SONIC SHOCKS October

some like it hot IBIZA

CLOSING PARTIES

ISSUE FOUR - OCTOBER 2011

AUSTIN

CITY LIMITS

£ FREE

Sonic Monsters!

A rockin’ Halloween from our team and a few scary friends...

HALLOWEEN Special Interviews with JERRY ONLY (MISFITS) WEDNESDAY 13 ADAM ANT GOD MODULE THE BIRTHDAY MASSACRE ANTERIOR PENTAGRAM KORY CLARKE PETER GABRIEL Features on 2011 IBIZA CLOSING PARTIES AUSTIN CITY LIMITS FESTIVAL EXTREME CINEMA KEVIN SMITH’s RED STATE HALLOWEEN IN LONDON Up & Coming Bands SPIRES and INCASSUM Reviews and more!

Sonic Shocks

Page 2

EMI launches ‘Why Pink Floyd...?’remasters by recreating Animals 35 years on Floyd Pig above Battersea Power Station. It was the first time in 35 years that the Pink Floyd Pig flew again above the iconic London landmark.

The event marked the first release date of the extensive ‘Why Pink Floyd…?’ campaign featuring brand new remasters, collector’s editions and previously unreleased music.

day 26 September the ‘Why Pink Floyd…?’remasters and collectors edition campaign by recreating the legendary Pink Floyd ‘Animals’ sleeve and float thePink

Working together with Battersea Power Station and the inflatable specialists, Air Artists, creators of all the Pink Floyd inflatables since 1976, EMI Music arranged for the Pink Floyd Pig to float above Battersea Power Station throughout the day on Monday 26 September. Sadly, two weeks prior to the event the original neoprene glued pig was officially declared not airworthy and a brand new high frequency

After 16 years of relentless courtship, Rancid finally say yes to Rebellion Festival. The punk rock legends are the first headliners officially announced for the 2012 Edition of the ex ‘Holiday in the Sun’ gathering in Blackpool.

Rancid Lars Frederiksen played this year with his side project and was eager to come back, according to John Robb.

Talking to Sonic Shocks last summer just before the 2011 edition, Robb mentioned Rancid as one of his three dream bands to play the Festival, next

to Sex Pistols and Dropkick Murphys.

Confirming the exciting news on their own website, Rancid added that further UK and European dates will be announced next year to follow their Festival appearance.

Rebellion Festival will take place at Winter Gardens, Blackpool, from the 2nd to the 5th of August; Rancid will be headlining the Empress Ballroom on the Sunday. Other bands confirmed so far are D.O.A., Agnostic Front, Zero Boys, SNFU, Last Resort, UK Subs, Argy Bargy, Splodgenessabounds, Goldblade, Choking Susan, Section 5, Drongos for Europe, Fire Exit, H.D.Q., Pink Hearse, On Trial UK, TV Smith and Bite Back

EMI Music launched on Mon-

welded PVC replica Pink Floyd Pig has been made for the occasion.

On 26 September, EMI Music released all 14 Pink Floyd studio albums remastered as brand new Discovery Editions on CD and available digitally. All 14 studio albums are also available as one Discovery Box Set. The same day saw the release of Immersion and Experience Editions of The Dark Side of The Moon, extended to feature unreleased music from the Pink Floyd archives.

‘Wish You Were Here’ Experience and Immersion editions and ‘A Foot In The Door – The Best of Pink Floyd’ will follow on November 7. ‘The Wall’ Immersion and Experience editions will be released on 27 February 2012.

R.E.M. call it quits In 1997 however Bill Berry left two years after suffering a brain aneurysm during the tour of the album Monster in 1995, as Stipe recalls in the statement sent out to announce the split of On the 21st September REM REM “Bill insisted he would announced via their website stay, if his leaving meant that after 31 years together breaking the band up," they would be going their R.E.M were also known for separate ways. their work with various causWith hits such as ‘Everybody es such as voter registration Hurts’, ‘Nightswimming’ ‘Or- in the United States along ange Crush’ and of course with human rights and envi‘Shiny Happy People’ R.E.M ronmental groups. were once credited for making indie music mainstream Their 15th and final album following their 1980 forma- Collapse into now was re-

Metal Blade, Century Media and Prosthetic Records pull out of Spotify Music streaming service Spotify recently celebrated its launch in the USA along with introducing a more integrated interface with social network Facebook but with the highs come the lows as three labels recently announced they would be removing all content from the service, Century media in August followed by Metal Blade and Prosthetic. This also includes any smaller labels including InsideOut music and Napalm Records.

The issue is over how much Spotify is giving to the labels in return for the licensing and while major labels are getting shares of Spotify’s profit as stated in a report by The Guardian’s Hellenne Lindvall back in February – something that Spotify has so far denied- smaller labels (like the three here) tend to be Randy Blythe raises getting very small payments the point that Century money for Breast cancer to to quote their press release believe that Spotify as it is Lamb Of God’s Randy Blythe now will "kill...smaller bands has been doing something that are already struggling to both honourable and memo- make ends meet.” rable recently by raising money for breast cancer research Not all labels disagree with while wearing corpsepaint… Spotify however, Earache not ordinary black and white have even gone so far as to black metal stereotype mind post all their catalogue as a playlist. but PINK corpsepaint.

A more recent development Yes… PINK. occurred however on the 28th September in regards to We salute him for doing this Metal Blade’s decision. while walking 60 miles while doing so to help fund re- During Mark Hunter (Chimaira vocalist)’s recent Twitsearch towards a cure! ter frenzy about the music industry the issue of Spotify came up due to the singer not being able to listen to Cannibal Corpse on Spotify, incidentally Mark later admitted this is what started his Twitter ‘essay’, which led to him talking to Brian Slagel the founder and CEO of Metal Blade. leased in March of 2011.

Slagel’s response was this: “@ Michael Stipe’s thoughts on chimairamark we did not, the end of R.E.M taken from stuff was not supposed to be the statement on remhq.com: there in the first place. It will "A wise man once said--'the be back once we have a legit skill in attending a party is deal.” knowing when it's time to leave.' We built something This was Slagel’s first public extraordinary together. We response to Metal Blade’s redid this thing. And now we're cent actions and brings up going to walk away from it. an interesting thought that Spotify may not have secured "I hope our fans realize this deals with the independent wasn't an easy decision; but labels particularly the ‘stuff all things must end, and we was not supposed to be there’ wanted to do it right, to do it line. our way.

What is certain however that "We have to thank all the peo- there is still hope that Metal ple who helped us be R.E.M. Blade may return soon but for these 31 years; our deep- it remains to be seen about est gratitude to those who al- Century, Prosthetic and lowed us to do this. It's been whether any other labels will amazing." follow suit.

after 31 years tion consisting of vocalist Michael Stipe on vocals, Peter Buck on guitar, Mike Mills on bass and Bill Berry on drums.

October 2011

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

thewickedwitch@sonicshocks.com

Assistant Editor Matt Dawson

cygnus@sonicshocks.com

Unsigned Editor Dan Balchin

zorro@sonicshocks.com

US Correspondent Denise Britt

denise@sonicshocks.com

Burlesque & Fetish Sophia Disgrace Clubbing & Nightlife Nelly Loriaux Photographers Cristina Massei David Lees Nelly Loriaux Denise Britt Tish Scripps Chad Alexander Jenny V Writers Too many to mention, read the bloody paper.

To advertise with us, please email

advertising@sonicshocks.com for a quote or price list

If you’re interested in stocking Sonic Shocks in your venue or store, please email

distribution@sonicshocks.com

Copyright © Sonic Shocks 2011 except where copyright appears with the original author.

All rights reserved.

Partial quotations from our content are acceptable, providing Sonic Shocks is cited as the main source.

Sonic Shocks

October 2011

don't want to be there or do their job, so that's why we took 10 years.

Dez Cadena: I was here…

Frasson

Interview by Annalisa

Article by Cristina Massei and Matt Dawson Photos (incl. front page) Jenny V. It’s been seven long years since ‘Project 7950’ and an even longer 12 years stretch since last Misfits original album ‘Famous Monsters’.

The horror punk legends are finally back with a brand new full length, ‘The Devil’s Rain’, and we’re counting the days, drooling outside our local record store in anticipation. In the meanwhile, we thought we’d ask some questions to Jerry Only… We had to go all the way to Italy but hey, it’s the Misfits we’re talking about!

Here’s our devilocked hero for you, enjoy!

Hi Jerry, first of all I'd like to thank you for taking the time to talk to us Jerry Only: No problem,

to you!

t han ks

You have announced a new album coming out in October, "The Devil's rain"; can you confirm the exact release date, please?

J: He was h e r e ! (laughs)... and our d r u m mer [Eric ‘C hup acabra Arce] was here, he replaced Marky [Ramone] sometimes when he couldn't make it, but now he's our permanent drummer. We wanted people who really want to be here with the band, and that's the most important thing.

J: Oh yes I do… We recorded it last summer and we put together the album in January 2010, some of the songs were recorded earlier but we really wanted the album out in January. We were stuck for a while (laughs). It comes out on October 4th [at the time of going to press, the UK release date is November 7th]

Are you feeling nervous at all about the reception?

This is going to be your first album in 7 years; was it a hard one to get together?

J: Yeah, right!

J: More than that, it's the first new album after 10 years!

No, the problem was more the people in the band and playing music together. You know, it's very expensive and it takes a long while to put together the project and it takes many years to get on with new people. You don't want to make a new album and then have people who really

J:The guitar and the drums are amazing... My little daughter sang one song, she did it when she was 4, she is 5 years old now. My son did too; I was working with a producer who also worked with the Ramones, Joan Jett and other bands. I think that due to this there is a very wide spectrum of styles of music. We have a double bass drum for the first time!! I don't think we ever had one.

J: Oh no, never really cared.

What can we expect from "The Devil's Rain"?

J: Oh well..

D: A lot of guitars (laughs) Eric: and the drums (laughs)

D: I don't think so, sometimes maybe.

J: It’s something new for us. Bands like Slayer and Pantera have done double bass drum for years before us even with changing drummers!

It sounds like you have a lot

Page 3 of surprises in store for us...

image, new stage performers and shows is probably one of J: Oh yeah!! …And then we the biggest step we ever took. got ballads, we have slow I think you are really gonna songs, we have melodic stuff, be impressed. I think this is we have a very wide range! I probably the biggest change think there's something for we made in our last 35 years. everyone. *[Editor’s Note: There is varying consistency on whether Wednesday 13 mentions the Eric or previous drummer Misfits as a main influence. Robo is the drummer given What do you think of his ‘The Devil’s Rain’ has rerecwork? orded versions of songs from J: They do a good job, I like what they do, they have a strong imagination and a very young crowd; even younger than ours.

I think that is important but it is also important you’re able to keep the older fans happy as well. That is the only thing that I see between us and them.

You always used references and imaginary from horror movies and series in your songs; with the recent vampire/ zombie/monster trend going on, are you going to use any modern reference?

Like True Blood or Twilight?

Land Of The Dead, the official release says Eric hence J:Ah no, I think we have his name being written here, songs that they can prob- Jerry during the original inably use but True Blood and terview however mentioned Twilight are more, how can I Robo in places] say "Soap opera", an ongoing saga, something that repeats You invented the famous continuously, so you know we hairstyle "Devilock". How would really target them. The did that happen? closest we can get is "Dark Shadows", and Dark Shadows J: Well I didn't really think when I was a kid was actually about it. I had like an Elvis a soap opera on TV. Tim Bur- hairdo but it was blue, this ton is making it into a movie was like in 1978. My hair now with Johnny Depp and was just getting longer and we would like to write the longer. We were tried to get whole soundtrack for that. away from that "Neo punk" I hope he likes the song and Sex Pistols break colour and maybe we can do something tried to get more evil, so we like that. changed all our colours from dark green, orange and blue Since you started your ca- to just black. So we did our reer until today, what do you hair black and that was how think has changed in the way my hair was and I would not you play and in your shows screw with them anymore. in general?

Thank you so much for your J: My eyes are getting a little time and we hope to see you worse (laughs) and I’m a little soon on tour with "The Devbit older. I think many bands il's Rain"! really try to keep things the same. I think working with J: Sure,thank you!

Dez Cadena and Eric * on the new album with a new

Sonic Shocks

Page 4

October 2011

! y a d s e u T a n o n ve e . .. yscaringly awesome

Scar

by Cristina Massei Wednesday 13 has had quite a busy year: not content with doing gigs with the well loved Murderdolls with Joey Jordison, he’s also been working on his latest solo record titled Calling All Corpses and, since fittingly it comes out this month where All Hallow’s Eve resides in no less, we talked to Wednesday (on a Tuesday – 13 - as he jokingly remarks starting the interview!)

Cristina: The album’s very catchy and fun with each song being interesting in their own way. When did the writing process begin?

W13: It was really quick. No old material which is what a lot of my records consist of with songs kept over from the last record or something, it was completely fresh. When I came back after the Murderdolls had finished touring in April from Japan after the earthquake which was really rough for me to get over, I just basically started writing to get my mind off all that stuff and locked myself into my apartment for two weeks and what turned out was the new record.

It was easy and simple which is the

stuff that usually works the best for me as it came naturally and it’s one of the most favourite things I’ve ever done.

CM: Was it a relief going back to the more light-hearted, fun rock and roll style material after a more introspective album with The Murderdolls?

W13: The Murderdolls is more of a partnership with Joey so it isn’t as

one sided like my solo stuff, Joey bought in the heavy aspect which was cool. I think for me there is some heaviness at times with my solo stuff, what Wednesday 13 is to me is fun rock music, some people call it horrorpunk but to me it’s rock and roll music and that’s what I do best.

CM: I found myself singing along to ‘I Wanna Be Cremated’ and ‘Silver Bullets’, do these catchy choruses come to you naturally?

W13: I honestly don’t know where they come from. With ‘Silver Bullets’ I had just finished watching the latest Wolfman movie for the third/ fourth time, a lot of people hated that movie but I liked it a lot. I’m just a huge fan of werewolves and I didn’t have enough songs of that nature in my library, it’s also kind of a love story at the same time. ‘Silver Bullets’ turned out to be one of my favourite songs on the album.

CM: How do you think your songwriting has changed over the years since Frankenstein Drag Queens?

W13: I think there’s so much. It’s really funny to go back but I don’t listen to the old CD’s that often because I am such a critic of myself and I think ‘oh my god, what was I thinking, that guitar’s totally out of tune! ’ There’s certain things over the years but the one thing that has changed in song writing is I still try to write with an audience in mind instead of just one side and it’s more obvious who you are playing these songs for.

Sometimes artists along the way they get lost in themselves and forget about the audience but you have to keep them in mind as they’re the ones that gave you a leg to stand on so I try to keep the fans in mind and make stuff fun for them rather than how I may have felt back in the day when I just wanted to write songs that were funny to me.

With this new record it’s really a fan orientated record, I vision myself in the audience writing this record with the fans around me, it has a

live feel with large background vocals and once you see the artwork for the record you’ll see that there’s parts in the chorus made for the audience to sing along to.

CM: The first single ‘Something Wicked This Way Comes’ I noticed a pretty good reaction towards…

W13: The reaction’s been great! I’ve had this record done for months and months now so I have been listening to it over and over, critiquing it so there are songs that when I first recorded it were my favourites but aren’t now. With ‘Something Wicked…’ it was one that right from the very beginning that once we recorded it I knew was one of my favourite and still is. It’s a personal, autobiographical song looking back on when I was growing up being in the Bible Belt, playing with GI Joes and discovering rock music like Alice Cooper and Kiss. Overall it’s a reflection back on my catalogue, growing up and things like that.

There’s also a lot of different guitar parts in a style I haven’t done in the past so I wanted to release one that not only fans would enjoy but the person that’s not given me the time of day before would listen to and go ‘hey that’s a cool song!’

CM: What other tracks were possibly on the shortlist for being the lead single?

W13: The great thing about what I’m doing right now as opposed to last year with Roadrunner, not that they didn’t give us any freedom or anything because they were great and we got to do a lot of cool things, I get to do stuff on my own and not follow these type of rules, we are planning to shoot the first video in a few weeks which could be for anything and I can put singles out whenever I want in whichever format I want.

The planned song for the video may be ‘Something Wicked’ but I’ve been going back and forth as I want to do one for ‘Silver Bullets’, one for ‘Miss Mourge’ so if I said anything now it would probably change!

CM: The beginning of ‘We All Died’ reminded me of Misfits’ ‘Project: 1950’. Do you feel some of the songs may stick with the revival of rockabilly happening at the moment?

W13: The rhythm of that song, even the ‘One Knife Stand’ song I used old rock and roll style beats just kind of sped up. On this record I tried to do a couple of different things that I haven’t done in the past so if people get the rockabilly vibe off it that’s cool. That’s what I like about this record in that the listener can hear what they want to hear from it, if they think of me as the goth guy or the goth-punk guy or the glam rock guy. I am what I am.

CM: If you had to use ‘Silver Bullets’ as a soundtrack for one of the Vampire shows which one would it be?

W13: I am aware of these shows but I don’t get to watch them. If I had to choose I’d put it on a rerun of The Munsters or The Addams Family!

CM: Considering your love for horror did you ever consider doing what Rob Zombie did and write your own movie some day?

W13: One day I’ll eventually come to that bridge I think, I’m a huge movie fan. I think Rob has opened doors for so many artists to be able to do that, if I get an offer or an idea somewhere down the road .. I don’t like doing things unnaturally or forced. When I was at school I used to write scripts and do plays so I’m hoping one day I can do that but I don’t ant to rush or do anything that isn’t true to what I do. A Wednesday 13 movie has to represent everything I’ve done so it’s got to be good.

CM: In November you are touring the UK with Michael Monroe. Are you a fan of his music?

W13: Huge fan! Michael Monroe and Hanoi Rocks are one of my favourite bands, one of my favourite tours was with Michael Monroe and I did the farewell Hanoi Rocks tour in Japan in 2008. We just became friends over the years and I knew I was touring in November, Michael’s got a new record out [Sensory Overdrive] which is amazing and when the time came to see who was going on tour someone asked what was Michael doing immediately. He was on board so I get to go on tour with one of my hero rock stars.

I can’t imagine anything cooler than that and I get to do it once a year whether it’s Alice Cooper or something like that.

CM: I think it’s going to be one of the most energetic and fun tours of this year? Any of the new songs been performed live yet at all?

W13: We played the title track back in July on the 13th which was a Wednesday [laughs] at the Whiskey-A-Go-Go in Hollywood and sold out which was great and it was just how I imagined it in my head.

They had never heard it before but once I said the chorus twice they were singing along!

CM: Have you decided on what songs you’re going to play and the set length?

W13: That’s the hardest part as I

have a catalogue of songs that goes on for days! In the past I’ve done one setlist and rode it out for the whole tour so people are like oh he only does these 17 songs so many times , what I’m attempting to do for the first time is three or four setlists and I’m trying to get the whole of the new album over the course of the tour somehow.

This tour visually and the setlist is completely different, completely fresh.

CM: Can you tell us more about the visuals?

W13: This time it’s going to be the first time I’m doing guitar and having two guitar players so it’s going to be a 5 piece band, the wall of sound we have created with the three guitars is just ridiculous. To me it’s a fresh start after a couple of years off from doing Wednesday 13 and getting it reinvented, I can’t wait to do it live now I’ve figured out the way I want to do it.

CM: There have been many bands you could say try to replicate your style. Is there any recent bands that deserve a mention?

W13: Honestly I haven’t heard any bands that have been influenced by me, of course there are possible ones on Youtube but it’s hard to tell, there’s no professional bands that have sent CD’s saing they’re influenced by me. Of course you can’t copyright everything, I mean Alice Cooper’s done everything possible so anyone after Alice Cooper ripped him off as far as I’m concerned including me!

It’s cool though to get messages off Facebook and Twitter seeing 14/15 year old kids playing music in their garage learning the same way I did.

I’ve not changed the world but if I’ve helped a couple of kids out that’s cool for me.

CM: Anything else you’d like to say?

W13: Just be ready because I’m bringing it!

Sonic Shocks

October 2011

Page 5

More Monsters from

musicians we respect.

– we have done so much touring in the past and a lot of things can slip aside. Personally, I would say that it was getting to the point where I really started needing to establish an identity for myself outside of band work – think about the future and about my home life. I guess that’s been important for all of us. But we’re heading back on the road soon, and I think it was important for us to take this time to ourselves.

The songs such as ‘Burn Away’ seem to signify a person overcoming an obstacle, would this be a correct interpretation to make?

That song makes me think of repeating destructive patterns and Imaginary Monsters has just then trying to break from them, been released, how has the recep- and how that can be tragic in a lot of ways. And dwelling on the tion been amongst fans so far?

Chibi – It’s been positive, as far past, and how that can be devastating to where you are and as I can tell. where you could possibly be go- What would you say has been a highlight for you both on a What brought on the idea to re- ing. band and personal level? lease the EP and to pick the conHow do you see The Birthday There have been so many cool tributors for the remixes such as Massacre going forward as we experiences. Getting to travel the Tim Skold and Combichrist?

During the writing process for get nearer to the 15th anniver- places we have, play some aweour last full-length record (Pins sary (including the days as Im- some shows – in thunderstorms, at festivals, going on long grueland Needles), we had several agica)? songs that we weren’t able to Oh man, I can’t believe how fast ling tours. It’s all been very charcomplete. That was disappoint- the time goes by. I guess that’s acter building. I think the greating, so we thought an EP would good in a way, because at this est highlight for me has been the be a good way to go back to point we know who we are and changes in my confidence level. those songs and release them. the way we work. We’ve learned I used to be extremely shy and And including remixes of songs a lot – about the industry and awkward, I could barely sing in from that record was a good way about who we are as people, and public, I always hated being in to tie it together and get some in- who we are as a band. It’s become front of a crowd. I still get nervteresting takes on the songs from very important to us to focus on ous before every show, but I’ve people who are both friends and our personal lives this past year had to let go of that awkward Wouldn’t Halloween without a chat with The Birthday Massacre now, would it? And Matt Dawson had some serious questions to ask... Here’s what lead singer Chibi had to say to him!

part of myself and be outgoing and confident, even when I haven’t felt like it. It’s made me a more confident person overall. I mean, we’ve had some very awkward and negative experiences.

And you have to deal with all of it with a smile on your face, and laugh it off later with the people you care about. I guess it’s like I’ve found the part inside of myself that doesn’t get overwhelmed very easily. I’ve become a stronger person because of all this. I’ve learned how important it is to have people around you that you can trust and rely on – and how rare that really is.

Who has been a major influence on your career?

I wouldn’t say there’s any particular band we were trying to “follow in the footsteps” of or anything like that. I mean we definitely have our musical influences and artists that have inspired us, for sure. But I think that within our little sphere of music, for me anyway, the people that have influenced me the most are some of the bands we have toured with. People sharing the same experience that you are,

What was the song writing process

If you could curate a festival who would you book to play aside from The Birthday Massacre?

That would be difficult. It would be a toss between playing with all of our favourite bands – some who don’t even exist anymore – and throwing a festival for all of our friends to play at.

What are the plans within the next year for the band?

We have a tour beginning in November, and we’ll be getting started on another record. We’d also like to start doing a bit more video and art work as well.

Any words you would like to say to the fans?

Just a big ol’ thank you. Seriously. You have no idea how much we appreciate it.

Photo credit: Sami Bhatia What have you been listening to lately?

My current musical tastes are all over the place these days. I really like the new System Syn CD "All Seasons Pass". I have been listening to a lot of Blaqk Audio, Death in June, Calabrese, Necro Facility, Danzig, Kanye West, Tiger Army, She Wants Revenge, Social Distortion, White Lies etc...

by David Lees How did you find making the new album, does it see any major changes or evolution from what's come before?

The new CD is more of a return to the normal style God Module was known for from CD's like "Viscera" and "Empath" in that is a very serious and personal CD. My last full release "Let's Go Dark" was more if a fun experiment for me to just write songs that were basically homages to my favorite horror films like "Return of the Living Dead", "Halloween" and "Nightbreed". While it was still dark electronic music the focus on the lyrics were more campy and lighthearted than what is found on "Seance" . The biggest change would be that Clint Carney has now joined God Module as a full time .

Byron who is no longer in the band was just a member of the live band where as Clint co-wrote 3 of the new songs on the cd and does vocals on 2 of those.

and that go through it with grace and humour and a sense of camaraderie. Some of these people have become close friends, almost family. That’s what’s inspiring to me.

like for this album, and how has it changed since you started out?

If anything has changed it is just that I can now translate the sounds I hear in my head faster and easier to my machines. I feel I am very comfortable in creating music for God Module and have created a sound now that does separate what I do from the others trying to do the same. As always I just wanted to write songs that I thought were good and that I would want to listen to if it were not my music.

God Module has been going for over ten years now, how have you scene the industrial/EBM scene change in that time and what are your feelings about where it's at today?

The last few years have been boring and sometimes almost sad. Bands that I once loved seem to keep releasing the exact same CD over and over because they are afraid to lose their spot in the scene if they do anything different. Also the new trend in elec-

tronic music seems to be to try to not seem like you are making electronic music. So many bands these days have people playing live drums and guitar onstage when there is not a real acoustic drum or guitar part to be heard on the recorded and released version of the song they are performing. So where as I for one was drawn to electronic music for how different and unconventional it was, the opposite is happening now where people are trying to hard to fit into the same old tired rock band mold. There are still a few people making amazing music in the scene and I'm sure given time it will mutate back into a more creative environment.

Horror movies and imagery are obviously a huge influence on you, how much of your song writing is person-

al and how much is just theatrical/ entertainment?

That's a great question because the answer is that my songs are both. I use a lot of dark, horrific themes and imagery to express very personal issues through my music. Nothing is always as it might seem to be with God Module.

Any plans to tour europe/the UK to promote the album?

We have been planning to return to Europe and the UK in particular for quite a while. Hopefully we will get the chance to come back in 2012... Before the world ends :)

What's the best and worst thing about being in an industrial band today?

The best thing is that I am at a point where I can create music and share it with 1000's of people around the world rather than just making it for myself and my friends as I would if my project was unknown. The worst part is that only a very small portion of those people actually buy the physical CDs we release or pay to download the music.

But that is just a sign of the times and you have to look at it as at least those people are listening to it.

What can we expect from God Module in the future?

I plan to release more music on a much more frequent basis over the next few years. We are starting a US tour tomorrow with our friends Imperative Reaction and System Syn. We will tour the us again in 2012 and hope make it back to Europe in the coming year as well.

Page 6 of fearing one of those ‘I don’t really want to talk to you at this time I’ve been thinking about mak- in the morning but the label/maning one of those nice articles out of ager/PR made me, so let’s make this, you know, one of those with it quick’ kind of interview, which the writer’s comments, a bit of info would be a shame because there’s and some quotes out of the artist’s so much I’d like to ask. But again, actual interview. Then I realized I’m about to be surprised by the that: 1) I didn’t have anything to most charming prince in the hisadd that was any more interesting tory of rock’n’roll… than the interview itself; 2) Everyone knows who Adam Ant is so Hi, how are you? why waste space on bio and info All right love, how are you? stuff; 3) There was nothing, and I’m good. This is the second time I mean nothing in this morning ever I do an interview at this time chat I could possibly cut off with- in the morning, are you a mornout being totally unfair to you, the ing person? ‘Cause the first one reader. was quite grumpy!

To be completely honest, I lived Yeah, I’ve been up since about five. years buying into the media as- I’m ok, I don’t get grumpy in the sumption that Adam Ant was a morning! nutter, and I kind of expected him Let’s get started then! I was at to fall off stage while mumbling a your gig at Under the Bridge, was few songs when I went to see him the first time I saw you live and live at Under The Bridge: I was really enjoyed it! I thought you greeted by a man in a much better had tons of energy, a great sense shape – physically and mentally – of humour and played quite a than most teenagers I know, per- long set. Are all of your shows forming a longer than average set like that? without ever singing a wrong note, Yes, I love to go through different leave alone falling off stage. Pro- songs I’ve done throughout the fessional, yet naturally entertain- years, not just the hit that people ing and humorous, full of positive wanna hear obviously but also the energy, he commanded that room more unusual rare stuff from the and he made it look so incredibly early period of my career. I love easy. Yes, I did fall head over heels giving people a good hour and a for Prince Charming that night, half and more than that if I can. and if he was a nutter I seriously There’s a show coming up at Troxy had to question my own sanity. in November, shall we expect any Now, the artist’ stereotype always surprises? included some traits of madness, Yeah, there are always a few surjust like it includes nights of de- prises. I’m also putting on another bauchery and mornings in bed show at Under The Bridge, where nursing hangovers with random I’m showcasing the acts I signed groupies. An interview at 9.15am to my record label; it will be kind can sometimes prove challenging, of the major debut of Georgie girl as I’ve personally experienced be- and her Poussez Posse and also fore. When Adam calls, I’m kind Twinkle, who put together a band

Sonic Shocks

October 2011

By Cristina Massei

around her, a three piece, so will be showcasing the whole label as well as myself.

I’m trying to do something where from the minute the audience walk in there’s music, one band on then another, there’s never a let up.

More a revue of entertainment.

Talking about Georgina Baillie, is it true you helped her rekindle her relationship with her granddad?

After what happened with Jonathan Ross and Russell Brand on the radio, her grandfather and grandmother thought it was her fault and she didn’t speak to her granddad for three years, so I decided that that was affecting her life and also her creativity, so I wrote to Andrew Sachs, her granddad, explaining that she was a very hardworking person and a nice girl, and fortunately he got to seeing her again so it healed the rift.

Just to end all speculations, what’s your relationship with Georgina?

Totally professional, she’s one of the artists signed to my record label, that’s it.

Is there anyone else you’re planning on signing for your label?

At the moment three bands is a lot to be dealing with, and they’re not just newcomers, they’re special people. I bring a band on and try to develop them, write songs with them and produce them so for me it’s quite a good experience to put them out on the market.

So it’s not just a label, you personally put a lot of work into the artist’s development…

Yeah. It’s a very small label, I

i n LA i n

have a full manager Alex, an assistant and I have a lady from Barbados who’s coming over to work with me, and that’s basically the whole label and we’re managing quite well, I do some of the PR and the press myself and it’s my money financing it so I don’t have to respond to anybody else when it comes to decision making.

Do you follow any particular criteria when choosing a band to take on?

Yeah, they have to look as good as they sound - I’m not interested in jeans and beards, no interested in that kind of music - and want to be THE stars, and kind of behave in a way that reflects their ideas musically, and they’ve got something to say. I get sent quite a few demos and I listen to them; if there’s something I think I can work with I meet with them and if it is gonna work then I may take them on or give them some advice on what I would do to help them if I were working with them; or I can write them a letter back saying thank you and maybe this is not the right label for you.

Talking about look, after seeing you live I felt Johnny Depp totally ripped you off in Pirates of the Caribbean, do you feel the same way?

Yes, definitely yes. Especially the last one, they even took the little cross I normally put on my face…

It’s really getting silly now. I have a situation with Johnny Depp, a bit personal, as I used to date his first wife before he met her and he never quite grew up enough to realize that I was still her friend after the relationship and he got very jealous when they got together. Then I played his club, The Viper Room

1995, and I had mononucleosis (Glandular Fever) at the time and I didn’t know it. I was very sick during the tour but I kept working and he didn’t even have the decency to tell me thank you personally, he’s such a big star… I think he needs to learn a few lessons in humility.

Yeah, wasn’t just the look he copied but also the attitude, the walk, the talk…

He wants to be a musician. My friend met him when he was playing guitar in a small band in Miami and she basically got him into acting, paid him through acting school, let him stay over her house, married him and got him his first job, and then when he became enamoured with someone else he left her and didn’t pay her anything, give her any money and didn’t look after her when the paparazzi were hammering her. She suffered a great deal and I don’t like that, you should stick by someone if you love them and I think he only loves one person, and that’s himself. But I’ve written a song on the fourth Adam and the Ants album that addresses that very situation, so will have it in vinyl for the rest of his life. It basically tells him straight he nicked my act.

You finally have a new album to release: still coming out in January?

Yeah, that’s the plan! It’s a double gatefold vinyl sleeve with a beautiful painting on the cover by a lady called Mary Jane Anstll, a portrait of a young girl, the painting is called ‘girl in the cropped hat’ and I bought it, and the album is called Adam Ant Is The Blueblack Hussar in Marrying The Gunner's Daughter, so that’s the Gunner’s daughter right there. It’ll also be released in CD and a deluxe boxset.

Sonic Shocks

October 2011 Some of that has been written with Chris McCormack, right?

We recorded a couple of tunes, and he engineered some of it, and the rest was written with Boz Boorer, who writes for Morrissey, and the album didn’t cost me any money, I did it around the house using the front room and we just tied it all up down a mic and put it onto a small laptop and did it that way; it was quite sort of a homemade album.

It was quite interesting. It’s the first production I’ve done since Dirk Wears White Sox, the first album production for me in a long while.

How was it getting a full album together again?

Great. Getting together all the sort of stories… I think people have got a lot of questions about what you’ve been doing for 15-16 years and the best I can answer to that question is putting it into song format. The songs will address that, how I feel, what happened to me, and all those things people like to know about. I think that’s what any album should be really.

There’s a song, ‘Shrink’, about mental health institutions; do you feel in England they actually deal with the problem correctly, or do they just get rid of it locking people up?

I think we’re living in a bit of a police state, and I think there’s only one thing worse than going to prison, and that’s going into a mental institution, because not only they don’t care what you’re feeling but they inject drugs in your body that may be very bad for your health, like in my case. You can’t get out, and when you’re sectioned they take away your passport, they take away your right to vote, you’re actually a ‘persona non grata’, you can’t even control your own money. It’s worse than jail, you have no rights at all. It is a very serious taboo subject.

I think the Government treatment is disgusting, a disgusting affair. I’m trying to put together a thing… I phoned a friend who is kind of well known in the entertainment industry and proposed a on television live discussion with the powers that dish out the drugs and put it out there on the table, because it does affect every family in this country I think. Everybody has someone in their family that suffers from it. I think for the Government it’s just the clinical cost, take the pill and go home and be a zombie, watch television, that’s what they want.

Have you ever had any experience with the US institutions while you were there?

In America is different, you don’t have a National Health system, you pay, so for example if you’re exhausted you go to Cedar-Sinai.

It happened to me once, but they have more empathy for people, more sympathy in terms of mental health. In this country is almost like you’re a prisoner, you’re put on a lead. I think if you lose your money that’s fine, if you take heroin that’s fine to a degree, alcoholic that’s fine, but if you suffer from any kind of disorder that makes you think slightly out of kilter with society, you’ve had it, that’s the last thing and that’s not right.

Do you think it’s just easier for them dealing with it this way?

They have to tear up the 1983

Mental Health Act. It’s absolutely easy to section someone in this country, anybody can do it at anytime in their life, it’s very simple.

You’ve been diagnosed with bipolar disorder…

Yeah, whatever that means…

Yeah, exactly: you suffered as well from anorexia in your young age, which you described as ‘trying to kill yourself rather than trying to slim’, which is probably the most honest description of that disorder I’ve ever heard. Would you be able to describe ‘being bipolar’?

Well, ‘bipolar’ used to be called ‘manic depression’, and it used to be called ‘the black dog’, it used to be called ‘nuts’, quite easily… It’s just really a little label, you know, manic depression sounded like ‘maniac’, so they changed it to bipolar.

Bipolar means up and down, and they don’t want you up and down, they want you in the middle, like a zombie, because then you behave yourself and do what you’re told, you go to work, don’t cause any disruption and they don’t have to be frightened

of you. But they don’t address the problem, they just give you antidepressants and sleepers, and antidepressants and sleepers are addictive, worse than heroin I think. They’re encouraged by the doctors who get money every time they prescribe them so they have to think about their financial situation, a very scary situation particularly when the GP has no choice. It’s not the GP’s fault, GPs mostly do a good job but if they cut their budgets, which they have, and they get loads more people coming, which they have, and someone walks in not feeling very well and you can give them a pill and you get the money for it, you know, you have to use your brain, don’t you? I may be wrong, but I know I’m right.

So if you could choose between having very high ups and very low downs and being in the middle, without being sectioned or anything, would you rather keep your ups and downs?

Yes of course, because life is full of ups and downs, happiness and sadness, tragedy and joy, that’s what life is all about. People who go surfing, the sea isn’t flat, the sea will surprise you and that will

make you fight, give you some kind of strength. If life was just a bowl of All-Bran and doing nothing we’d be like Teletubbies, I think that’s why the whole hippie thing went down the toilet, ‘cause they wanted everyone to be love and peace and that, well, that’s not human nature. We’re not treated like individuals, we’re treated like numbers, and that’s wrong.

Can you be high without being low?

I get high every time I go on stage.

They’d stop that if they could! But they can’t.

You’ve been on sodium valproate for seven years I was, yeah… and during that time you were ‘unable to sleep, make love or make music’… That’s clearly not the case now. How are you keeping your condition under control at the moment?

I don’t think it’s a matter of keeping things under control, I think it’s got more to do with naming what the actual illness you’ve been diagnosed with is, what the symptoms are and what caused them.

In my

case is primarily overwork, being financially raped by major record companies for 30 years and also having a situation where I couldn’t see my daughter for seven years because of being sectioned. The truth about my sectioning in 2002 hasn’t been told yet, but that was a situation that I will address one day in court, and last time I was sectioned for no reason whatsoever, by an ex girlfriend who couldn’t stand the fact that I left her, so she went to my mother and got me sectioned. My mother is an old lady and signed me up. All they have to do is convince your parents or your next of kin; if they do that… You know Gail Porter, the actress? She had a situation where she was sectioned by her boyfriend recently for no reason at all. You get upset one night or whatever, shouting and screaming, that’s your prerogative in your home, but someone phone up, they come to your house, kick your door in and you’re gone mate, for a month.

With the drugs they give me I can’t do my work, and if I can’t do my work I can’t do anything and I

Page 7 have a family to look after. I know that for seven years I didn’t pick a guitar up or write a single song, which means that affected me also physically when I was injected with them while sectioned, which is quite illegal in my view. My right foot swelled up the size of a balloon and had cellulites, which took six months to cure. I must have the right to say no to having a drug put in my body; if I don’t, then that’s a cause for Amnesty there, isn’t it?

That’s a human right.

Having said that, if you’re on it, you have to be very careful coming off it, and you have to work close to your GP like a junkie coming off heroin or cigarettes, you don’t just stop. You have to wean yourself off because it’s a very potent drug.

They alter the chemistry in your brain and when people come off them they can go nuts, it’s in the blood system, it takes two weeks to go in and three to six months to come out. I would say that’s the big problem, and now the Government is cutting the money for the actual drugs. so people are coming off them too quick.

Do you think your autobiography ‘Stand and Deliver’ is

going to be in need of an update after this period of activity?

Stand and Deliver was done with someone who was supposed to be a friend of mine who’s a writer.

I was so sick at the time I had to write a book for the money for income, and he’s been taking excerpts from my private journal that I wrote back in 1976. I never showed it to anybody but I had to show it to him and unfortunately I trusted him and he sort of edited up excerpts of my journal, so the book is really a kind of patchwork of some of it. I’m gonna bring out the first two journals as they were completely written with no edits, probably the only true account of punk rock in late 1976 up to 1980.

The book is now been developed into a feature film with the first draft complete and they’re looking for someone to play me.

Shall we ask Johnny Depp?

He’s too old and too fat! (laughs) You’ve been doing a lot of charity shows; talking about independent

labels, gigs are being organized for the labels hit in the Sony/PIAS fire, are you going to take part to any of those?

No. I don’t get involved. The fire was a terrible thing and I think the people doing it should be put in jail for a long time, but the kind of things I’m involved in are Hepatitis C, or I’ve done a gig for the Sea Shepherd Organization, do you know that? They go out and sink those who are trying to kill whales illegally? I did a little half hour show for that. You know, the worst thing I ever did was Live Aid, as I don’t think any of the money has got to the kids and certain careers were made overnight. Bono jumped off the stage so he stole half hour more than anyone else.

With the kind of money he’s got, if they gave 1% of their income for one year they’ll end all this starvation. Bob Geldof, not a big fan either, I think if there’s a world crisis I don’t want some musician telling me who fucked up first time round really. Afterwards the record companies jumped on it and used it as a device to sell records. Charities I only do a few and that’s not my job, I’m not interested in making money out of it; some do full time charity work, they get paid to do it and that’s wrong.

What does music mean to you?

Probably the best therapy I know, it’s a kind of elixir, it’s something that gets people through life and helps them.

For me, it makes me remember certain moments in my life, triggers a certain response in your brain, and you can go out and just happen to enjoy it and make new friends and get out of the rat race for an hour or two.

What do you think of the Punk scene nowadays?

The definition of punk to me is the 1% of people who don’t want to tie the line, and just wanna do what they wanna do; there’s a few bands out there doing that and that’s good. It always happened.

Elvis was a punk rocker and so was Sinatra when he first came out. People forget that. It started way before the Beatles. Little girls screaming to Frank Sinatra was outrage. Anything sexy stylish and humorous to me is great rock music and punk rock is, come to think, the angry version of it, the violent version of it and I think it’s the last great artistic movement of the 21st century and it’s gonna go on.

Are you planning on re-releasing any of your old bondage merchandise?

Yes, I’m planning to, I’ve been invited by a couple of art galleries to show the work and I’ve released limited editions in the past.

We’re gonna have a few events coming up and we’re relaunching the website, it’s going to be www. adam-ant.com soon instead of www.adam-ant.net as it’s been until now.

Thanks Adam, was a pleasure talking to you... See you at Troxy!

Thank you, I enjoyed that!

Catch Adam Ant and The Good The Mad & The Lovely Posse live at Troxy, London, on November 20th

Sonic Shocks

Page 8

October 2011

OKORY CLARKE

KORKORYK

By Cristina Massei I’m at the Underworld with Kory Clarke, just before the London date of the ‘Rubicon tour’ – promoting a yet unreleased Warrior Soul record. We talk about Rubicon at the end of our little chat, with Kory kindly offering to

As we sit down, I start with the ritual warm up questions, you know, the ‘how is the tour going’ section… Audience reaction: ‘I saw someone jerking off in a corner so must have been enjoying it’; Affluence: ‘Are you an investor?’…

Not a good start. I do feel a bit like punching the guy. I mean, don’t they do press to sell tickets and records?

Aren’t we giving them free advertising after all? Then again… Do WE do it to give them free adve r t is i ng ?

Hop ef ully not.

We give them a chance to plug their stuff and in exchange we get to ask things we REALLY want to know, well, at least that’s me.

So, since Kory seems uninterested in the plugging part, let’s just get down to business.

And once we establish that I’m here because of Opium Hotel II (‘You’ve listened to it?? AND YOU’RE OK???!?!’, he laughs), my interview with Kory Clarke turns into the most friendly, interesting and inspiring conversation.

Surely better than ‘It’s going great, UK/Japan/US/*insert your country here* fans are the best in the world’.

wrote it thinking of Britney Spears, but it can be anyone really, Marilyn Monroe, Mary Pickford. Any American model on a magazine cover… ’

Then, booklet at hand, we start going through the controversial tracks; the intro that sees the return of Mr Harris with a long message about the effects of drug dependency: ‘You must love this!’. Actually, yes, I do. It grabbed my attention as soon as I pressed play. ‘Best Birthday Ever’ is a touching poem

by Clarke. He remembers writing it on his birthday, and receiving a phone call from his mother: ‘It was the best birthday ever!’. ‘Love is all I have, all I have to give. At this point I have nothing else left’, he continues quoting the lyrics with a shadow of sadness in his voice. ‘Kiss On This should have been Kiss My Ass’, no surprise there Kory! ‘Masquerade Party was written minutes apart from Opium Hotel, the song the first album was developed around. Both of them were written just before 9/11’ – Kory mentioned earlier in our conversation that the album was written across many years, a collection of gems relet me listen to some of the covered from the shelves of tracks. ‘It’s a very sweet aloblivion to be finally refined bum, you’re gonna like it’, he for release. ‘Junky Stripper says enthusiastically. was written with my friend Jason and was just looking for Up to that point most of the the most possible annoying conversation verges on Kotitle for a song!’. But the most ry’s upcoming solo release important song is Paradigm: Opium Hotel II. The fol‘It’s about what’s happening lowing to his 2004 spoken in the world and needed to be word release, includes this said. It’s always been said betime plenty of pretty amaztween the lines and I went for ing music, but it’s still Kory a direct approach…. It’s time Clarke: expect more spoken for a new paradigm, time for word, poetry and explicit getting rid of all those bad lyrics. It’s a right kick in the teeth. I don’t mean “it fuck- Finally on the very same feelings… Walking around ing rocks, yeah *insert horns wavelength, we go through London, I always get this here*”: Opium Hotel II it’s so the songs on the album one feeling of sadness, and on top direct and belligerent it actu- by one: what inspired them, of that someone drives past ally feels like someone just when were they written and in a Jaguar – normally some kicked you in the face with- some anecdotes. But first, I’m old bold guy – provoking out a warning. Pretty much left to decide where to start: one more bad feeling: envy’. what I feel like doing to Kory ‘What do you want to know You’re envious of a bold guy Clarke two minutes into our about the album then?’ ‘Well, in a Jaguar? ‘They’re deliverfor a start… who’s America’s ing a message, and that mesconversation…

New Cunt?’ (song n.3) ‘I sage is that you don’t have

HATE AND DISAPPEAR

anything’. Is that how you feel? You feel you don’t have anything? ‘I have nothing! All I have is love to give, remember?’ You also say in that song that if you hate you disappear… ‘And didn’t I?’ You’re here… ‘I had a contract with a major label, could have it all, but I hated and disappeared. Isn’t it just what happened to me?’ Something suddenly clicks, it’s like the words on the booklet jump out to form shapes, tell a story, hold your hand and make you feel for yourself.

We’re told there’s only one minute left. At this point we could go on putting the world to rights forever, but I guess there are other things people want to know… So we find out that tonight will be a full Warrior Soul set and also that ‘Rubicon’ will be their last album. Kory Clarke will continue making music, don’t worry about that, and

hopefully touring with his solo material… Well, I hope, he says ‘stay tuned’, but that cheeky smile tells me it will be happening.

The crowd, all warmed up after an engaging set from King Lizard, salutes Warrior Soul with a wave of enthusiasm. As they watch one of the most indomitable and energetic frontmen out there these days, throwing their fists in the air and yelling ‘We Are the Government’, they look like they’re ready to take over the world. They’re loving him and hating with him.

Right now, Kory Clarke owns a lot more than a flashy car: he owns this room and everyone inside.

I wonder if, at least for a moment, he’s mentally sticking up his middle finger to the bold man in the Jaguar…

October 2011

Sonic Shocks

Page 9

ARE ON FIRE! I’m not s u r e h o w other bands work but we don’t do that.

I suppose if they’re close together they’ve got more opportunity to do it.

Luke: Of course.

by Rebecca Cocking Spinal Tap… With their new album ‘Echoes Very (Drummer Cook then of The Fallen’ gaining acclaim exclaims howJames he was once) and their tour with Sylosis and Luke: Spinal Tap havesick nothing Malefice underway as you read on us! this Anterior are a band going onwards and upwards.

As long as they don’t die or be Sonic: So how did Anterior sick…

Luke: The problem is, we make come about? single drummer do a Luke Davies (Vocalist): Inter- every 150,000 ups before every esting story, the band years ago show andpress they struggle… was all from South Wales and (James jokingly remarks it’s true!) we toured with a band called Mendeed, when they split up So you have people from GlasSteve [Nixon] joined us on gui- gow, people from Wales in the tar and I was thinking about band, do you manage to get toplaying guitar at the same time, gether very often? every time I tried I ended up Luke: We get together more often cutting up my hand really bad than people know, it’s usually we so I surrendered the guitar to rehearse and if there’s a tour comhim and 12 months have come ing up we do that for a week solid and gone since then. to the tour then go and do We’ve had like five drummers! prior it. We’re not together every week,

So how did everyone meet?

Luke: Steve was met through touring.

James: I was found through James Britton’s [bass] job when he saw me playing at Camden Underworld.

Luke: We kind of, for lack of a better word, poached him! It’s important to get a guy in a band that can drink but we kind of let that lapse on this one! [laughs] If someone wanted to discover Anterior how would you describe your music?

Luke A cross between Arch Enemy, In Flames and the sensibilities of…

(James shouts Vengaboys in the background) Luke: The sensibilities of Metallica but the eccentricities of bands with loads of guitar work in due to having two guitar players that

really can play so we like to exploit that.

So you have a new album coming out?

Luke: ‘Echoes Of The Fallen’ which I feel really confident about, that doesn’t normally happen with me.

James: We were talking about it the other day that it’s one of those, even after four years when it comes out, there will still be thoughts of ‘I could have done that’ over something.

Luke: There’s always that thought of ‘I wish we could have changed something’ or ‘I wish we had more time to do this’ but every band does that.

What is the writing process like?

Luke: Normally we send riffs back and forth and have a home studio set up for each member then we meet up and kind of arrange it and fight over what’s good and not good.

James: Moments like ‘I can’t play that bit!’ ‘Why?’ ‘Because I haven’t got four arms!’

Luke: After that we arrange the drums loosely to what we want for the song, send it to James and then we humanise it which gets written to go onto the album.

Any particular big tours in recent years?

Luke: Our first ever tour, the first time we did shows back to back was with Black Dahlia Murder and what a way to fucking start your experience with the music industry!

Anything unlucky happened on

stage?

Luke: On the last day of the tour with Sylosis earlier this year I went to lift my leg onto the kick drum and the total bottom of my shorts ripped completely!

James: I missed that!

Luke: I don’t know how you could, it was there for everyone to see. The worst thing that’s happened to us was back two and a half years ago, we were playing a one off show in Brighton and after agreeing to it our mate says to us that he’s bought a van, cheap and we could borrow that for the show.

We all got in this van and it’s a standard Transit van so 3 in the front, me and the guitar player in the back with all the gear.

By Newbury the van broke down and we were told “boys don’t get out of the van, we’re just going to push it off the road and fix it.” What they didn’t realise was the reason it broke down was a small fire had occurred in the engine and after it broke down the fire spread so the whole engine and the van was on fire and as we’re getting out of the back the door handle came off in my hand!

We had to lie down with our hands on our face kicking the door hoping it’d open before we die.

Ok guys, was a pleasure, thank you for your time!

‘Echoes of the Fallen’ is out now on Metal Blade Records

Sonic Shocks

Page 10

October 2011 wouldn't normally appreciate it.

Jack White won't take our calls or invite us to his shows but we can't feel slighted, he did us a favour and we appreciate it.

No work, just play After an enthusiastic review of Pentagram’s latest live DVD ‘When The Screams Come’, Matt Dawson asks a few questions to Bobby Liebling for Sonic Shocks. Enjoy!

As we reach just over forty years of Pentagram what do you feel is the defining legacy that Pentagram has given to the doom metal scene?

Some solid songs. We feel like we took the basis first played

by Iommi, Ward and Butler and took it even lower, perfected the true downer vibe of heavy blues. We took it all to a much darker place When The Screams Come is the first DVD of a Pentagram concert and showcases a pivotal moment in the band’s career with the show at Maryland Deathfest in 2010. What were the thoughts going your mind at the time?

Victor came back to the band out of the goodness of his heart. He joined to save my little tour and Maryland Deathfest performance that had been set up a year before when there was a solid line up behind me.

Mainly, it just made us all feel that we finally got the crowd we always dreamed off. It made us feel lucky to be alive and maybe realize in a way, the effect that we had on people. In the old days, we couldn't even get more than 10 people to one of our gigs We finally felt like we were understood. It was like being in heaven after we'd been in hell most of our lives. We felt loved and not forgotten! A big "thanks" to all our fans, new and old, for being there for us on this special day. Please buy the DVD, it's a great set and a climax moment in our careers.

We think it shows in our performance.

Following that came the re-

lease of Last Rites followed by the shows at South By Southwest and Roadburn to give two examples, how has it felt to be touring around Europe and showcasing Pentagram to a new generation of fans?

doing shows after Killer died?

They'd be cool to have out.

We keep naming bands who primary members are dead… ugh.

How does it feel to be coming to - Wayne Kramer for Bobby's the UK for the first time later on sake. this year?

- Wishbone Ash Amazing. From my point of view, the Mercy Beat was a - Something David Eugene Edhuge influence on me. Just to wards is involved in, he's a great think that we are finally com- player and very original. ing to the land that birthed T McPhee and the Groundhogs - Deep Purple, let's get John is just amazing..... We keep say- Lord on there too... We wish ing to ourselves.... "FINALLY"! him the best with his battle So many great UK bands have with cancer. been a massive influence on us.

We can't wait to vibrate the en- - Judas Priest because we've tire country with songs that were opened for them before back in mainly influenced from English DC in the 80s. music. We love you so much!

- Scorpions with Michael If Pentagram could curate a fes- Schenker or even Uli Roth tival who would be on the lineup and why?

- Thin Lizzy, Phil's not around but they are still playing... AlWell, geez… It would be a scary though, what's up with that place since a lot of our dream many members in the band bands are dead. Only speaking now? Catering is going to be of who is alive... Let's see... expensive!

- For new bands, no question, IN SOLITUDE. Young kids who are great musicians and understand music. We did a small European tour with them and we enjoyed It's a wonderful gift. It proves their music and their company. to us that persistence pays off. They are going to be huge.

Who knew the downer songs we loved to write and play - The Groundhogs because they would also be enjoyed by oth- are amazing and also survivors. ers.... and others all over the world... And more than 40 - Black Sabbath because they are years after we wrote them. the fathers of doom.

We better stop here because it's going to be a week- long festival. Contact our manager, Pellet and let's get this festival together!

What are the future plans for Pentagram?

Who knows... We'd love to do another album. We'd love to play more shows. It's getting hard to tour with everyone having either kids or the What were your feelings on The - Alice Cooper and KISS be- need to work. We aren't living Dead Weather (Jack White’s cause they were huge influence off of this "job". We hope once project with Alison Mosshart) on all of us.... especially Alice for the film comes out, "Last Days covering Forever My Queen a Victor. We all love Kiss of course, Here" that we'll be able to do couple of years ago? at least the old KISS. We'd want some touring and make some Ace and Peter back in the band money. We don't like to work, It was great! People are people... though. we only want to play!! music fans are music fans and it told us that other musicians - The Stooges! Iggy's attitude liked our music. Luckily, they matches Bobby's. were famous and helped expose our music to people who - Are the New York Dolls still

October 2011

Sonic Shocks

Page 11

Words and images by Nelly Loriaux For all those all night party animals reading Sonic Shocks, there's one place you should definitely head for on your next holiday: IBIZA. Dubbed 'Ecstasy Island' in the 60's it has now become the undisputed 'Dance Mecca Island'. And if you still doubt what so many people must have told you about Ibiza being the dance capital of the world, you WILL become a true believer as soon as you step out of the plane.

From the moment you collect your luggage, you'll be greeted by nubile barely dressed clubs' 'PRs' showering you with flyers promoting the hottest events in town, not forgetting the many billboards you will drive past on the way to your 'resting place' plastered with DJs faces, club branding and events taking place in the upcoming days.

Name your poison and Ibiza will oblige: foam parties, boat parties, fetish nights, table top dancers, trance, glitz and at times glamour, whatever takes your fancy ( or more to the point your budget!!).

If clubbing is your main motivation there won't be any beach time, believe me, so you should really try to find a cheap dig to crash out and recharge your batteries because this is going to cost you. Expect to pay anything from 40 to 75 euros depending on clubs and events with drinks knocking you back a further 8 to 15 euros.

Top DJs, such as David Guetta, Bob Sinclair, Carl Cox to name but a few, are the main attraction in the major nightclubs, so whichever superstar DJ you're following prepare your itinerary beforehands bearing in mind that there are 2 hot spots to consider: Ibiza town on the east coast (Space, Pacha, DC10..) and San Antonio on the west coast (Eden, Ibiza rocks hotel, ESparadis) with Privilege and Amnesia on the main road between those two, near San Rafael. But wherever you decide to stay all clubs can be reached via the ' Disco Buses ' that run all night direct from Ibiza and Playa D'en Bossa to San Antonio and vice versa; there are also free buses provided by the clubs or promoters from location in Playa D'en Bossa, Ibiza port and San Antonio for tickets holders.

Timing is also something to consider for your well earned ' break away from it all'. Although Ibiza is pretty much in party moods throughout the summer, where every nights feel like the weekend, the parties that seem to attract most people are the Opening parties (May/June) and Closing parties (Septemberbeginning of October) I managed to cover some of the Closing parties and check them out for you - Enjoy the ride!

Pendu lum), WE LOVE (The Sunday marathon sessions are known across the globe as providing the best quality in electro, house or techno; might give you an idea of SPACE, located in Playa what Space used to be like D'En Bossa, has earned the reputation of being the leg- before change in the laws endary ambassador of dance outlawed daytime clubbing), music and it certainly has KEHAKUMA (A popular enough awards and trophies night for the house fanatics to prove it and attract some with resident Nick Curly). of the best DJs in the world.

BE, one of the most successAlthough its trademark is ful house and trance party definitely on the techno side, this year saw a varied mix of parties each worthy in their own right: MONDAYS CALLING (Mark Knight's Toolroom Knights party as well as Roger Sanchez' Release Yourself events), CARL COX (10th year of Friends and Revolutions epic), COME TOGETHER (An intriguing night which started in 2010 with acts as varied as Faithless Sound System, Mark Ronson, Zane Lowe and El Hornet from

on Wednesdays' nights and at the foremost of every clubbers' mind, closed its doors on 14th September and it was spectacular. Four spaces were opened tonight, each delivering their own vibes and jammed packed with their loyal crowd.

RED BOX with Iain Taylor, Nest DJs, Darius Syrossian and Pete Zorba SUNSET TERRAZA with Elio Riso and Kumharas TERRAZA with EDX,Sunnery James & Ryan Marciano, Fedde Le Grand and Wally Lopez Without undervaluing all those great DJs, it was clear

that the main attraction and what the clubbers had come to see tonight took place in the main room: DISCOTECA with Gareth Emery,Markus Schutz and Armin Van Buuren When I arrived at Space, Gareth Emery was on the decks and the dance floor was already 3/4 full, getting even more crowded during Markus Schutz's slot; by the time Armin Van Buuren took over every inch of the dance floor was covered, there was no room to swing a kitten, let alone a cat.

Looking from above all you

could see was a wave of raised arms, the crowd going wild and you could feel a lot Armin's fans were here tonight, all in a ''State of Trance'' (they've obviously been listening to Armin radio shows), finally living the music, wishing the night would never end and enjoying every single second, in the hope that they will be able to reproduce the atmosphere in their living room when they get home.

Sonic Shocks

Page 12

Close to the village of San Rafael and easily accessed via the Discobus lies AMNESIA, where the most successful and still one of the longest running UK nights in Ibiza takes place: CREAM. It has become a ritual for clubbers and, judging by the full house for tonight's closing party, the place to be seen at.

Cream concept is to present the best electronic music and give people a good time. The name for the club, Amnesia, was chosen in the 70s by the then leaseholder Antonio Escohotado to represent a place where people go out at night to forget their problems and indulge in an unknown world far away from ordinary routine.

Right in the middle of San Antonio, you'll find Ibiza newest super club EDEN. With a capacity of 5000, it offers a wide variety of music from Trance and Old Skool to R'n'B/Hip Hop and is famous for its superstar DJs line up.

On 15th September TwiceasNice hosted their sexy and stylish R'n'B closing party with a mouth watering line up: Dj Grant, Dj Sci, Dj Policy, Dr Psycho, MINX, Ironik and live performance from LethalB and Chipmunk.

This is urban Ibiza at its best.

Scantily clad girls holding billboards and flags are going through the West End enticing clubbers to follow them to what's promised to be the hottest party in San Antonio tonight. Whilst waiting for British rapper Chipmunk, we get entertained with smooth moves from exotic and pole dancers and a jaw dropping acrobatic display of aerial silk.

The club has basically 2 rooms able to contain in the region of 5000 people.

The MAIN ROOM, catering for trance, is THE place to rave in the pit; surrounded by a higher levelled VIP area where the Amnesia's GO-GO dancers perform their routine. The DJ booth, seeming to be hovering over the dance floor, is going to be manned by John O'Callaghan, Adam Sheridan, Gareth Wyn and Paul Van Dyke.

When Chipmunk finally makes his entrance, the crowd is going frantic and you know what they're waiting for. He doesn't disappoint and we all get to do ' backing vocals' to anthemic R'n'B stomper ' Champion'.

TwiceasNice concentrates mostly on garage and R'n'B music and might not be appreciated by all, but it's a definite break from Trance music. Which brings me to what Eden is notoriously known for all over the world: JUDGEMENT SUNDAYS, THE trance lovers most sought after night.

The MIXMAG TERRACE, which gears towards electro and house, will be the domain of AN21&Max Vangeli, James Dutton, Chris Lake and Calvin Harris.

It's 1.30am and the place is already almost full. I managed to catch part of Gareth Wyn set before finding a spot which seems like a safe bet in front of the DJ booth in the Mixmag terrace. The visual display combined with the atmospheric remix of ' I'm Coming Home' and 'You've Got the Love' is mesmerising. By 2.45am, the place is jam packed. The frenzied atmosphere can be felt throughout the room .A hot, sticky and sweaty sea of bodies is crushing me against the banister and I'm sure that, even though there's no elbow room to speak of, that hand on my ass is intentional. Mind you, that's one way to make ' friends ' and looking at his cute insanely young face and fit body I decide to just enjoy the moment.

3am: To the sound of 'make some noise' and 'I want to see hands in the air', and a quick fired pyrotechnic display that does nothing for my hot flushes (where is that ice cannon when you need it), Calvin Harris finally takes over the decks and start his eagerly awaited set of contemporary electro under the roaring approval of a full house.

IBIZA ROCKS HOTEL is probably a bit of an oddity in Ibiza club scene, but it's just the perfect addition that demonstrates that the white isle is not just about monster clubbing and superstar DJs. Moving on from Bar M, Ibiza Rocks Hotel is now the main live music venue for the Ibiza Rocks events. The permanent purpose built stage is located in the courtyard, next to the infamous pool which has been known to incite band and crowd alike to take an impromptu dip (although not tonight, shame, I was quite looking forward to that).

October 2011

The line up for its closing party was impressive: Ben Commins in the Dub & Bass room; Howard Donald, Tristan Ingram, Tristan D, Alex Ellenger & Lee John in Judgement Sundays Soundsystem room and in the main room Judge Jules with Eddie Halliwell, Simon Patterson, Arty, Vicky Devine & Xicpo Portas Judgement Sundays is now in its 12th year and is Eden most popular night. Judge Jules is a definite crowd puller; the man knows how to fill a room with his crowd pleasing set, a range of tracks that people are familiar with and love with the added bonus of an uplifting laser show for that trance vibe experience.

And tonight was no exception: the hands in the air, the sweaty bodies gyrating as if in an altered state of consciousness and a full house living up to Eden's reputation.

We're going to do our festival set. It's got a lot of energetic numbers and hopefully people will get up and dance'.

He needn't had worried.

Just as in Glastonbury, they vowed the crowd.

They played mostly songs from their third album ' Last Night On Earth' and it was obvious that ' electronic acts such as Plan B, L.I.F.E.G.O.E.S.O.N ' and 'Tonight's Madness, The Street, Dizzie Ras- the kind of night ' were clear facal, Magnetic Man to name just a few, Tonight's revellers are in for a treat with Tom Vek, Noah and the Whale and Zane Lowe plus resiEvery Wednesdays since 1st June dent DJs Doorly and Nicola Bear. it has been showcasing some of the best urban, indie,rock and The London based indie-folk Noah and the Whale was a surprise booking for Ibiza Rocks veteran followers and press alike. Even frontman Charlie vourites; the sing-a-long from the Fink admitted to crowd gave me goose pimples.

NME ' it's something different for The closing act of the evening was us and to be hon- more in the vein of Ibiza Rocks est I don't know raw and edgy sounds. Back for what to expect. the 4th time this year, Zane Lowe

brought the season to a close with a high energy set that got the crowd jumping, shouting, singing and raising their hands in the air to his fast paced eclectic mash up DJing style that i n c or p o rating songs such as Duck Sauce's 'Barbara Streisand', Example's 'Changed the Way you Kissed Me' or Daft Punk's 'One More Time'. My favourite moment was when he threw some Slayer and Rage Against The Machine in his mix, loved it.

All in all, a perfect close to a perfect summer The Ibiza Rocks gig wristbands allowed free entry to the official after show at ESparadis before 1.30am so, whilst I'm looking for my bus home to Eivissa, a steady flow of people make their way to the next party.

Now I have a confession to make. When I told my editor I was going to Ibiza and would like to do a feature on closing parties, she nearly choked on her coffee (I was prepared and was ready to perform the Heimlich manoeuvre just in case). Me, the one who said that she would never set foot on this modern version of Sodom and Gomorrah even if I won a free holiday, going to Ibiza!!! I’m sure she's been chuckling every time she received my reviews and pictures.

I won't get into the reason of my change of mind but I must admit that, although I'm still not completely converted to Ibiza way of partying (well a walk through San Antonio notorious throwing up alley 'littered' with comatose bodies is a sight for sore eyes), I did have a good time; each clubs can indeed cater to pretty much everyone’s taste.

I couldn't cover all that I would have liked to, but I hope this feature was varied enough to demonstrate that there's more than meet the eyes. Who knows, I might come back and try to discover the clubs that got away from me, after all it'll start all over again in June for the 2012 OPENING PARTIES. Note to editor: stop chuckling, I can hear you…

Sonic Shocks

October 2011

Page 13

Our favourite Snowhite talks to the

By Sophia Disgrace Photo by Gianni B. Burlesque!

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 incorporate other elements such as fire play into my routines.

Burlesque - or 'the art of tease' as it’s also known, first rose to prominence in the 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 ever - is at the forefront of this movement, which is both alluring and inspiring for men and women alike.

If you had to cite hmmm, three key influences for The Dwarves as a collective, who or what would you choose?

Peanut butter or chocolate spread?

Wu Tang Clan- because there are so many of them you get confused and they have funny names.

Drug of choice?

Georgia O’Keefe - because we’re so old.

This month's velvet curtain reveals...

Burlesque Spotlight!

Fred Astaire - because we dance so well.

Here is my pick of all things burlesque Halloween! My favourite time of this month... the year and one which see's my diary choc-a-block with shows....

CHARITY BURLESQUE NIGHT @ the Forum Bar and Club, Aberdeen Friday 7th October 2011 Friday 28th October 2011 From 9pm This night is being put on in aid of PAPYRUS, a charity which aims to help prevent suicides in young people. Compiled by Baron Bartholomew Black, the list of performers for this event is impressively varied, including Scarlett Flame bringing the audience to 'the dark side of burlesque' with her enticing fire performance, whilst Mocha Deluxe fuses acrobatics with more traditional elements of burlesque.

LINDAU BURLESQUE AWARDS @ Club Vaudeville, Germany Saturday 15th October 2011 From 6pm

Saturday 29th October 2011

TEAZED UP Hereford With the impressive moniker of be- From 7pm approx ing Germany's first ever international Burlesque Festival, I shall be performing alongside fourteen other artists 'Hellbent and heavensent', the from across Europe. There will also Teazed Up club nights are known be workshops, DJs and live bands, for their rock and roll extravagance and have previously paid host to a plus more surprises in store. number of established burlesque Us burlesquers will be competing for artists such as Adelina Lashay and the main prize - the coveted Lindau Lexxie Sex. Expect their Halloween Burlesque Award - plus associated event to be one to remember! prizes, judged by both the audience and a panel of judges - eeek!

31st October Tickets 13 euros in advance available AKA Halloween from http://www.vaudeville.de/, or 15 go trick or treating!! euros on the door.

Bashing the drums or howling into the mike?

Drums make you retarded!

Old and grey and fast and loud.

Crime of passion or petty theft?

Crime and punishment, theft handed compliment.

Live music, zombie strip tease and fire performances: get your fave horror glad rags on and go shimmy!

Tickets available on the door

There will also be live music, comedy and pole dancing, oh, and look out A wonderfully debauched program for boylesque-act-with-a-difference of fire, angle grinding, live music and lashings of dancing girls.. Hell Tom Delish - yum! never looked so welcoming!

Tickets £6.00 in advance from http:// More details and tickets info on the heronextdoor.bigcartel.com/ or £8.00 next page - but be quick, they are selling like hot cakes! on the door.

Weed. Coke for the sluts.

Young and fast or old and grey?

ROCKY HORROR THEMED NIGHT @The Fox and Firkin – Lewisham From 8pm

CLUB ANTICHRIST @Club Coliseum – Vauxhall

Peanut butter. Or better yet almond butter spread on chocolate.

What’s the most unrock n roll thing you've ever done?

Church bake sale.

If you had to choose, what would be your favourite Dwarves ' career highlight' and why?

The guy from Slayer said we were great.

Okay, here's a scenario for you: the world is going to blow up tomorrow - for definite - what would you do between then and now?

There would be lots of teenage girls with braces and their petrified moms to console before the apocalypse.

Righty, now that we've got all of the deep and meaningful questions out of the way, here are a few slightly more light hearted ones for you...

And finally... any last requests?

Dwarves invade the UK November 17-26 to hype their new classic ‘The Dwarves Are Born Again’. Check us online at http://thedwarves.com for dirty pictures, videos, free songs and surprises. F(UK)!

Sonic Shocks

Page 14

all, and AntiChrist has another Halloween treat lined up in the PureFuckingIndustrial arena, where guest DJ is Krischan Wesenberg of Germany’s Rotersand.

CLUB ANTICHRIST HALLOWEEN PART Y October 28th at Club Colosseum (1 Nine Elms Lane, Vauxhall, SW8 5NQ) Doors - 8pm to 3am / Club Close 6am / Bar happy hour til 11pm Over seven sinful years on the fickle London club circuit, the promoters of Club AntiChrist have proven repeatedly that they sure as hell knows the trick to hosting a thrill-filled Halloween bash. In 2011 the treats are bigger than ever before, with over 90 prizes, totalling a record £2700 to be won in the club’s annual raffle, which all ticket holders for the October 28th extravaganza are automatically entered into. And even if it’s not a winner, every ticket will still give access to no less than seven themed rooms, promising 10 hours of live music and performers, DJs, deviance and some generously distributed freebies!

In keeping with this year’s ‘Rock ‘n’ Roll Voodoo’ theme, the Theatre of Sin room becomes the ‘Theatre de los Muertos’ - where an exceptionally extensive and eclectic live band line-up kicks off with John Drain dragging swamp blues back from the dead, before zombie-besotted shock rockers Al B. Damned channel the bad juju of Alice Cooper and Wednesday 13 in their spooky and theatrical show. Vince Ripper and the Rodent Show - featuring Ratfink (ex-Alien Sex Fiend) - perform a kooky spooky and damn right groovy live DJ set with 3D visuals. The head ghoul at this ball however can only be Vince Ray who, having already lent his infamous illustrating talents to the event flyers, opens the Theatre as Ripper, and then headlines with Cramps-y, creepy, psychobilly band The Boneshakers!

Plus of course there’s still plenty for deviant patrons to get their teeth into on the menu of temptations offered in October. The girls and boys of Satan’s Strip Show will present some enticing encouragement to commit sins of the flesh - while showing plenty, and Strip Show regular Sex0r claims star billing on this occasion, for his snakehipped bellydancer from hell routine!

Pole and cage dancers perform throughout the night, and Sophia Landi and Sophia Disgrace blend burlesque bump ‘n’ grind with angle grinding, and perform fire tricks so smoking’ hot they need to strip down to go on with the show! Those horny devils wanting to do more than watch can make themselves at home in AntiChrist’s Playpenzequipped dungeon The Devil’s Playroom - which is hosted by house mistress Rebekka Raynor, or in the Couple’s Darkroom - which is kitted out with sofa beds, complimentary condoms and tissues! Whatever activity clubbers choose, The Chillout Room is the place to rest and relax later (and to play Twister (!), should the free Halloween punch act as an especially effective livener!) - and the offer of little r ‘n’ r will surely look especially welcoming to anyone who competes for a prize in the evening’s mysterious ‘Endurance Contest‘…

Always noted for attracting a friendly and mixed crowd, AntiChrist really can offer something for all alt. types this All Hallows - not least the indecisive, and large groups of friends who are still debating plans to appease everyone. At AntiChrist, party people will find under one single roof a fetish club, an industrial dance floor, an alt/goth/mashup dancefloor, a strip show, rock show and voodoo blues straight from the crossroads, and for the price of…. £19, actually. Yep, pick up an early bird ticket while they last and the devil will strike a bargain whereby you not only keep a hold of your soul, but keep enough change to make happy hour at the bar (between 8pm and 11pm) all the happier!

And on the Sunday, why not to go on the h(a)unt for...

ts of ry ghos r e M e h t town london

NIGHTMARE ON HOLLOWAY ROAD October 29th at Nambucca, 596 Holloway Road, N7 6LB From 19:00 to 03:00 am HALLOWEEN - A Fright To Remember!

KING LIZARD + CASINO + STEREO JUGGERNAUT + CATFIGHT + FIND A FIEND + DOGSTATE in an awesome Horrrorfest at Nambucca

So, you’re gonna be in need of a beer, right? In true Halloween spirit, time to betray your local and try London’s most haunted pubs!

The Grenadier Pub. Wilton Row. London, SW1X The pub’s cellar was once used as a drinking a gambling lair for the soldiers of the nearby barracks. A young soldier was caught cheating and beated so badly he died from his injuries.

Spectres, disappearing objects and rattling tables are said to ‘animate’ the pub.

Expect the unexpected - scary, spooky and so deadly party games - Special Ghosts, Satans Lapdance, Evil Apple The Flask Tavern. Pond Square.

Bobbing,Blood , Guts, Gore and Ghouls,.

Highgate, N6 ALL purchases of Jack Daniels come with a FREE raffle ticket for our prize draw straight after the last band - with DJs Caz “Angel of Death” Mumin and James”Schizo” Frazer spinning the most evil in rock n metal throughout the Dark Night.

NIGHT OF THE DAMNED 31st October at the Courtyard Theatre, Hoxton From 7 til late Halloween at the London Horror Festival.

On the evening of October 31st the Courtyard opens its doors to the creatures of the night in an evening of pitch-black comedy, gothic rock, electrocarnage and undead hordes.

Featuring:

RELEASE THE BATS - Alice Cooper meets The Birthday Party down dark alley in Transylvania. Gothic rock done hard and dirty, we’re Don’t wait around - you won’t get aproud to welcome Release the Bats to headline our first Night of the a better invite this Halloween!

Damned.

Limited early bird tickets now on sale, priced at £19 for singles (usually £23 adv. / £28 door) and £36 for couples (usually £38 adv.), available at www.clubantiThe Hellfire Room dancefloor christ.com runs between all the acts, before kicking off grandly at 2am after Dress code - Rock ‘n’ Roll Voothe Theatre shows. Goth and doo / Dirty Rock ‘n’ Roll / Voo80’s fans should be assured that doo Horror / Dia de los MuerHellfire will still be airing all the tos / fetish / goth / body mod / usual alt. anthems, and there’s no medical / industrialist / TV/TS / need for industrial-loving regu- cyber / bondage / carnival / vamlars to get upset at the thought of pire / werewolf / theatrical all those guitars either. The Devil does have all the best tunes, after

October 2011

A female ghost haunts the pub, although no-one is certain of her identity, maybe one of the pubs former maidservants, who committed suicide when an illicit romance went wrong. Her arrival is normally announced by a sudden extreme drop in temperature The George. Strand, WC2.

Apparrently there’s a mysterious - and handsome - male ghost in the cellar.

No one knows his identity, but he has been appearing to several witnesses.

The Viaduct Tavern. Newgate Street, EC1.

Another one in the cellar who seems to love playing with staff and contractors mostly. A manager was mysteriously locked in the cellar in 1996 and freed by his wife.

The Rising Sun. Cloth Fair, EC1.

Its proximity to St Bartholomew’s Hospital has led to a local tradition that, in the early 19th century, a gang of body snatchers used the pub as a meeting place and later a hunting ground for cadavers. Managers and staff have over the years, encountered several ghosts:.

CORPSE LIGHTS - Wailing synthesisers tremble beneath inhuman voices, empowering Corpse Lights to send out waves of Hex-hop that Bow Bells. Bow Road, E3.

Flushed By The Ghost. lap at the shores of the spirit world.

CASUAL VIOLENCE! - Twisted dark comedy collective, fresh from A ghost with the annoying habit of flushing the ladies toilet when patrons storming Edinburgh with their 5-star rated show ‘Choose Death’. are sitting on it, haunts the pub!

The evening will be interlaced with immersive performances, strange occurrences and chance slayings. Dress for an orgy in an undertaker’s. In 1974, in a determined attempt Oh, and it’s also JETTBLACK Matt’s birthday!

Tickets £10 – available online or from 6.30pm on the door.

Check out www.londonhorrorfestival.com and www.thecourtyard.org.uk for more info

to flush out the ghost, the landlord decided to hold a séance. As the sitters gathered round asking the spirit to make itself known, the toilet door suddenly swung open with such violence that a pane of its glass was shattered.

Sonic Shocks

October 2011 Words and images by Denise Britt Let me start you off with a little ACL background/history before I take you on a 3 day romp around Zilker Park.

The Austin City Limits Music Festival (ACL Festival) is an annual three-day American music festival that takes place in Austin, Texas at the city's central public park, Zilker Park. Each year, in addition to food & art, most from local vendors, ACL Festival brings together more than 130 acts from all over the world to play rock, indie, country, folk, electronic and more on eight stages.

Over 70,000 fans attend the festival each day.

Named after the legendary PBS concert series, the Festival is produced by Austin-based C3 Presents, who also produce Lollapalooza. In 2011, ACL Festival celebrates its 10th Anniversary on September 16–18. And celebrate we did...

Before leaving you with our reviews, a few numbers: The Festival sold out with 75,000 people per day in attendance.

The Mighty Cone served a record breaking 30,000 chicken cones.

ACL poured enough water to fill 244,000 bottles from its refilling stations.

Rock and Recycle collected appox. 3,000 bags of recyclables.

From patron donations and a match by the festival, ACL raised $35,000 for wildfire victims.

Friday, 16th September 2011 Silly me thinking that every festival is sensitive to the media’s (me) parking needs. After driving around for a good half hour I finally drive onto a side street lined with cars, vendors, pedi-cabs, bicyclists and pedestrians into a $20 parking space.

After all it can’t be that far of a walk now can it? So after walking a bit I see it, like an oasis in the hot, Texas sun, the “Press Lounge” sign.

Go in, show some ID, get my passes and settle in. My assistant for this festival is my 19 year old daughter, Krystal.

We slap our ID bracelets on and get ready for the day. I take my camera out and it promptly starts to rain. Really? We (Texas) have been in a horrid drought for months and months. A record breaking drought. The rain doesn’t last for long and before I know it our first interview has arrived. A young lad named Hudson Moore. After speaking with sweet Hudson we head out into the madness that is ACL 2011.

First on the list is Electric Touch, a band I had a short chat with at Rocklahoma. I didn’t get to catch their set in Oklahoma so I wanted to make sure I saw them in Austin. I’m so glad I did. They are fantastic. Shane (lead vox) is a delight to watch.

His dance moves are electric, (no seriously, like he is being electrocuted a bit, very entertaining) vocals are on fire and the boys behind him keep up just fine. This British fronted, Austin based band was visible everyday as well. They played pre-shows, they played ACL sets, and they played after-shows.

You saw their posters everywhere. They have got to be one of the hardest working bands ever. They deserve to be on your radio, in your CD player, on your IPOD. Give them a listen! www.electrictouch. com

Page 15 I didn’t notice a lot of interaction with the crowd; they seemed to really be lost in their performance.

I haven’t decided if that is a good thing or not. The music was great but I like a little artist/audience participation myself. The fans didn’t seem to mind though, these guys are the new big thing and everybody loved them. www.fosterthepeople.com Pretty Lights – I had no clue what or who Pretty Lights was. Krystal told me that we must see him. Him? Pretty Lights is a him? Ok. So let me explain who Pretty Lights is. Derek Smith IS Pretty Lights. Here is what goes down…

Smith’s music relies heavily on digital sampling and crosses many genres, forming a combination of “glitchy hip-hop beats, buzzing synth lines, and vintage funk and soul samples, sometimes grime. Pretty Lights’ sound is generated by synthesizing samples and organic beats using the Novation X-Station, monome and the Akai MPD32.

To me, it’s a mixture of old dance tunes mixed up digitally with a plethora of beautiful, lights to accompany the beats. Aha! PRETTY LIGHTS. Whatever you want to call it, it had me and everyone around me dancing… I mean club dancing. I loved it. I could have listened to it for hours. Go on, you know you want to... www.prettylightsmusic.com We have our first dilemma. Coldplay or Kanye?

Coldplay OR Kanye? I figure I might actually see Coldplay again sometime. Kanye, not so much.

After all no one really ‘likes’ Kanye West do they?

Kanye it is. I mean I cannot pass up a chance to witness the legend that is Kanye West right? To begin with he started on time. I guess this is unheard of in Kanye land. The set was beautiful; the dancers came out and were costumed gorgeously. Someone said it looked like God Himself was about to come onstage.

While we all waited for Kanye to appear from the side or the back of the stage a spotlight suddenly shines out in to the crowd of thousands upon thousands of adoring fans…a platform rises from the ground with Mr. West looking down upon his kingdom. He sings his first song and then descends to the ground and struts up the center of the crowd to the stage. I’ll admit it, I was excited. He did put on a show. A good one. Kudos Kanye. www.kanyewest.com

Saturday, 17th September 2011

Ray LaMontagne (Ray CHARLES La Montagne no less) was our next act to catch. He had a huge crowd. I had never heard of him until I researched him before the festival but as soon as I heard the song “Trouble” I knew it. It was the old, “hey, so THAT’S who sings that song” thing. He’s got a very cool, raspy, bluesy thing going on. In the UK, Trouble was a top 5 hit, and the title track of the album was a top 25 hit. Till the Sun Turns Black was a top 40 hit in the US. I see why now. Check him out for yourself at www.raylamontagne.com Foster the People – Months ago I heard this song on the radio and really liked it. It was very catchy. The lyrics were weird and when I actually listened to myself singing them I had to look it up. ‘Pumped Up Kicks’ is the song, look it up for yourself. These guys played a great set. I did a review on their album ‘Torches’ a couple of months ago and they played it true to form. Sounded just like the CD.

I get nearly the very same $20 parking space today.

They must have saved my spot. The day gets off to a soggy start. I thought we were in Austin not the

Tons of original bands merch now available on WWW.SONICSHOCKS.COM

Page 16 UK! Once my camera is securely wrapped up in a clear, plastic trash bag I take off to go catch Iron & Wine’s show.

Sonic Shocks ing “fuck you and fuck her too” at the top of their lungs. We were like little kids getting to say ass

Samuel Beam, better known by his stage and recording name Iron & Wine, is an American singersongwriter. He has released four studio albums, several EPs and singles, as well as a few downloadonly releases, which include a live album (a recording of his 2005 Bonnaroo performance). He occasionally tours with a full band. He had a very full band at this performance.

I first heard Iron & Wine on the Twilight soundtrack. ‘Flightless Bird’ is a beautiful piece. As a matter of fact, everything that I’ve heard from Iron & Wine is beautiful. The music was perfect.

The rain was softly falling, he was softly singing.

It was almost spiritual.

The soaking wet crowd loved him. They loved the fact that it was raining and the 100 degree weather had taken a reprieve. It was just a great moment. When you are in the mood for some good soul lifting music, check him out. www.ironandwine.com The Moondoggies – I am so happy to have stumbled across these guys! I love them! If you love old southern rock, blues, old hippy 70’s sounding music, you will too love The Moondoggies. Led by 22-year-old singer/guitarist Kevin Murphy, with Robert Terreberry on bass, Carl Dahlen on drums, and Caleb Quick on keys, these boys kick major musical ass.

Their voices blend perfectly together. Something about Kevin’s voice reminds me a lot of Neil Young.

A lot. The whole sound is kind of that Neil

Young, Lynyrd Skynyrd vibe. www.moondoggiesmusic.com Wanda Jackson – On the suggestion from my editor and friend Cristina I headed over to catch Wanda Jacksons set. I’m so glad I did. What a cool lady she is! Total class act. She hails as the Queen of Rockabilly. This cool woman dated Elvis Presley while on tour with him! She has accomplished so much in her 50+ year career that I can’t even touch on it here. She is amazing. She looked great in a hot pink fringe top and jet black hair. She gave tribute to Amy Winehouse and sang one of her songs. Rockabilly music is making its comeback and Wanda is leading the way. Please check her out, if for nothing else but a lesson in music history. www.wandajackson.com Cee Lo Green – I got so into Wanda that I almost missed Cee Lo! I practically ran through hundreds of people to get to the Bud Light stage (yes, it IS my favorite stage) to catch the character that is Cee Lo Green. The crowd was pumped up! Cee Lo is just one of those people that just bring out the smile in everyone. Every person around me was happy. Old, young, it didn’t matter, we were all just happy to be there. His band consisted of beautiful women. Not just eye candy mind you, they were really talented musicians. I was impressed. When the beginning notes of ‘Forget You’. (Yes we all know the real title) began people went wild. We were all throwing up the middle finger like metal heads throw up the rock hands. It was liberating. Everyone scream-

or something of the sort. Remember the feeling? Good, harmless fun it was! Nakia from The Voice joined him on stage at one point to sing along. All in all, this show was a fun, feel good, act a fool and nobody cares show! I think the world needs more Cee Lo! www.ceelogreen.com Stevie Wonder – Wow, did I just type STEVIE WONDER? The man is a legend.

And to think the kid working security at the photo pit area didn’t know who Stevie was. Really?

Was this kid raised by wolves or something? I cannot believe I am standing 20 feet away from Stevie Wonder. He sang every SW song I knew. The man is tireless. He came onstage playing a keytar solo, dropping to his knees and then down to his back eliciting cheers from us all. He got up and raised a little hell about people hating on President Obama. Nothing too crazy though. Stevie just delivered what everyone expected and more. An amazing performance from one of the greatest musicians in history. I feel nothing short of honored to have been a part of his audience. www. steviewonder.net

Sunday, 18th September 2011 Guess what? I’m in the exact same $20 parking space. One would figure the dude with the ever present Lone Star tall boy and floppy hippy hat would be me a break and let me park for free today. Not even. He did always have me a space to park in the crowd of 75,000 people though. I suppose that’s worth a $20. To the press lounge we go. I have a couple of interviews to complete before heading out into the festival today. The lounge is hopping today. After my pre interview rum and coke with a mango Popsicle stuck in the middle I’m feeling quite pumped about the day. This is a good thing because I didn’t think I could walk another step after Saturday.

I talked with numerous bands/ managers today but only caught 2 full shows. That’s ok though, they were two of the best of the festival.

Empire of the Sun – This Australian duo has racked up a host of awards in the past few

October 2011 years. The ARIA Music Awards of 2009 nominations were announced on October 8, 2009.] Empire of the Sun received the most nominations of any artist, with a total of eleven. The winners were announced on November 26, 2009 with Empire of the Sun winning in seven categories!

Luke Steele and Nick Littlemore are Empire of the Sun. They are an electronic band with an elaborate stage show.

The lead singer Luke came out with his trademark makeup on with some sort of headdress on.

Surahn ‘Sid’ Sidhu (who’s part of the touring band due to Nick’s other commitments) looked like he had come off the set of ‘George of the Jungle’. They had several sets of costumed dancers as well.

They were a blast to watch. Lots of dancing, smoke, lights and just all over coolness. My favorite Empire of the Sun song just so happens to be the website name. Check em! www.walkingonadream.com Arcade Fire – Arcade Fire is an indie rock band based in Montreal, Quebec, Canada. It consists of the husband and wife duo of Win Butler and Régine Chassagne, along with Will Butler, Richard Reed Parry, Tim Kingsbury, Jeremy Gara, and Sarah Neufeld. Arcade Fire came to prominence with the release of their debut album, ‘Funeral’ in 2004 to critical acclaim. Ok, are you ready for this list?

The band plays guitar, drums, bass guitar, piano, violin, viola, cello, double bass, xylophone, glockenspiel, keyboard, French horn, accordion, harp, mandolin, and hurdy-gurdy. What the hell is a hurdy- gurdy you ask? Well, let me educate you right quick. The hurdy-gurdy is a stringed musical instrument that produces sound by a crankturned rosined wheel rubbing against the strings.

It’s a strange looking thing I’ll tell you. Also, during shows the band members will switch off and play different instruments. Talk about a multi-talented group. I think I saw one of them play some spoons and a washboard at one point. Arcade Fire played all the crowd favorites including mine. ‘Wake Up’ from the movie ‘Where the Wild Things Are’. Krystal and I stopped in the middle of the crowd when this song came on…stopped and seriously got teary eyed. Something about this song reminds me of youth and the loss of it. Something about seeing my 19 year old daughter standing in the middle of a crowd of 30,000 plus people, crying to Arcade Fire is life changing. I’ve done my job, I think to myself. I’ve created someone who loves and appreciates music and lyrics as much if not more than I do. Thank you for the music. www.arcadefire.com All in all, ACL Festival was an event to remember.

130 bands, 8 stages, 3 days. I needed about 5 assistants to cover all that deserved to be covered. I have heard so many things that I missed. AWOLNATION’s crowd surfing for one. Coldplay’s performance. The Head and the Heart. So many bands, so little time.

Sonic Shocks

October 2011

CHEAP TRICK September 23rd 2011

Page 17

LIVE!

combination, without a doubt. There was no wonder that the stage production was so grand, as the show was being filmed for a future release. There were cameramen on Greek Theatre, Los Angeles CA stage and around the venue. Despite having sung such high praise of the venue already, I should point out that the

By Aniruddh "Andrew" Bansal two screens either side of stage stopped working after the first song itself, and didn't start working again until much Cheap Trick delight Los Angeles faithful with bombastic later in the performance. This might have ruined the viewDream Police performance ing experience for folks far away from the stage. I was in a balcony seat myself, and was relying on the screens to After achieving great success with the Dream Police shows give me a closer look at what the musicians were doing on they did quite a few months back in select cities, Cheap stage. But, I always believe it's "ok" as long as you can hear Trick landed at the wonderful Greek Theatre in Los An- the show alright. Thankfully, the sound was equally great geles to bring the same show to fans here. For starters, I'm everywhere inside the place. extremely glad they chose this venue. It was the perfect size for a show of this kind, with top class sound and light- During the performance itself, the band were in full gear ing, and a serene outdoor setting that made for a terrific and top form, belting out the Dream Police album and experience for one and all present here tonight. more with tremendous aplomb. Not only Zander, but every other member of the band was given full opportunity There were no opening acts here, and it was all about to take center stage and have his moment with the crowd, Cheap Trick. An intro video played on a huge curtain that which was nice to see. The show had just about everything engulfed the stage and also on the two giant screens either you would want from a rock 'n roll band. Guitar solos, side of the stage. The curtain then came tumbling down drum solos, ballads, sing-along sections, extended jams, among huge cheers from the audience. Basically, the set a cover song, and anything else you can possibly imagine. list consisted of the Dream Police album in its entirety They left no stone unturned in giving the fans their monfollowed by an encore of other classics, with the band in ey's worth. There was a complete variety of instruments full glory amplified further to a huge extent by the par- seen, including the 12-string basses and unconventionally ticipation of the Bombastic Philharmonic Symphonic or- shaped guitars. They ended the performance with the hit chestra. While the band obviously graced the front of the song "I Want You To Want Me" and finally, "Surrender", stage, the orchestra was perched on the upper deck in the followed by a blast of confetti that enveloped the entire back. Visuals were projected onto the space behind Daxx venue. The band members then threw out a bucketload of Nielsen' drum kit and behind the orchestra as well. These souvenirs for the audience, before saying their final goodvisuals fit perfectly with the music at every moment, and byes. truly contributed towards this spectacle in a big way.

Despite the fact that the venue was packed for this show, Besides the projected visuals, there were various other vis- the response from the crowd left a lot to be desired. Even ual aspects to the show that proved the fact that the band though the band played songs from an album that is 32 went all out in presenting the Dream Police album the years old no less, there was no great excitement or singing way it deserved to be presented. Frontman Robin Zander along with the lyrics during any point of the night. On the came out in a white police uniform, on a chequered stage contrary, people around me were busy either talking each floor, with police sirens behind the drum kit. A winning other's ears off or leaving their seats for food and drinks

ERASURE September 23, 2011

ACL Live Moody Theater, Austin, TX

most of the time. This annoyed me to no end. I just don't understand why you would want to pay money to see a show and then talk to your buddy or stand in the beer line while the band is performing on stage. Sadly, to each their own, is all I can say to that. It was only for "I Want You To Want Me" that the crowd really woke up, which was also sad to see because in my opinion, every other song they played tonight was better than that one. That song just fulfills a rather unfortunate stereotype of the worst songs always being the most popular ones.

Nonetheless, Cheap Trick put on an amazing show, and proved themselves as perennial rockers who always have, and always will continue to provide massive entertainment to their fans.

TESSERACT + Heights 7th September 2011 Bracknell, Cellar Bar

Words and images by Denise Britt

by Dan Balchin

This is to be my first gig at the new Moody Theater in Austin. The new theater/studio, which was completed in February 2011, holds 2,750 fans and hosts an estimated 120 shows a year in addition to the “ACL” tapings.

KLRU gets 45 days a year, rent-free, to produce each season of the longest-running music series in American television history, Austin City Limits.

Described as a 'secret show' in which Tesseract took on the name 'Hypercube' for the sake of remaining under the radar, this was a very special evening. Jokes were made by the Heights bassist, where he thanked Facebook for the leak of secrecy, and this of course resulted in a packed room of diehard fans, eager to witness such a phenomenon in a small, underground room named 'The Cellar Bar'.

Erasure was the theaters very first sold out show since opening! That is kind of an honor I think. First of all this theater is amazing. It is a very cool warehouse looking place. Three large bars surround the room. The acoustics are fantastic. Bring on Erasure!

The stage is set with several gargoyles, smoke rises from the back of the stage slowly; the crowd is getting more excited by the minute. Club music is playing; bodies are smashed close together anticipating Erasures arrival. The lights come on and out strolls Vince Clarke and takes his place behind the largest, red eyed gargoyle that is hiding the keyboard. Andy Bell is not far behind him, dressed in some sort of get up that reminds me of my high school marching bands uniforms. Then the fun begins. They break into Sono Luminus and the crowd explodes. Andy really gets warmed up after about 5 songs and busts some wild dance moves. This man can move! I admit it, I love gay men. And this one in particular. I have never seen a man move like that. He had grown men swooning. Hell, he had me swooning!

This concert was a pleasure to attend. The sound was great, the crowd energy was phenomenal, and the guys were spot on!

Their new single is out now, and is entitled "(When I Start To) Break It All Down."

Check it out; Erasure still has what it takes to sell out shows and leave people breathless. Dare I say it? 80’s music is making its comeback!

In what can only be described as a warm-up show, ahead of the 'Lowering The Tone' tour, it was certainly a masterclass in performance. Before Tesseract took to the couple-of-inchesoff-the-ground 'stage', Heights ploughed through a number of favourites and were more than warmly received for their display of musical virtuosity.

It was a little over a year ago that I watch Tesseract play the Bracknell, Wilde theatre (next door), interestingly without their lead singer (due to illness). Tonight, new Vocalist Elliot Coleman (full announcement HERE) demonstrated his worth after varied feedback from fans and media on the new line up. The bottom line is that Tesseract remain a force untouched and barely rivalled.

As always, comparisons simply cannot go unquestioned and Elliot is able to keep up with the rumbling screams of his predecessor. If I was being critical, I might suggest that the cleaner sections require some tweaking in order to match Dan Tompkins, however this is certainly nowhere as poor as other vocalist replacements found.

Anyway, I digress. Hearing my favourite song 'Concealing Fate Part 2' I was immediately reassured that Tesseract were equipped with the goods to perform at the highest calibre, without fault. I am still amazed by the stamina of drummer Jay, whose ability and exquisite time-keeping know no bounds. Let us not forget the cheeky chappies wielding guitars of all shapes and sizes, with sweet tones that fill the underground den which all in attendance filled, standing in awe at the sight they were lucky enough to witness.

If you haven't got your ticket for Lowering The Tone tour, go and find some cash, because you'll be missing out on something very special. I raise a glass to Tesseract who show no signs of stopping and the same commitment to fans that they have always shown.

Sonic Shocks

Page 18

October 2011

Taking place in Birmingham from 21st to 23rd of October, Supersonic Festival this year pulled together a mouthwatering line up and plenty more to entertain it’s revellers. Sonic Shocks managed to have a few words with some of the protagonists of the 2011 gathering. But before leaving you with Turbonegro, Slabdragger and Zombi, here’s the full list of all that will be happening at the Custard Factory later this month:

preview

Dirty Electronics: Mute Synth, The Berg Sans Nipple, Teeth of the Sea, DJ Scotch Egg, Tony Conrad, Turbonegro, Selfless, STILL BEFORE, Kill All Redneck Pricks: A Documentary Film about a Band Called KARP, The Event, Orthodox, Herman Inclusus, Alva Noto, Jefre Cantu – Ledesma, Silver Apples, White Hills, Ore, Alexander Tucker presents DORWYTCH CYCLE, Imperfect Cinema, Agathe Max, Supersonic Kids Gigs, Pekko Kappi, Mike Watt + The Missingmen, Slabdragger, Eternal Tapestry, Pharaoh Overlord, Barn Owl, Monarch, Backwards, Zombi, $100 and a T-shirt- a film about zines, In Conversation with William Bennett + Vice Guide to Liberia, Conny Prantera, Cut Hands, The Skull Defekts, Wolves in the Throne Room, Part Chimp, Cloaks, SOUNDkitchen, Byetone, a.P.A.t.T., Man with a Video Camera, ENVY, Klaus Kinski, Birmingham Zine Festival exhibition, Antilles, GET A GRIP Screenprinting, Drunk in Hell, iconAclass, Secret Chiefs 3, Blood, Sweat + Vinyl : DIY in the 21st Century, DrumCunt, Modulate, From A to Zine, Suspiria, Fire! with special guest Oren Ambarchi, Nathan Bell, Kogumaza, Bardo Pond, Flesh for Frankenstein, Drum Eyes, Circle, Astro, Lucky Dragons, Scorn, Fonal Records shorts, Electric Wizard... Enough for you?!!?

Party Animals: TURBONEGRO’s Tony Sylvester talks about their return at Supersonic festival

By Matt Dawson Back in July this year Turbonegro returned with a new singer in tow: Exit Hank Von Helvete and enter the Duke Of Nothing Tony Sylvester and their first UK gig is going to be at this year’s Supersonic festival.

We at Sonic love a bit of good old fashioned party crossed with sleaze music (This is the band that released songs such as ‘I Got Erection’ after all.) so we decided to speak to Tony about his role, his thoughts on playing Supersonic, the Home Of Metal project that happened recently and more!

Recently you were announced as the new vocalist for Turbonegro, however not many may know that you were a member of the London chapter of the Turbojugend (Turbonegro’s fan club)...

Yes, before they got back together the first time in the late 90’s early 2000. The band had only played once in the UK supporting King Prawn at The Garage and I had been a fan of the band since obtaining Ass Cobra by accident then I was blown away when seeing them on the Apocalyptic Dudes tour. When they got back together to do Scandinavian Leather I became good friends with them. The vice=president of the London chapter sadly died at 36 so out of respect for him we kept it going.

When the opportunity came up I happened to be in Oslo and hung out with Tomas [Dahl], he was talking about getting the band back together even if just for one show and maybe be guest vocalist, when I returned home I got asked if I wanted to try out!

They were very accommodating and enthusiastic about the idea , I was up for the idea of trying out even if I didn’t think that was the end result in mind, the idea was to do just a couple of dates and then the idea came to get back together properly so I’m very pleased!

How does it feel to be playing the first UK show at Supersonic?

The girls at Capsule got in touch with me, I probably would have never had it necessarily as an idea, I’ve worked with Jenny and Lisa [the organisers of the festival] for three years, helping out with gigs and such. They came to me and said Turbonegro would be perfect. I’m not a fan of big shows normally, don’t really like mud! [laughs] but ones like Supersonic that are on solid ground are a good start. There’s always party vibes there as well with bands such as Monotonix which is what the girls are going for so I’m more than happy to fill that role!

I believe according to the day splits you guys are closing the festival on the Sunday...

Yes that’s right which is great, I’ll get to see a lot of my friends from the Midlands at Supersonic as well.

When it comes to other Capsule projects how do you feel about the Home Of Metal that they’ve been working on?

I think that’s been a great idea! You’ll have to speak to the girls about this but I actually had a dream of curating an exhibition of Black Sabbath related art then the idea came along, I’m not taking any credit for it but I like that it all started from a dream![laughs] I think it’s fantastic, the first thing they did I did the introductions for a panel about Birmingham’s musical heritage.

What bands are you looking forward to?

Wolves In The Throne room and I really want to make sure I catch Silver Apples.

If you could 3 bands to play Supersonic who would they be?

If we could bring them back from the dead then Alice Coltrane, MC5 and Fairport Convention.

And from those that are still going?

To be honest Supersonic’s done a great job so far there are not many people that I haven’t seen but bands like Melvins would be good to see!

(Note: Melvins are playing HMV Library on November 1st in what has been termed in some circles as the ‘unofficial after party!’)

Introducing SLABDRAGGER (and you’re hardly going to forget them)

By Matthew Tilt What are your thoughts on the Supersonic line up this year?

Yusuf (Bass/Vox): It's looking quite intimidating to be honest. I think I might shit my pants.

Matt (Drums): Heavier than an ounce of black hole! Bands are looking pretty impressive thus far, hope we can live up to them!

Sam (Guitar/Vox): It's a very varied lineup as always! I think it’s great that so many artists from a lot of different underground styles of music can be put on a bill, everything is catered for and its all good stuff!! It’s like a huge melting pot of interesting underground music!

Supersonic has seen some incredible live shows.

What can we expect from your performance this year?

Yusuf: Hopefully we will get to include some new material as well as songs from Regress. I'll be head banging, Sam will be beard banging, and Matt will be playing drums as if he is receiving an enema. The usual.

Matt: What Yusuf said.

Sam: I'm looking forward to feeling the power of the almighty PA i keep hearing so much about.... all encompassing volume shall be vibrating our souls and no doubt we will give the crowd what they deserve.

Basically, the louder we are, the harder we headbang. It’s only natural..

You’re a relatively new band. Can you give us some background to the band, and the writing of Regress?

Yusuf: We come from Croydon. That says it all really. Croydon is quite a regressive place with regressive people, not everyone, but the general consensus. So at some point, some people are going to make some really loud, heavy noise to block it all out. That happens to be us.

Matt: We got together collectively around autumn 2008 after Sam had shown us a demo he wrote. After hearing, I was hooked! Was a no brainer really! Since then, over the years that followed, we've churned out 8+ dirty, heavy, painstakingly filthy tunes in a room no bigger than your average garden shed, that, and being from Croydon gives you and end product we like to call, Slabdragger. Lots more to come though, that's if people want to hear it? If they don't, then we'll still fucking do it!

Sam: We wrote the album without really thinking of the end product, we just wrote a bunch of tunes and decided we had enough to put out an LP and arranged them in a way so it flowed nicely, so its literally a collection of every song we wrote from 2008-2010.

How has the response to Regress been so far?

Yusuf: Very positive so far! Apart from one review which gave us 1/10, which I fully appreciated! My first bad review ever, I felt like I was in a REAL band hahaha. But mostly, people seem to enjoy it which I'm really happy about.

Matt: Nothing but positivity thus far (apart from the 1/10!) and that's what drives me, making music that I love for people that love it!!

Sam: Yeah it’s pretty overwhelming actually!!

What can we expect from your live show? Anything special planned for Supersonic?

Yusuf: Maybe! But if I said, it would ruin the suprise.

Matt: Perhaps, time will tell!

Sam: Yusuf is going to wear a spacesuit, Matt will be naked apart from aviator sunglasses and a cowboy hat and I will be wearing a spiderman costume and rollerskates.

You’re playing alongside some big names in extreme and avant-garde music, including Electric Wizard who you have cited as an influence. Any nerves as the day approaches? Were you surprised when you got the offer through?

Yusuf: I'm quite nervous about Supersonic as it will be the biggest gig Slabdragger has done thus far. Like I said earlier, I think I might actually have an accident. I will definitely enjoy Electric Wizard as they are pioneers of the genre(s) we are a part of. I was nicely suprised when the offer came through, I wasn't sure that we were that well known to play such a great festival.

Matt: More excitement than nerves! Can’t wait to play on the same stage(hopefully), and then watch Wizard! Secret Chiefs are gonna be sick also!!

It's really gonna be an amazing experience, not only to be asked to share the stage with great bands, but to also be a fan and enjoy hearing them too!

Sam: After many years playing shows i've kind of become immune to nerves, as Matt said its just pure excitement! I was over the moon to hear that we'd been offered to play, and yeah it was totally unexpected!

And finally, who do you recommend people go and see at Supersonic?

Yusuf: Would I be a total arse if I said us? We're new!

Matt: Bardo Pond, Circle, Teeth of the Sea, a.P.A.t.T., Herman Inclusus, Byetone, Silver Apples, Secret Chiefs 3, The Berg Sans Nipple, Slabdragger, Kogumaza, Electric Wizard, Kill All Redneck Pricks: A Documentary Film about a Band Called KARP, Alva Noto, Drum Eyes, Lucky Dragons, Orthodox, Agathe Max, Jefre Cantu – Ledesma, The Skull Defekts, Zombi, Turbonegro, Selfless, DrumCunt, Dirty Electronics: Mute Synth, Astro, Pekko Kappi, Antilles, ENVY, Pharaoh Overlord, Drunk in Hell, Ore, Supersonic Kids Gigs, Cloaks, Tony Conrad, DJ Scotch Egg, White Hills, Cut Hands, Barn Owl, Nathan Bell, Wolves in the Throne Room, Backwards, Modulate, Part Chimp, Man with a Video Camera, Monarch to name but a few!

Sam: Yeah I think Matt summed it up!! Hahaha!! I'm looking forward to seeing Monarch, Electric Wizard, Part Chimp and Wolves in the Throne Room mostly. There's a lot of bands I haven't heard yet so it'll be cool to check out a bunch I haven't seen before!!

Sonic Shocks

October 2011

Page 19

ZOMBI

Sometimes they come back

by Matthew Tilt Extreme cinema has always been a part of film. Tod Browning shocked audiences in 1932 with Freaks; a mere seven years after audience members had fainted at the very sight of Lon Chaney Jr.’s face in The Phantom of the Opera.

Already, in the early age of cinema, directors were pushing the boundaries of what an audience could withstand.

By Matthew Tilt What are your thoughts on the Supersonic line up this year?

AEP: Per usual, a great lineup.

Supersonic has seen some incredible live shows. What can we expect from your performance this year?

AEP: It has been about 2 years since we've played live, and even longer in Europe. I'm not even sure what to expect!

Will you be focusing on your most recent album, Escape Velocity, when you arrange your set list, or will it be a mix of old and new? Any surprises for the crowd?

AEP: We will definitely be focusing on our older material for live purposes, we feel it has more entertainment value, we get to "play" a bit more.

How have things changed in the Zombi camp since you played Supersonic in 2006?

AEP: We've cut long term touring out, and we live in different cities. Both Steve and I have focused on other work, namely our solo projects, and Zombi has allowed to us to continue composing together. While it doesn't take up as much of our time as it used to, I think the band is healthier than ever because of it.

Musically you mix and mash many different genres; using, at times, almost dance-like synths, rock beats and there’s a clear inspiration from soundtracks, not to mention various other things. Does the way it all comes together happen naturally during the writing process? Or do you have clear ideas of what you want for each track?

AEP: Sometimes there is a focus on the direction, other times songs take on a life of their own.

Your music is open to interpretation but what do you hope people take away from it?

When someone remixes your work, do their interpretations surprise you?

AEP: Ultimately I hope people enjoy the music and can pick up on the themes we touch on.

I always enjoy hearing remixes.

I like hearing an element that may be a small feature of the original song explored to greater lengths.

And finally, who do you recommend people go and see at Supersonic?

AEP: The whole lineup is fantastic. If I was able to browse around the festival I would check out Klaus Kinski, Pharoah Overlord, ZU93, Silver Apples and Wolves in the Throne Room.

Fast forward 30 years and audiences sit in horror as Janet Leigh, one the big stars of the day, is brutally murdered in the shower and a young man films his victims last breaths in the fittingly titled Peeping Tom. The sixties saw gore take a step up over plot for the first time, Herschell Gordon Lewis was essential to this movement, directing films like The Wizard of Gore and Blood Feast. It’s hard to imagine plot thin “torture porn” features like Hostel without Lewis taking these first steps.

Lewis’ influence was also obvious throughout the video nasty era of the 80’s.

Films such as Cannibal Holocaust focused on gore, although with a plot that has garnered attention and become an influence for documentary style film making; however the video nasty era also brought forward more disturbing and pornographic content. Exploitation such as Love Camp 7 focused more on rape and humiliation. In a way taking the link between sex and violence, first hinted at in films like Psycho and Peeping Tom, to its logical, if hard to watch, conclusion.

In recent years many of these video nasties have been re-released (39 uncut, 23 cut and 1 with additional footage), and a few have been remade. This shows a change in the public’s attitude toward violence, as the BBFC work to a “set of guidelines which are the result of public consultation”[1]. Whereas 30 years ago the public and the media cried out for these films to be banned, times have changed and stricter video/DVD laws ensure that no children can, legally, obtain material they should not be watching.

It does seem ironic though that some of the video nasties have been remade in a slicker, more graphic style and been released uncut when the originals were banned. The remake of The Last House on the Left, despite missing out some of the more shocking moments of humiliation from Wes Craven’s original, still contained set pieces that could be seen as more graphic. With a recent remake of I Spit on Your Grave, which is said to be as, if not more horrific than its predecessor, due for home release and a remake of Straw Dogs due for release later this year it’s not hard to see that people want more disturbing and more graphic features then they did in the 70s and 80s.

It is this focus on the more disturbing aspects that has clearly played a part in more modern horror and underground cinema. Even the more mainstream films of the last decade have pushed various boundaries. Hostel glamorised extreme violence in graphic detail, and its sequel contained lesbian contexts underneath the violence, not to mention a misogynistic storyline based solely around the torture of women.

It seems unfair that films based solely around torture, but that have had tenuous storylines about secret organisations written around the graphic violence should be allowed into the mainstream ahead of films like Grotesque.

“Unlike other recent ‘torture’ themed horror works, such as the Saw and Hostel series, Grotesque features minimal narrative or character development and presents the audience with little more than an unrelenting and escalating scenario of humiliation, brutality and sadism. The chief pleasure on offer seems to be in the spectacle of sadism (including sexual sadism) for its own sake."

David Cooke, BBFC director.

Looking at both films, it appears that Grotesque merely skips any pretenses that films like Hostel and The Human Centipede had and quickly moves onto to violent, almost pornographic, sadism. It seems contradictory for the BBFC to condemn a film that merely plays out on the same level, almost satirising audience’s bloodlust by exposing it.

The American trilogy August Underground also took audiences’ need for violence to extremes. Fred Vogel, who directed and starred, stated he wanted to make something that was truly realistic, so that when a girl is kidnapped she doesn’t have perfect make up, but instead cries and screams and has normal bodily functions.

The film has regularly topped sickest films list and is unavailable in the U.K. yet contains nothing that the recent A Serbian Film, which was passed, although admittedly with the heaviest cuts in a decade, does not. The directors of both films wanted to push boundaries and yet one was accepted and one was revoked. Srdjan Spasojevic, director of A Serbian Film, claims the film to be a political statement, a metaphor for the current climate in Serbia [2] and a way of “Catharthis through really subversive, really strong art”. [3] In contrast Fred Vogel, director of August Underground, said he wanted to make something like Henry: Portrait of a Serial Killer but “five times more real”[4]. Both are films that will be taken on face value by the majority of the audience due to the graphic content (necrophilia, rape, torture, and in A Serbian Film: incest and paedophilia) so it can be assumed that visually both are as harmful as each other which should cause the BBFC to intervene.

“If we feel that there is the potential for harm then we will intervene” [5] Sue Clark, BBFC The conclusion can be made that a film can be as violent and as taboo breaking as possible as long as it has a coherent message that can be explained by the director, metaphorical or not. Unfortunately, when you’re faced with a scene of a man anally raping his own son, the message fails to come across, hence, from a audience’s point of view it becomes no better or worse than August Underground.

So in light of the similarities between films released into the mainstream and films that remain banned or are kept to a limited audience, as well as looking at the release and remakes of various video nasties, should the BBFC change its policy on “harmful” material. Probably not. The system itself seems to work, and the point of these films been harmful, does ring true in some cases.

The biggest, apparent problem with the system would be the ease in which we can access these films regardless of censorship, due to the biggest, and impossible to police, network available: the internet. Sue Clark admits: “Films which we may have intervened in have always been available through 'other channels' even if that meant going abroad and buying them, but the vast majority of people still obtain DVDs through UK outlets and distributors still submit works for classification so they expect to sell in the UK”[6] Of all the outlets the internet is the easiest to access, with various peer to peer applications available to obtain any film, let alone films that are made infamous by been banned. Surely it’s pointless rating films to protect children, as the BBFC claims, when these films are available to anyone who is computer literate.

As the computer literacy age drops, more children will be able to find films that are unsuitable, leaving all choices in the hands of the parents. Not only this but the BBFC website itself claims: “Although it is not a customs offence to import an unclassified video or DVD it must be for your personal use only and the content must not breach the UK law (e.g. Obscene Publications Acts 1959 and 1964, Protection of Children Act 1978).

You are therefore entitled to purchase unclassified videos or DVDs whilst abroad, provided they contain no illegal material and are solely for personal use.”[7] Meaning that even if you want a physical copy of the film it is quite simple to acquire whatever film you like from abroad or the internet, and with the increase in multi region DVD players, there isn’t even a question of being able to play the films.

If something like the BBFC was worldwide, where no countries differed on what was acceptable, then their value would be obvious and, regardless of internet, that it was a worthwhile scheme, as there would be no trouble with imports. Less access to the films that are banned, or cut. However, as there are clearly holes in the system, allowing imports to add to un-policed juggernaut that is the internet, and the various holes and contradictions that dictate whether a film is passed or not, it begs the question: is the BBFC really worthwhile? ________________________________________ [1] Interview with Sue Clark, BBFC [2] http://www.bloody-disgusting.com/interview/638 [3] Catharthis through really subversive, really strong art [4] http://www.atrocitiescinema.com/interviews/fredvogel.html [5] Interview with Sue Clark, BBFC [6] Interview with Sue Clark [7] http://www.pbbfc.co.uk/faqs.asp#How does the BBFC classify films and videos?

Sonic Shocks

Page 20

Five Finger Death Punch

AMERICAN CAPITALIST Spinefarm Records – Oct 11

by Cristina Massei

As the war on piracy gets uglier and more artists give press only one collective supervised listening opportunity, I ask you to take this review with a pinch of salt. If you want to get to the heart of Five Finger Death Punch’ new album, I suggest you hit the record stores October 10th and make up your own mind. What I CAN tell you from one spin is that ‘American Capitalist’ deserves your cash and attention.

The opening title track encloses most of what you will find here, in a harmonious enough combination. First single ‘Under and Over It’ is follow by ‘Pride’, pounding and memorable, a strong candidate for second and one of the songs chosen for the remix set in the Deluxe Edition. Anthemic ‘Coming Down’ is surprisingly melodic and powerful, while ‘Menace’ is just what I feared: gratuitous growling. It’s been done already – and I’m still struggling to see the attraction – but hey, some like it, so one song is ok I guess.

With ‘Generation Dead’ and ‘Back for More’ – one of my personal highlights - Ivan Moody descends into seductively dark territory, majestically alternating velvet and sandpaper, while the band accompanies and overpowers his voice with a mix of melody and sonic violence that could finally deliver 5FDP to mainstream.

‘Remember everything’ is what you could call ‘the ballad’ here, strong and intense, a hot sharp knife penetrating flesh like butter and cutting right through the heart. The excellent ‘Wicked Ways’, ‘If I Fall’ and ‘100 Ways to Hate’ end ‘American Capitalist’ on a high.

Nice to see from their latest video and artwork - straight off some superhero poster - that 5FDP are not taking themselves too seriously, but my feeling is this time the rest of us will.

Officers

ON THE TWELVE THRONES

Original Wall of Death Recs – Oct 17

Blessthefall

AWAKENING

Fearless Records - Oct 4

by David Lees

by Matt Dawson

It's rare to find a band these days that wilfully ignore the marketing and networking opportunities of the internet but apart from the obligatory Myspace/ Facebook profile and a Tumblr feed that doubles as their official web page Officers' web presence is virtually nil. If it's an attempt to build a sense of mystery around the band it's hard to deny it's effective and while many band would risk obscurity with such a tactic Officers tours with Placebo and Foals and collaborations with the artist Stuart Semple and Depeche Mode's Dave Bascombe would suggest it works for them. So after the release of their Co-Education EP in August here's their debut album, the biblically themed On The Twelve Thrones. And what a debut it is.

Post- Hardcore is a funny thing. Rather than being more angry about world issues, like hardcore itself, the genre becomes more about angst than anger and Blessthefall’s new album Awakening continues the trend quite nicely.

The album opens with Counting My Guns, a sinister, vocal-less intro track that conjures images of of post-apocalyptic movies from the 80's. Disarm seem to be a jarring change of pace until its melodic opening gives way to the driving drums and harsh, distorted vocals of the chorus.

This sinister tone and mix of influences permeates the whole album. Co-Education is perhaps the finest example of a low, sinister chant building up to a big, shouty stomping chorus and on to a storming climax of energy and noise while Afraid Of Your Love wears its glam rock influences with pride and Soul Saviour instantly brings to mind 28 Days Later soundtrack and with it images of bleak, empty cityscapes. Matt Southall's soulful vocals bring an elegiac touch to even the most anthemic tracks while closer Another Long Year commits itself fully to the more haunting elements of the album, a much slower track than anything that came before.

There simply isn't a weak link anywhere on this album. On The Twelve Thrones is one of the strongest debut albums I've heard, a seamless mix of rock and electronica that surpasses most bands in either genre. You need to own this.

The template of posthardcore is followed pretty much to a tee: melodic lead vocals for the chorus and then, when needs arise, cue some screaming to show anger and throw in some breakdowns along the way, with the help of Eric Lambert’s guitar work on tracks like ‘Promised Ones’ and ‘Undefeated’.

In fact, Eric’s guitar work is one of the parts that stands out on this album, particularly his chance to do a solo on ‘Til The Death Of Me’ along with his contribution on ‘Meet Me At The Gates’.

This album by no means is ground-breaking, for every song like ‘Promised Ones’ that will incite the circle pit when played live there’s moments that use the dreaded electronic stutter, a trend that in all honesty should stop as it doesn’t add anything relevant and - given how well Beau Bokan’s voice can project - is not needed at all.

For people who like their post-hardcore and don’t expect a big game changer, Awakening is perfect; however, if you haven’t been convinced

by Blessthefall before, your thoughts will largely remain unchanged.

October 2011

Imperial Vengeance

BLACK HEART OF EMPIRE

Transcend Records - Out Now

by Matt Dawson In a very clever piece of timing from Imperial Vengeance, ‘Black Heart Of Empire’ hits on the autumnal Equinox; given the amount of craftsmanship taken by C. Edward Alexander and David Bryan -both musically and with a booklet in Penny Dreadful format – the album is surrounded by high expectations, even more so given their strong debut.

You see, IV aren’t a band that can be taken at face value and, just as the first album focused on the first world war- even using the last British veteran Harry Patch to provide a cameo- ‘Black Heart Of Empire’ focuses on the darkness of Victorian London with a touch of Alestair Crowley added in.

What better way to do so than with Dave Courtney becoming the voice of ‘Old London’?

From that moment a multilayered world unfolds bringing with it a sense of true storytelling that showcases what makes this band unique: the sounds of the orchestra arrangements, the thought provoking lyrics and the use of Therion’s Lori Lewis talking in Enochian during a song talking about Arch Mage John Dee, along with Bjørnar Erevik Nilsen from Vulture industries - picked due to his vocal’s ‘other worldly qualities’.

Album closer ‘The Black Idol’, based on a Frantisek Kupka painting, leads us to a worthy climax and gives us a hint of what is to come… Listen to the style of drum used at the end closely.

‘Black Heart Of Empire’ is an album that needs to be heard if you want to experience dark and intriguing metal with thoughtful references at its finest. and it can only be wondered what is next from Imperial Vengeance.

Jane’s Addiction

THE GREAT ESCAPE Capitol Records – Oct 18

by Cristina Massei Epic and masterfully distorted, ‘Underground’ proudly announces Jane’s Addiction’s much anticipated return with a full, brand new studio album.

Before you set your expectations on a mind blowing first listen, ‘The Great Escape’ is rather a slow burner, but will discretely tuck under your skin and progressively penetrate you deeper. Dave Navarro trademark guitar sound and the characteristic Jane’s Addiction’s echo and reverbs are all there; however, Farrell & Co. are not afraid to explore, delivering an unexpected atmosphere from outer space in ‘Invisible Force’, a darker edge in ‘Twisted Tales’ right next to the powerful, catchy chorus of ‘Ultimate Reason’ and even a velvety, slightly jazzy feel in ‘Broken People’.

After a couple of days – differently from Jane’s Addiction previous work – there isn’t a particular stand out song and some the casual listener will probably skip; ‘The Great Escape’ has a little surprise at every corner, nothing to wreck the boat but enough to keep everyone interested through the whole journey.

All tracks seem to grow and take a spot inside your head one after the other, and I suspect once it all sinks in may be one of those albums where your favourite song keeps changing until all of them have been on the podium, and then start again. Check out and compare ‘Splash a Little Water On It’ and punk oriented closer ‘Words Right Out My Mouth’ to get a better idea of what I’m talking about.

For all the Addicted out there, Jane is back, and given a good chance she will make you forgive her for the long wait; slowly but surely, you’ll find yourself back in there craving again for more. Rehab is over.

Sonic Shocks

October 2011 Mastodon

THE HUNTER

Jukebox The Ghost

Puddle Of Mudd

EVERYTHING UNDER RE: (DISC)OVERED Roadrunner Records - Out Now Arms Division/Goomba Music - Oct 3 THE SUN

Page 21 The Dirty Youth

RED LIGHT FIX

RMR Records – Oct 9

The Karma Heart

THROW YOUR LIGHT Global Music - Oct 3

YepRock Records – Nov 7

by Matt Dawson Mastodon fans seem to have fallen victims of a very common condition amongst fans: yes, the usual cliché of ‘the older stuff was better’ has reared its head amongst the hordes of the internet; but let’s be serious for a second and think a bit more logically.

This band put a track as crazy as ‘Bladecatcher’ on their major label debut Blood Mountain, and since Leviathan have made albums based on concepts featuring delights such as the astral form of Rasputin; yet by deciding to do away with the concepts for The Hunter doesn’t mean any of the power is lost.

Brett Hinds and Bill Kelliher’s guitar work - from the rampant solos on ‘Black Tongue’ to the madness of ‘Blasteroid’- is inspired, while Brann Dalior proves why he is ranked so highly in those ‘ Best Modern Drummer’ polls, as he becomes the foundation for the power behind this album.

Mastodon have managed to exceed any expectations brought on by Crack The Skye by not only combining the progressive tone of that in songs such as ‘Stargasm’, but keeping the relentlessness with tracks like ‘Spectrelight’- once again featuring Neurosis’ Scott Kelly- which considering the track’s predecessor ‘The Creature Lives’ insanity is remarkable in itself.

The best way to sum it all up is quite simple: this is how you manage to create an album that not only shows progress musically but also in reaching audiences without having to pander towards what’s ‘cool’, making it a essential purchase not just of 2011, but of any self respecting music fan’s collection.

By Cristina Massei Jukebox the Ghost: I confess, never heard of them before.

However, when ‘Schizophrenia’ emerged from the pile of junk on my desk and popped out of my speakers, the room suddenly felt like one of those sunny flowery ads for fabric softeners: bright, happy and smelling fabulous.

‘Everything Under The Sun’ encloses in twelve songs everything pop should be. Uplifting, joyous, funny, childishly romantic. While ‘Schizophrenia’ is everything we’ve been missing from the Darkness after ‘Permission to Land’, ‘Summer Sun’ steers towards Soul Asylum territory to then reveal the band’s major Beatles inspiration in ‘Mistletoe’.

Then it’s all back to careless fun with ‘The Sun’, and the listening flawlessly proceeds between influences ranging from Queen to Elton John with a subtle hint of The Smiths.

I haven’t had a chance to listen to Jukebox The Ghost’s debut album, but if this one comes and goes under the radar – denying gems like ‘Carrying’ or ‘The Stars’ to the masses – there’s something seriously wrong in this industry. And as we all know there is a hell of a lot wrong with the music industry these days, turn off the box and go see them at London’s Barfly on Thursday November 3rd. If you like what you hear, ‘Everything Under The Sun’ is out in the UK November 7th on YepRocRecords. Already available and making waves In the U.S.!

Not sure this unexpected week of sunshine in London will stretch that far, but I know it will be sunny at the Barfly that November night….

By Matt Dawson

By Cristina Massei

by Cristina Massei

Now to get your first question out of the way - that being ’Have Puddle Of Mudd done more than Come Clean?’: Puddle Of Mudd are still around and this time they’re going to cover classics by AC/DC, Neil Young, Elton John and The Rolling Stones to name a few.

They made quite an impression at Download Festival last summer, but don’t worry too much if you missed that: this is just the beginning for The Dirty Youth.

And if their live shows have half the energy blasting out of my speakers right now, you want to wear your heaviest shoes and be ready for one hell of a moshpit.

After beating the live circuit with successful support slots for the likes of Heaven’s Basement, Jettblack, Hayseed Dixie, Scott Ian, Die So Fluid, The Quireboys and Slaves to Gravity to name but a few, The Karma Heart finally find the time to release their long awaited debut full length ‘Throw Your Light’.

Of course the art of a good cover album is to, first and foremost, try and put a variation on the songs you are going to be covering, one fine example of this was the SINatra album released earlier in 2011 which even though it did have some weak spots, at the very least had an idea behind it: Sinatra songs done in a metal/rock style.

Sadly Re: (Disc)overed (and no idea why the title had to be done like that, guess the band thought it was cool when in fact it’s the opposite) decides not to be different.

This is achieved by doing the songs EXACTLY as they were done in the first place making the idea one that should have been left as private jam sessions rather than inflicting pain and boredom, take your pick here people, on the rest of the world.

Puddle Of Mudd: A band known for that one ‘She Hates Me’ song, and will remain that way forever more.

As South Wales increasingly claims its place on the rock map, it’s time for The Dirty Youth to raise the Welsh flag in female fronted territory: it’s a loud, menacing flag in vivid colours, threatening to rise higher than many ‘all boys’ counterparts and dominate the scene for some time to come.

Noir atmospheres floating between Belladonna and Lacuna Coil get the Evanescence treatment with extra doses of heavy, fast and down dirty. Dannii’s voice drags you to an underwater hell of power and sin, a relentless twister of senses leaving you sweaty and exhausted.

Did you like their single ‘Fight’?

Well, it’s just the beginning. Listen to ‘Requiem of the Drunk’ to grab as well the diversity of ‘Red Light Fix’, with its metal riff and punk vocal attitude, roll on to the dark seduction of ‘Promises’, let the memorable simplicity of ‘The End’ absorb you, enjoy the ride.

RED LIGHT FIX is out October 10th and, just in case you need final convincing, it has been mixed by Martyn 'Ginge' Ford and Colin Richardson (Slipknot, BFMV, Trivium) and mastered by none other than Sterling Sound (Aerosmith, AC/ DC, Michael Jackson). Enough said.

The British female fronted four piece compare themselves to Foo Fighters or an edgier Paramore; while the resemblance with the Foos is less evident – maybe due to Jenn’s vocals – Paramore definitely comes to mind; cross them however with a punkier Blondie attitude and some catchier choruses to get an idea of what The Karma Heart are about.

Although not all of the eleven tracks are as memorable as my personal favourite ‘New Religion’ – which you can download signing up for the band’s mailing list – Throw Your Light is a brilliant debut for these home-grown newcomers; passion and energy are tangible and vibrant in both the songs writing and execution.

They may not be saying anything new, but The Karma Heart are saying it with the right words and the right notes and truly deserve to be heard. Start by signing up to their mailing list at www. thekarmaheart.com to receive two free downloads, and if you like what you hear, make sure you get a copy of Throw Your Light and keep an eye for their next gig near you.

Sonic Shocks

Page 22

by Ben Twemlow Filming a tour is old hat now, but taking a film on tour is something fairly unique.

In a novel approach to releasing a film, Kevin Smith has been taking his tenth movie on the road with the added bonus of a Q&A session with the man himself afterwards. Last night (12/09/2011) was London's turn.

It is a film full of surprises and, as such, it is difficult to go into much detail without spoiling some of them. So, I'll refrain from giving away any more of the plot than you can gather from the trailer (http://coopersdell.com/, where you can also watch it on demand if you like).

piling up.

The basic gist: Three high school boys arrange to meet a woman for sex and find themselves being held hostage by a local Church cult who are waging a private war on sinners.

As the situation escalates the local police, and then the ATF, lay siege to the church's compound before a bloody battle commences and bodies start

It is not the first time that Smith has tackled the subject of religion, having already crossed that line with "Dogma" over a decade ago, but while his previous films have largely consisted of dick and fart jokes with a couple of serious issues tacked on, "Red State" is a far more serious film... with a couple of dick jokes tacked on for the benefit of his fans. There are moments early in the film, when the boys are talking about Internet hook-ups and getting laid, where you could imagine a Porky's for a new generation - but when the drugs kick in and the boys black out you know that you're in for a completely different film.

Of course, it's not a complete surprise (especially if you've seen the trailer). It's foreshadowed by the cult's picketing of a gay man's funeral, and by a classroom discussion of the first two amendments - the right to free speech... and the right to bare arms. Possibly even more so than either is the new visual style that Smith has adopted for this film. Whereas earlier films have been cartoonishly vibrant, colourful, larger-than-life affairs, here everything looks grainy and the (presumably) hand held camera helps give the look and feel of a documentary rather than a movie. It is this gritty, naturalistic look that helps make things disconcerting. Everything is almost too real and it's easy to believe that this kind of thing could actually happen.

Especially as it totally could.

The Cooper family that forms the cult are an exaggerated parody of the Phelps family that make up the Westboro Baptist Church. The siege, and consequent storming of the compound, is reminiscent of the Waco siege of the early '90's. In post 9/11 America, where right wing Christians are perfectly capable of putting the mental into fundamental, there are people who would rather pick up a gun and kill non-believers (be they pro-choice, promiscuous, gay or Muslim) and some areas are literally powder-kegs waiting to go off. Good men can do bad things and get rewarded for it. Senseless death is sudden, brutal and its victims go unmourned.

At least, it's easy to believe all this having watched "Red State."

So is it a good film? Well, yes... and no.

On the plus side, there is some superb acting, particularly from Michael Parks and John Goodman. The sense of reality really does draw you into the film so that you're not just suspending your disbelief, you're tossing it off a bridge without a bungee cord. At the same time, Kevin Smith is experimenting with some interesting visuals, something that was sadly lacking from Cop Out. Having previously been famous for fairly static camera set-ups and avoiding action sequences (all the action in Dogma happened off-screen). Here the cameras move around and push us into the middle of the battlefield, with little nods to directors like Sam Raimi and Robert Rodriguez here and there. And it is paced so well (in most parts) that it actually felt like I was watching a short film instead of the 90 minute movie I'd been expecting.

On the negative side, there are still moments where Smith trademark dialogue regains control and characters wind up telling us, rather than showing us, what's going on with fairly heavy exposition. And, while funny in Smith's typically vulgar way, some of the lines of dialogue jar because they seem too ViewAskiewy and not from the reality that is presented here. Having said that, in the Q&A afterwards, Kevin Smith admitted that he deliberately went out of his way to employ "bad" techniques as a way of digging at the kind of artsy fartsy film students who are constantly accusing him of not actually having a technique. He also said that he wanted to confound expectations and make sure that no one was capable of guessing what was going to happen next, that he wanted to set up one situation then blindside you with an outcome other than the obvious. And that he managed to accomplish perfectly.

The sad thing is, this is going to be Kevin Smith's penultimate film. After he's finished his next movie (which will actually be a two parter, like "Kill Bill" or the last Harry Potter) he is retiring from movie-making. The shame is, now that he's once again passionate about the films he's making and not just taking care of business, there is a refreshing energy to his work that has been missed from some of his more recent films. If it means that he goes out on a high then I can't wait for "Hit Somebody." But I suspect his fans around the world will watch the movie and be saddened at the end of an era.

October 2011

In March 2011, as always looking for new challenges, Peter Gabriel performed at Hammersmith Apollo in London with an orchestra; he boldly stripped his music of guitar, bass and drums and put them out there naked for everyone to see and feel, to outstanding results.

Still not content, he filmed the whole show in 3D, adding another landmark experiment to his prolific career which is likely to be followed more and more as the technology spreads. The product of Gabriel’s latest work has been showcased in selected cinemas for two days only, but we were lucky enough to be at the premiere at the Electric in Portobello and ask some questions to the man himself.

Did you miss the rhythm session at any point?

There were a couple of numbers where it took some work getting the groove going. I’m a failed drummer so groove is critical to me, so we worked quite hard but it did settle in the end.

Were there any tunes that you arranged diversely, that you felt didn’t work at all with an orchestra?

A few of them weren’t working at first but we found solutions … for example on the drum side of ‘rhythm of the heat’, where we had this amazing drum group on the original, I was very keen to try and see if we could take some of the drum packs and transcribe them over to instrumental sequences which John [Metcalfe] did approve of; that was an example I think where we took the inspiration of the drums to my ears and took them to another place, and it’s my favourite part of the show.

Are you going back to rhythm section in the future?

Yeah. This was all adult and serious and I think the next thing I’ll do will probably be the exact opposite!

3D is an incredible experience to watch and watching it one can imagine the work and labour that has gone into producing it. As a performer, does 3D TV involve a lot more of your input than regular TV? Things are bigger, cameras are bigger and bulkier. I’ve been a 3D fan for a long time and actually we did I think about 3 or 4 films in 3D about thirteen years ago. No one had the equipment to watch it and I met with a few people in terms of pioneering work then with some camera people developing things, and it’s been such a long term fascination for me but there wasn’t an audience, a way of getting it out and at that time there was trouble I think to get things comfortable to watch. There are still odd corners now but it’s so much better. I always thought that we had two ears and stereo was very gimmicky at first with trains and planes going from left to right speaker, but now we take it for granted because we were born with two ears. We were also born with two eyes and so I always felt that 3D will become second nature.

Things you particularly like and dislike about it?

Well, I think what I love about it is the sense of space in the same way that with stereo there’s much more room to spread everything, 5.1 was another whole area of volume in which to put things. I think vision too if you allow it, because obviously we can’t do it justice in 2D as it has this extra sense of space. I particularly like some of the back shots of the Auditorium where you just feel the place and it’s much more like being there than in a 2D environment and I think different things work. I think occasionally we can get tired with our eyes and I think the team have done a fantastic job there to avoid most of that; I think it’s still a science in its early days as it goes along, but it’s so much better, so much better able to deliver it now than it was when I first did it.

I think it’s really interesting to see how it could affect the way we shoot a film, we’d have less fast cuts and a much more sustained developing moving shot.

You generally don’t want cameras crawling all around your orchestra but actually it has been brilliant and at the time as performers we kick up hell.

Can you reproduce the actual magic of a live show?

You tell me as beauty is in the eyes of the beholder. I think you get much closer to it, and if I were truthful I would say that this could be better than the show was at the time.

So what about live shows, are they going to be done just to be filmed?

It’s a funny thing… As digital environments allow us to reproduce things all around the world and distribute them instantly, what becomes more special is being in a physical place with all breathing human beings, and I think there’s still something to that event that is never going to be replaced, it’s only going to make it more special and more valuable. If you look at the music business , the recording business has actually collapsed while the live business has gone from strength to strength.

As some kind of a visionary and technology lover as you are, where do you see the music industry with the internet and downloading industry?

It’s a bit like a tide coming: it’s going to happen and I always say that there’s a lot of interesting things crawling out of the corpse of the music business.

3D you can’t do on your phone!

Well, it’s funny that you say that, because I was shown yesterday a rather neat little gadget which is like a lens that divide left and right on your IPhone… It does work surprisingly well and I think we’re gonna master that too, but I think it does give you a chance of a sort of slower moving in a world where everything is getting shorter, faster and more disposable, this media gives you a chance to go the other way.

Did it take much extra rehearsal time to do it for 3D that it did for the original concert and secondly if you did Sledgehammer would you take somebody’s eye out?

Continues on back page

Sonic Shocks

October 2011

Page 23

by Dan Balchin We caught up with our friends in Spires ahead of their forthcoming tour with Incassum.Having spoken to them before, we knew that their agricultural understanding in this time of financial instability in the UK was paramount. Of course, we are also very interested in their musical accolades, but we can't help feeling amused by vegetable based banter.

What have you been up to in the last few months?

Very busy and hectic time recently, things have definitely been happening for us! We went out on a mini tour with Talanas, culminating in us both playing Bloodstock in August, alongside plenty of other gigs, as well as writing new material.

How was Bloodstock festival? You played both full band / acoustic sets?

Fantastic! We were really honoured when we were asked to play, it was the last thing we expected. We did indeed do two sets, we were far more nervous playing the acoustic, as that was completely new to us; we know we can always play relatively well as a full band, it’s what we practice for week in week out. It was also great as a general weekend, a chance to go to a great festival, with the added bonus (or annoyance?) of playing a couple of gigs!

You were going to set up a small cabbage plantation on the outskirts of Rochdale and live off the land....

It’s been quite testing so far really, not as easy as I was led to believe. It turns out cabbages are quite susceptible to invasion from Cabbage Maggots and Cabbageworm, which has left me with a field full of hollowed out produce. I should have read the warning signs when I saw the Rochdale Cabbage Maggot Breeding Centre (RCMBC) in the next field, but hindsight is a beautiful thing.

And the positive praise from the album is still pouring in – how does that feel?

It’s great to get positive feedback. The question now is how to better that for the next album!

Album number two, how are proceedings in that department?

Great! It’s taken a while to get fully into writing mode again, especially when playing so many gigs, and promoting ‘Spiral…’, but now songs are being written and rehearsed at a faster rate than they ever really have before, and I’m very happy with the way the material is turning out. As I mentioned, there’s always gonna be pressure to improve upon previous work, and as we’re all very proud of the first album it’s been quite difficult to try and ignore that, so the quality control is definitely very high!

You also played alongside Blaze Bayley recently, how did that come about and what was it like?

We got that one through the folks at Rocksector Records, who we’ve known for some time (they actually gave us our first gig back in 2008), and are a top set of folk. We actually supported him on his acoustic tour, so we played an acoustic set as well, for the second time. Hopefully we’ll be doing this more regularly in the future, we seem to have got a good response from it so far.

What was the last live gig you went to?

I try to support local and underground bands wherever possible. Last gig was watching Gone Til Winter at Grand Central in Manchester, who were absolutely bloody marvellous. I’m hoping to go to Damnation fest this year, particularly for Devin Townsend, Ulver and Decapitated.

You’re hitting the road with Incassum soon...

We’ll be doing a full UK tour with Incassum at the end of November / early December. It’s looking like a nine date tour, only one still to be confirmed. Dates are up on the usual Facebook / Myspace / Reverbnation etc. We’re really looking forward to getting back out there and showing people what we do, and Incassum are a great lot, so it should be a really fun experience.

How did that collaboration come about?

We both share the same management (Skratch the Surface), so it made sense to go out on tour together. We’ve also known the Incassum lot for years now; as I mentioned they’re a really nice set of people, and a top band, so I can’t see any reason why it shouldn’t be a great tour.

Will you be adapting your set to draw in the Incassum fans and convert them into Spires followers?

I don’t think we’d really need to. The good thing about this is that whilst we’re both quite different bands, there’s enough similarities to allow each others fans to enjoy both sets, I don’t think too many of their fans will be put off by thirteen minute songs. Will they? We’ve started throwing some new material into the live sets, so anyone eager to hear it will hopefully be rewarded if they come to see us.

Any possibilities of Incassum members joining you on stage for any songs?

Hmm, good question, it’s something I’d have to propose to them! Perhaps a rendition of Shakespeare’s Sister’s ‘Stay’ would work quite well (a reet gud pop tune). I could do low bits, Sharleen could do high bits, and obviously an obligatory 4 part harmony guitar solo.

Are you keeping a video / tour diary?

We didn’t get round to it on the Talanas tour, but I think it’s something we should definitely do this time round. Not that there’ll be any drinking, general merriment or silliness of course, it’s a business trip for god’s sake!

Will you be bringing any new merch on tour for the fans to get kitted out for the winter?

Why yes, we certainly will be. We’ve more or less sold out of the current batch of T-shirts, so we’ll be getting some new ones based on the album artwork, which will look fantastic.

Can you reveal any more secrets or plans afoot for the next chapter of Spires?

I’ve always found courgettes fairly easy to grow, so I guess if this whole cabbage malarkey doesn’t work out that’s the next step. Meanwhile, time allowing, we’ll be recording album number two at some point next year (nice and specific), which will then be released at some point after the recording has been finalised (even more specific). There are plans to hit Europe at some point early in the New Year, we’ve been doing quite well over there, so it’s definitely on our to do list.

Any parting words of wisdom or agricultural references to leave us with?

When dealing with Cabbage Maggots, the only real way to get rid of them is to address the problem at it’s source – the Cabbage Fly. Get rid of these pesky buggers and voila – no maggots. I think that counts as both words of wisdom and an agricultural reference, what more could you want?

Having caught up with Spires ahead of their forthcoming tour, we wanted to grab a word from their stage counterparts 'Incassum'. We talk Harry Potter, Kung-Fu Fighting and Lasagne...

Hello Incassum crew, where in the world are you writing these responses from?

We're currently at guitarists Chris and Roo's house in Salford, tracking the guitars for our upcoming release!

Give us a brief insight as to what you’ve been up to in the last few months.

Over the last couple of months we have been mainly focussing on the next record. We've been busy writing, arranging and recording it. Our gigging schedule has been somewhat sparser than usual as we were getting our tracks ready for the studio. We had a great opportunity to film a music video for our demo track 'Cut Loose' with director Steve Looker, you can check it out on Youtube! http://www.youtube.com/watch? v=0u8_uav6898 I read recently that a Harry Potter ‘star’ is headlining a music festival in Salford. What is all that about?

Which one? The ginger kidor Hermione? I'd go and see her she's certainly 'blossomed' into a fine young lady.

What do you think of the trend of becoming a so called famous music icon through channels like X Factor?

II think the terms 'famous', 'music' and 'icon' are all rather loose when describing the contestants of those shows. It's maybe a good platform for some people to showcase their talent, but its a bit too sensationalist. Lots of people progress through that competition based on a sob story or a 'wacky' image, good talent doesn't necessarily make the best television.

If they had a more ‘metal’ show, would any of you enter?

A metal X-Factor? I can't see that one taking off, who would be the judges? I'd enter if Ozzy was the judge, even just to meet him. We have done a couple of battle of the bands style competitions, and to be honest even where we have done well, it always seems to be bands working their arses off to make someone else a bunch of money.

How have things been on the tail end of your global invasion with ‘In Vain’?

Unfortunately we parted ways with our founding bass player, Dave Mullard, a tough decision for all of us, but priorities sometimes change. We brought in Rick Kershaw (ex-Collibus) to try and fill those big ol' boots and he's doing a great job so far. We still get the odd bit of praise for 'In Vain' and our online store is still shifting copies.

More importantly, how is that new album coming along?

Really well, John played an absolute blinder in the studio, knocking 13 tracks out in 4 days. We got a great sound off his new Mapex kit, we're going to keep as many organic sounds from that as possible. We're now just coming to the tail end of the guitar and bass recordings, its taken a while because we really want it to sound huge. The bulk of our recordings are taking place at Gracieland in Rochdale, its an absolutely fantastic studio. The variety of equipment available is just vast, a gear-geek's wet dream! Stephen Boyce Buckley is co-producing and engineering it and we've got a really good feeling about it. All the electric guitars are being tracked at home, but we'll reamp them up in Rochdale when the parts are ready.

When in the studio, how diva-ish are you about perfection?

It's got to be right hasn't it? The drawback of tracking all the guitars at home is that we're not really working to the clock, but it's great to have the opportunity to make sure everything as tight as possible. There are times when we've maybe been a little pedantic spending ages getting a whammy dive 'just right' or something, maybe we should just get on with it!

Which member takes the longest time to track their instrument?

Well John was certainly the quickest, he really raised the bar. All three string of us string guys are taking a bit longer, there are a couple of songs that were only written a few days before the studio sessions began, so we have had to spend extra time working out the arrangements, and extra guitar parts etc. Sharleens been working on her parts as the recording has progressed so I expect she will get them down pretty quickly.

So, can we expect omething similar to ‘In Vain’,?

This new record's something different altogether. There's a lot more diversity between the tracks, and we have all grown as musicians and song writers. We haven't tried to write the record with any predefined ideas of style so there are a lot of different influences on offer. The tracks range from slow-grinding doom to 200bpm thrash, and you can expect to hear a more mature, developed sound than on In Vain.

Have you been to any gigs recently as fans?

I went to Sonisphere and Bloodstock this year and had a blast at both.

It was great seeing 'The Big 4' sharing a stage as well as Opeth and Mastodon who are always great. The Spires set on Sunday at Bloodstock was mind blowing, I've never seen them play with as much energy. In my opinion, they were competing at the same level as the main stage acts.

What are your views on big bands performing reunion tours?

If it's Whitesnake then that's fine.

Given that you have experience both on and off stage, what are the most important aspects for a great live act?

Being able to hold the set together no matter how intoxicated they are, some people are born with it. I think the music should always come first, I saw Kiss a while back and all the pyro and stage set and lights is cool, but it was like it was there to disguise the mediocre playing. I wouldn't mind having some fire in our show though, the fire breathing girls at Motorhead were really cool.

Back to your winter tour with Spires. What will Incassum be bringing to the table?

We make a mean lasagne. It's all about a smooth béchamel sauce.

We asked Spires if there may be an on stage duet. What do you think?

I'd never turn down a chance to share a stage with those guys, but I wouldn't want to get into a guitarists wank-a-thon with them. The two Paul's are serious shredders, I could beat them in Call of Duty though.

They actually suggested ‘Stay’ by Shakespeare’s Sister’s. Which song would you choose?

Kung Fu Fighting Where can fans get hold of merch prior to the shows? And are you offering anything new for the tour?

There's an online merch store on our website www.incassum.com so keep checking it. We're selling quite a few shirts and CDs through it, I reckon we'll have some new stuff ready for the tour.

What can we expect In the next few months from the Incassum crew?

Well obviously the UK tour with Spires is the big one. You can see all the dates on our website, or through Skratch the Surface, our management. The album's our other main priority right now, so keep checking for updates where that is concerned.

Continues from page 22 We did have some extra rehearsal time and there were some ideas we had thought of me getting inside the cameras and that took a little extra time in fact, because I’m very much a feedback creature - if I can see what I’m doing at the time I respond much better and learn much faster - but I couldn’t see that then that took a little while to get on top of. I think we’d do it again, we’d try, we’d go back to just get a little bit of it in one with that first person feeling, so that took a bit of rehearsal; otherwise there was some camera moves done on the day before, but I don’t think there would be much difference to a normal shoot. Sledgehammer, when it shows the numbers we were not going for the most popular in numbers, we tried to make it an interesting journey, pieces that maybe had more atmosphere, mood and texture to them and I… I think I’m very close to what I wanted, just my idea of a joke.

How did it feel to treat your songs in light of Scratch my Back?

Scratch my back was an idea for an exchange between songwriters which we took out on the road and it was one hour long, normally I do at least two hours so we had to find some other material which we thought it would be great to try and see what we get with John’s brilliant arranging on some of my stuff. So we started working on those and then started performing them, I really felt a door had opened and I was really enjoying it and thought about making a record followed by the 3D filming.

For me it’s been fantastic, the aim was to keep it very open and exposed, sometimes you’ve got this real sense of space and at other times there’s a rich, original set done.

There’s a collection coming out on CD as well , beyond that what is your next plot for a conventional, if there is such a thing, Peter Gabriel album?

I’m hoping to start writing around Christmas time, there’s a lot in the can to get shot of and then write new stuff which I’m quite tempted to do.

Would that be in ten years time? [laughter fills the room] Maybe!

You’ve obviously got a lot of stuff in the can, how many albums are there of material? And if you were in the position to ask someone else in the music industry these type of questions who would it be and what would you ask them?

You’ve stumped me on that one! [laughter] The first part, there’s a lot of stuff that has been started and not finished which I’m very good at doing; whereas musical ideas, touch wood, come fairly easily, finishing the lyrics has always been a pain in the arse and very slow. I don’t know where that will go but there’s still some bits and pieces I like and I’ve been working with people down at Real World (Studios) about resurrecting some of them and giving them a review.

Who would I ask questions to? I don’t know, there’s so many people that I’ve been a fan of, Otis Redding was my hero as a teenager, Talking Heads I loved for a while, Radiohead. I’m trying to think there’s a lot I’ve enjoyed musically over the years.

If there was someone you could collaborate with, who would that be?

There’s quite a long list there, and one of the pleasures of Scratch My Back was that I did get to exchange with some of the artists whose work I’ve enjoyed; we only had half of them returned so that’s fantastic to hear people working on something you loved.

There was a moment tonight where having to wear two pairs of glasses was becoming too much for me where a lyric became rather powerful. Did you find new things in songs when doing these new treatments?

Exposed they were, there are some empty sections that was deliberate and so you listen to the lyrics in a different way with the atmospheres around you, it wasn’t just a straight forward interpretation.

Quite a few songs that we heard tonight were political so I was wondering what your thoughts were on the recent riots and if there was anything globally in recent history that had inspired you to write more lyrics?

I do think they were different in nature than what is happening in the Arab Spring, it does seem a bit opportunist yet at the same time you’ve got a lot of young people that can’t get work, and I do think we have to ask other questions of where some of this stuff is coming from. I’m a big believer in education and that being transformed because that ultimately empowers people, there are some really interesting experiments in that area, I think the TED talks can find out about, like some guy teaching at first algebra to his nephews who started putting it on video.

He ended up with a system that allows you to monitor what people understand, there’s little colour codes as to whether they’re getting the subject, some of it or nowhere then the teachers adapt accordingly. It’s much better explained there but it’s one of the many things I think you can do to transform education.

I think that’s how you make people powerful which will make some difference and, although I really don’t like the underclass term, the idea of prison reform is also something that needs to be looked at, particularly in this country where the reoffending rates are way higher than in other countries around the world - particularly in Europe - and we have to ask ourselves why that is. Most politicians don’t feel they will get elected unless they appear to be tough on crime, but clearly what we do by being tough on crime does fuck all, only increasing it.

I was talking to a prisoner while making a documentary; he was transformed by a progressive prison unit that allowed him to understand what he was doing and why he was doing it, and gave him some tools to do something different, so I think that’s an area we have to look at. When we looked at the Arab countries people are risking their lives for freedom, while over here people were risking a prison sentence.

I think there’s plenty going on in technology , there’s a long list of things - such as the enrichment program on the International Space Station - where they talk to artists that interest them to keep them entertained while they’re up there, and as a result of that I’ve being chatting to this guy who’s there at the moment; I always used to think that when you went into space you couldn’t see the borders and it was just one big blue ball: that’s wrong, as in the border between India and Pakistan there’s a bright green line which is the border of grass that is expansive and runs for many miles which is highly illuminated and visible from space.

I just thought that was a sad reflection..

Coming back to the concert: there was a special guest, Sevara Nazarkhan from Uzbekistan, was she bought in especially for the concert?

I’m a big fan of her work and she’s done that song before many times and she has an amazing voice. We didn’t get much chance to rehearse, but she did an amazing job of improvisation on ‘In Your Eyes’ following Youssou n’Dour which is bloody hard for anyone.

Peter Gabriel ‘New Blood Live in London in 3D’ is available on DVD, Blu Ray, Triple Pack (2D DVD and Blu Ray + 3D Blu Ray) and DeLuxe Edition from October 24th on Eagle Vision.