 30th – MANCHESTER, Academy

JUDAS PRIEST & QUEENSRYCHE w/ Rival Sons July 2011

15th - NEWPORT, Newport Centre 16th - MANCHESTER, O2 Apollo 17th - DONCASTER, The Dome 19th - GLASGOW, SECC 20th - NEWCASTLE, Metro Arena 21st - WOLVERHAMPTON, Civic Hall 23rd – LONDON, High Voltage Festival 24th - BOURNEMOUTH, BIC

POLAR BEAR CLUB w/ Man Overboard July 2011 13th – KINGSTON, Peel 14th – NORWICH, Marquee 15th – MANCHESTER, The Zoo (Man Overboard only) 16th – LEEDS, Cockpit 17th – DERBY, The VicInn (Man Overboard only) 18th – MILTON KEYNES, The Crauford Arms

RIVAL SONS

IRON MAIDEN

July 2011

CHICAGO

July / August 2011

12th - LEEDS, Cockpit 3 13th - LONDON, Borderline

July 2011

20th - Scotland, GLASGOW, SECC 21st - Scotland, ABERDEEN, AECC P&J Arena 23rd- England, NEWCASTLE, Metro Radio Arena 24th -England, SHEFFIELD, Motorpoint Arena 27th -England, NOTTINGHAM, Trent FM Arena 28th -England, MANCHESTER, MEN Arena 31st - England, BIRMINGHAM, NIA

6th - LONDON Hammersmith Apollo

DARKEST ERA July 2011 23rd DRAPERSTOWN – Glasgowbury Festival, County Derry 28th (IRE) DUBLIN – The Pint, Eden Quay (with Slough Feg) 30th (IRE) CORK – Fred Zeppelins September 2011

1st - Wales, CARDIFF, CIA Arena 3rd – N. Ireland, BELFAST, Odyssey 5th - England, LONDON, 02 Arena

22nd LONDON - Barfly

LOU REED DEAF HAVANA July 2011 11th – SOUTHAMPTON, Joiners 12th – EXETER, Cavern 13th – SWANSEA, Sin City 2 14th - MILTON KEYNES, Craufurd Arms 15th – KINGSTON, The Peel (16+) 16th – CAMBRIDGE, Junction 17th – OXFORD, O2 Academy2 18th – WREXHAM, Central Station 19th – YORK, The Duchess 20th – SCARBOROUGH, Vivaz 21st – CARLISLE, The Brickyard 22nd – ABERDEEN, Tunnels 23rd – DUNDEE, Dexters

July 2011 4th – LONDON, Hammersmith Apollo

MALEFICE July/August 2011 16th 2000 TREES @ Upcote Farm, Gloucestershire 19th HULL – The Lamp (16+) 20th WREXHAM – Central Station (14+) 26th SOUTHAMPTON – Joiners (14+) 28th NORWICH – Arts Centre 30th (D) TRAFFIC JAM FESTIVAL

SLASH July 2011 20th – BIRMINGHAM, O2 Academy 21st – MANCHESTER, O2 Apollo 24th – STOKE, Victoria Hall 25th – LEEDS, O2 Academy

THE SECRET w/ Tombs July/August 2011 26th Italy ARESE (MI), SGA 27th Germany MUNCHEN, Feierwerk Sunny Red 29th Germany BERLIN, Cassiopeia 31st Finland TAMPERE, Klubi 01st Finland HELSINKI, Kuudes L. 03rd Germany HAMBURG, Hafenk.

04th Holland TILBURG, 013 05th UK LONDON, Borderline 06th BELFAST, Auntie Annies 07th Ireland DUBLIN, The Pint 08th Ireland GALWAY, Roisin Dub 09th Ireland CORK, Cyprus Avenue 10th UK SOUTHAMPTON, Joiners 11th UK MARGATE, Westcoast Bar 13th Germany BOCHUM, Zwischenfall 14th Belgium IEPER, Ieper Fest 15th Switzerland GENEVE, L'usine 17th Hungary BUDAPEST, Dürer K 18th Austria VIENNA, Metalcorner 19th Slovenia LJUBLJANA, Trn Fest 20th Italy TRIESTE, Etnoblog

30 Sonic Shocks - July 2011

BOOK IN ADVANCE Some more live goodness you don’t want to miss ALTER BRIDGE w/ Black Stone Cherry November 2011 22nd Nov – BIRMINGHAM, LG Arena 23rd Nov – CARDIFF, Motor Point Arena 24th Nov – MANCHESTER, Evening News 26th Nov – NEWCASTLE, Metro Radio Arena 27th Nov – GLASGOW, SECC 29th Nov – LONDON, Wembley Arena

BRYAN ADAMS - Waking Up The Neighbours 20th Anniversary Tour November/December 2011 24th NEWCASTLE Metro Radio Arena 25th GLASGOW, SECC 26th ABERDEEN Exhibition + Conference Centre 28th LIVERPOOL, Echo Arena 29th NOTTINGHAM, Capital FM Arena 30th MANCHESTER,MEN Arena 01st SHEFFIELD, Motorpoint Arena 03rd CARDIFF Motorpoint Arena 04th BIRMINGHAM LG Arena 05th BOURNEMOUTH, BIC 07th BRIGHTON Centre 08th LONDON, O2 Arena

CLIFF RICHARD - The Soulicious Tour October 2011 15th NOTTINGHAM, Captial Fm Arena 17th MANCHESTER, MEN 19Th LIVERPOOL, Echo Arena 22nd--23rd BIRMINGHAM, LG Arena 25th-26th LONDON, O2 Arena 28th NEWCASTLE, Metro Radio Arena

31st LIVERPOOL Echo Arena 02nd BIRMINGHAM, LG Arena 03rd-4th CARDIFF, CIA 06th BOURNEMOUTH, BIC 07th-8th LONDON, O2 Arena 10th NEWCASTLE, Metro Radio Arena 11th, MANCHESTER, Evening News Arena 12th SHEFFIELD, Motorpoint Arena

FEED THE RHINO w/ Heights September 2011 14th – SOUTHAMPTON, Joiners 15th – BRISTOL, Croft 16th – WOLVERHAMPTON, Slade Rooms 17th – STOKE, Underground 18th – MANCHESTER, Satan’s Hollow 20th – LEEDS, Cockpit 3 21st – GLASGOW, Ivory Blacks 22nd – ABERDEEN, The Tunnels 23rd – MIDDLESBOROUGH, Sumo @ The Empire 24th – NOTTINGHAM, Rock City Basement 25th – PETERBOROUGH, Club Revolution 26th – CAMBRIDGE, Haymakers 27th – READING, Face Bar 28th – LONDON, Barfly

FUNERAL FOR A FRIEND w/ Escape The Fate October 2011 23rd - WOLVERHAMPTON, Wulfrun Hall 24th - GLASGOW, Queen Margaret Union 25th – NEWCASTLE, O2 Academy 27th – NOTTINGHAM, Rock City 28th – MANCHESTER, Academy 1 29th – BRISTOL, O2 Academy 30th – LONDON, Roundhouse

KATY PERRY ‘The California Dreams Tour’ DOLLY PARTON Better Day World Tour August/September 2011 20th-21st GLASGOW, SECC 22nd NOTTINGHAM Arena

October 2011 14th LONDON, O2 Arena 15th LONON Wemley Arena 19th CARDIFF, CIA

MOTORHEAD w/ Anti Nowhere League & UK Subs November 2011 02nd WOLVES, Civic Hall 03rd NEWCASTLE, City Hall 05th GLASGOW, O2 Academy 06th LIVERPOOL, University Mountford Hall 08th BRISTOL, Colston Hall 11th NORWICH, UEA 12th LONDON, HMV Hammersmith Apollo 14th PLYMOUTH, .Pavilions 15th SOUTHAMPTON, Guildhall 17th NOTTINGHAM, Royal Centre 18th MANCHESTER, O2 Apollo

TINIE TEMPAH w/ J Cole unless specified October/November 2011 31st LIVERPOOL, Echo Arena 01st NEWCASTLE, Metro Arena 04th LONDON, O2 Arena 05 th BOURNEMOUTH, BIC 06 th BIRMINGHAM, LG Arena 07 th MANCHESTER,MEN Arena 08 th CARDIFF, Motorpoint Arena 10 th LONDON, Wembley Arena + Nero 11 th NOTTINGHAM, Arena + Nero

TOKYO BLADE September 2011

TESSERACT w/ Chimp Spanner and Uneven Structure Lowering the Tone Tour September 2011 08th LONDON, Highbury Garage 09th CARDIFF, CF10 10th BIRMINGHAM, Academy 2 11th MANCHESTER, Academy 3 12th NEWCASTLE, Academy 2 13th GLASGOW, Cathouse 15th LEEDS, Cockpit 16th SHEFFIELD, Corporation 17th NOTTINGHAM, Rescue Rooms

THE DARKNESS November 2011 8th - LIVERPOOL, O2 Academy 9th - EDINBURGH, HMV Picture House 10th - GLASGOW, O2 Academy 12th - NEWCASTLE, O2 Academy 13th - MANCHESTER, 14th - BRISTOL, O2 Academy 16th - BRIGHTON, Dome 17th - SOUTHAMPTON, Guildhall 18th - BIRMINGHAM, O2 Academy 20th -CAMBRIDGE, Corn Exchange 21st -SHEFFIELD, O2 Academy 22nd- NOTTINGHAM, Rock City 24th - NORWICH, UEA 25th - LONDON, HMV Hammersmith Apollo

30th – LONDON, The Standard

TURISAS Alone & w/ Devin Townsend where specified October 2011 27th – BRIGHTON, Concorde 2 28th – BRISTOL, O2 Academy 2 29th – PLYMOUTH, White Rabbit 31st – NORWICH, Waterfront 1st – GLASGOW, Garage 2nd – NEWCASTLE, Northumbria Uni, 4th – WOLVERHAMPTON, Wulfrun Hall, 7th – BELFAST, Limelight (co-headline with DEVIN TOWNSEND) 8th – DUBLIN, Whelans (co-headline with DEVIN TOWNSEND) 9th – WREXHAM, Central Station 10th – SHEFFIELD, Corporation 12th – CARDIFF, University SU: The Great Hall 2 13th – READING, Sub 89 15th – SOUTHAMPTON, University: Garden Court 16th – LEICESTER, Sub 91 17th – MANCHESTER, Academy 3

VAINS OF JENNA September 2011 8th- Slade Rooms Wolverhampton 9th- Camden Barfly 10th- Manchester Moho Live 11th Hull The Lamp 12th Newcastle Upon Tyne- Trillians

Sonic Shocks - July 2011 31

ILLUMINATUS bring their own Glasnost to Donington

by Matt Dawson Illuminatus are one Englishman, one Spaniard, one German and an Italian and ‘if that sounds complicated, you should see our record collection’, they add. ‘We make expansive, loud, emotive music for people who like to

think. Our music is known for huge drops and peaks in dynamics, and a big wall of sound we've been trying to perfect for years. We spend our time writing the kind of music that we want to listen to’.

Recently signed to Headroom, they say about their latest record Glasnost (openness): ‘The theme of honesty, clarity and realisation are common

throughout the album lyrically, an invitation to think’. Compared to previous work, Glasnost is ‘heavier, tighter, deeper, more dynamic, more intelligent, more interesting and more accomplished both in technical terms and songwriting’.

Cooper can be seen alongside superstars in the making.

When it comes to gigs so far in their career Felix Rullhusen counts playing Austin, Texas and Bloodstock main stage as two of the best but he believes one particular rule.

On a day where the weather had decided to turn Download into a mudbath, Illuminatus were making their debut at Donington in the Redbull Bedroom Jam tent.

“Size isn’t everything, it is more about the energy of the crowd themselves, if that’s high then it counts as a very good show, today [at Donington] will hopefully be up there as well.”

“You’ve got to enjoy this type of weather since it makes people want to rush into the nearest tent which helps us!” says vocalist/guitarist Julio. The fact that they’re at the proclaimed home of metal hasn’t gone amiss with seeing it as an honour to be there at the venue that legends such as Alice

The future looks bright for Illuminatus as during September they will be once again touring with Stoke based rockers Sworn To Oath followed by a two weeks tour in Germany and Holland, as they continue to spread their personal Glasnost on a global scale.

FRESHLY PICKED FOR YOU… while constructing sharp and precise melodies around the vocal domination of Mr Jacob Field. The track entitled ‘S.P.D’ remains a constant favourite ever since the first moment I witnessed it live; however if you take a click over to their MySpace page - http:// www.myspace.com/collapsethecontrolband - you will find many other delights in the form of ‘The Diamond King’ and ‘Revival Of The Greatest’ to name but a few.

Much potential and an experience for each individual to enjoy for themselves.

The Curse Of Marilyn Monroe

by Dan Balchin

From the moment ‘The Search For Unknown Faces’ hits the airwaves, you know that you are in for an aural treat. Not content with simple beats and rhythms, Collapse The Control interlace synth and distortion,

As ‘Never Say Never’ takes over the room, I’m reminded of the energy they emanated from stage and I’m already looking forward to their slot at Sonisphere. To transfer that energy on record, No Americana may lose a tiny bit of sound quality in favour of a rawness that –at least for me – is very welcome; their infectious pop harmonies intersect with basic punk rock riffs in perfect balance, easy to the ear and the radio without turning them into some sell out boy band.

‘Declaration of Independence’, No Americana’s debut EP, is out on July 11thand it’s a hell of an introduction to this young Birmingham hopefuls. Catch them at Sonisphere – worth trekking to whatever stage they’ll be rocking out - and you may be able to get a CD right there and then and take a glimpse of that energy home with you.

COLLAPSE THE CONTROL

Ladies and Gentlemen, “WELCOME TO THE GATES OF HELL” - to use a line from this stunning release from Surrey based ‘Collapse The Control’. Ferocious chops and licks that will demonstrate how a balls to the walls approach to song writing and performing is nothing short of genius. Not only have I had the pleasure of watching CTC take to a live setting and convert many a fan, but they have been worthy of recognition for quite some time now. Eagerly awaiting the physical release of ‘The Curse Of Marilyn Monroe’, fans have been flocking in support to every corner of the country, in appreciation for the CTC magic. Seven tracks, spanning just short of thirty minutes, this effort is a perfect way to kick of 2011.

now and then good opening bands DO get noticed.

NO AMERICANA

When you see that Departures have racked up shows with the likes of Madball and Defeater the thought does cross the mind that these have to be pretty special..

UK Hardcore seems to be in fine bloom at the moment with bands such as Bastions, Pariso, Run,Walk gaining acclaim and now Departures’ debut can be added to the list.

Bringing to mind times when Poison The Well’s You Come Before You and Million Dead’s A Song To Ruin were the records that kids were talking about- you know before guyliner became the norm - the sense of nostalgia in this case can be seen as a positive effect.

There is a rawness in James Mckean’s vocals to the degree that you can hear a slight crack in his voice in places which rather than feeling like a mistake actually makes it more powerful. The guitar work by Daniel Nash and Andrew Traynor manages to meld itself well particularly on songs such as ‘Over The Edge’, ‘Disappointment’ and ‘Sunday’ to name a few highlights.

If you want to get this impressive debut however you’re going to have to be quick as only 300 copies of the LP (100 in yellow and Red and 200 in Transparent/Purple) are available from Fist In The Air’s Big Cartel page.

Declaration of Independence

by Cristina Massei I remember seeing No Americana opening for The Wildhearts last year – man, they can pick their supports! – and I was pretty impressed, to the point I still have one of their promo postcards and somewhere, I’m sure, even one of their black & white pins. Getting their CD in the mail this morning brought with it the pleasure of knowing that every

by Matt Dawson

An impressionable debut.

DEPARTURES When Losing Everything Is Everything You Wanted

Unsigned bands, please send your material to zorro@sonicshocks.com for consideration

32 Sonic Shocks - July 2011