Issue 27 of Stencil Mag

TEAM

Andrew Dex

Rock legends AC/DC have announced their highly anticipated new studio album, 'Rock or Bust' will be released through Columbia Records on December 1st.

Former My Chemical Romance frontman Gerard Way has announced a five date UK tour this November, as well London's Brixton Academy in January.

November 5th The Ritz, Manchester 6th Academy, Oxford 7th ABC, Glasgow 9th Y Plas, Cardiff 10th Koko, London January 25th Brixton Academy, London Deaf Havana have announced a short run of UK shows this December with Lonely the Brave.

December 14th Academy, Bournemouth 15th Princess Pavilions, Falmouth 16th Lemon Grove, Exeter 17th Kasbah, Coventry 18th King George’s Hall 19th Empire, Middlesborough 20th Engine Shed, Lincoln The latest acts for next years Bloodstock Open Air Festival has been announced sees Cannibal Corpse and Sepultura joining previously announced bands Within Temptation and Opeth for the four day festival. Whilst Emperor frontman Ihsahn will be bringing his solo project to the Catton Park festival as a UK exclusive.

Bloodstock 2015 takes places from August 6th to 9th at Catton Park in Derbyshire.

The Ghost Inside have revealed details of their new album, 'Dear Youth'. It will be released on November 17th 09. My Endnote Lagwagon will release 'Hang' through Fat Wreck Chords on October 28th.

The Summer Set will be playing two headline shows before they head out on tour with Tonight Alive in late November. As It Is will be supporting on both dates.

November Sat 22 Academy II, Liverpool Sun 23 Academy II, Oxford Senses Fail has announced they have signed to Pure Noise Records. They enter the studio in November to record their next full length.

Stick To Your Guns will release 'Disobedient', on February 10th via Sumerian Records.

PVRIS will release their debut full length, 'White Noise' on 3rd November through Rise/Velocity Records.

Team Sleep, the influential group featuring members of Deftones, Crosses, Death Grips and more, are reuniting to record the long-awaited follow up to their self-titled 2005 debut.

South west three-piece Black Foxxes will release their debut EP, ‘Pines’ on 24th November.

Birmingham punk trio Youth Man have been confirmed as support for Solemn Sun's November UK tour.

November 07 Leeds Key Club 08 Glasgow King Tuts 10 Nottingham Bodega 11 Birmingham Sunflower Lounge 13 London Oslo 14 Southampton Joiners Lower Than Atlantis will follow up the release of their self-titled next month by supporting A Day To Remember on their November UK tour.

November 12th Portsmouth, Guildhall 14th Plymouth, Pavilions 15th Brighton, Centre 16th Leeds, O2 Academy 18th Edinburgh, Corn Exchange 19th Nottingham, Rock City (sold out) 21st Sheffield, O2 Academy (sold out) 23rd Newcastle, O2 Academy More new acts have been added to the bill for the inaugural Nightmare Festival. The new names added to the one-day Camden event are Man Like Me, Black Futures, Knifeworld, Lyger, The Scenes, The Dash, The Mercy House, The St Pierre Snake Invasion, The Valves, The Tricks, Star Scream, Them & Us, Fur Cough, and Sophie DeBattista. Nightmare Festival takes place on November 1st on Camden High Street.

Essex based post-hardcore quintet Arizona have revealed they will release their debut EP, 'The Hunter. The Gatherer' on October 20th.

On AlreadyHeard.com Over at Already Heard you will find music news daily, tons of album reviews, live photos, interviews, tour blogs, exclusive streams, acoustic video sessions, features and much more. http://alreadyheard.com/ http://www.facebook.com/alreadyheard http://www.twitter.com/alreadyhearduk / @AlreadyHeardUK http://www.youtube.com/user/AlreadyHeardMusic info@alreadyheard.com

For anyone that is new to Moose Blood can you tell us a bit about the members and how the band formed?

We formed in August 2012 and played our first show in October the same year. Eddy and myself have been best friends for years, I used to play in a band with Glenn before this, and Glenn and Kyle have been friends since school. Eddy basically had a load of demos on his laptop that he'd made which essentially evolved into the Moving Home record. He showed me the ideas and I loved them, so he asked if I wanted to start the band with him. I obviously said yes, Eddy then approached Glenn and Sam, who was our original bassist, then we started jamming together. Kyle got involved about 8 months later.

You recently played Hevy Fest, how did it go, and how important are festivals like this?

Hevy was a bit of a bummer for us this year, I think we played one of the worst sets we'd ever done. The festival was really quiet this year compared to previous years. Hevy Fest has been awesome for the music scene in Kent and really needs a lot of support to continue happening each year. With the festival not going ahead last year it really needed to come back strong this year which it didn't really do but hopefully it will continue to go from strength to strength as I feel Kent really needs it. In previous years the festival has booked some amazing bands like Gallows, Glassjaw, Balance and Composure, La Dispute, Architects and Dillinger Escape Plan which really excited people and attracted the bigger crowds. It needs to live up to that standard again and hopefully will next year.

How excited are you for your upcoming European tour?

We head out to Europe with our label mates in Balance and Composure along with Seahaven which we are really excited about. We're all huge fans of both bands and have never played Europe before, it's been a long time coming so we're thrilled to be involved in such a great tour.

How excited are you to release your upcoming album 'I'll Keep You In Mind, From Time To Time'?

We are so proud of this record and can't wait for people to hear it in its entirety. We are a bit overwhelmed by the response that 'Anyway' and 'Swim Down' have received. We very much wear our hearts on our sleeves and pour everything into our songs both lyrically and musically, so to have people appreciate it in the way they do feels very nice.

It was recorded in Hollywood, so how did that idea come about, and what was that whole experience like for you guys?

It was an unreal experience and a total dream come true. Walking to the studio each day and being able to see the Hollywood sign was mind blowing. Things like that don't happen to a bunch of guys from Canterbury that just go to work everyday and jam out of a little practice space in Whitstable. It was a totally surreal experience that was set up for us by our label, No Sleep Records and our manager Stu Gili-Ross. Without those guys being involved it would've never happened. We will be forever grateful to them for making it happen.

How did you end up working with Beau Burchell (Saosin) and what was he like to work with?

Beau is an incredible guy who totally made the experience what it was for us. Working with Beau was so much fun. He is an amazing musician with so many good ideas that we took on board and made a better record for it. Ray at No Sleep and Beau are friends, so Ray approached Beau asking him if he wanted to work with us and basically that was that.

What have you learned from making this album that you may not have known before?

I've learnt that I can't play guitar! Beau really opened my eyes to new ways of playing and writing which have totally stuck with me. He made the whole writing and recording processes seem so easy! Eddy learnt how to sing properly two days before finishing the record, and Glenn learnt that he's just 'bringing it thick' the whole time when playing drums!

Which songs are the most personal to you?

To me, 'Chin Up' and 'I Hope You're Missing Me' are the most personal. 'Chin Up' is about my Dad's suicide and how I had to come to terms with that and the guilt I had about it all. 'I Hope You're Missing Me' is to do with my relationship and how up and down things can be, thinking about previous things that have happened in my life to where the relationship ended up. For Eddy I think 'Cherry' would be to most personal to him. I've never heard him say things to me like that before and he totally pours his heart out on that song.

How does Moose Blood go about writing a new song?

The songs basically start from an idea either Eddy, or myself and Eddy have had which then evolves during band practices into a final song. We all contribute to the song writing process but mostly the ideas stem from something Eddy's written.

How did you end up on No Sleep Records and what have they been like to work with so far?

No Sleep have been fantastic to us. They flew us out to LA and put us up in an apartment, booked us in with Beau and had us at the offices which was a great experience. All the guys there are awesome and some of the kindest people I'll probably ever meet. Our manager Stu lives out in LA and has a good relationship with No Sleep, so it came about that way.

Your merch designs are really cool, can you tell us a bit about how they come together?

Thank you, we like to think that we put a lot of effort into our merch and each piece really represents the band.

We think a lot about how our merch looks. We've been fortunate enough to have had some cool designers do some bits for us, and Glenn and myself have also designed pieces.

As we've mentioned you're out on the road in October, but what else is in store for Moose Blood between now and the end of the year?

We head out with Mallory Knox in November once we get back from Europe which we're really excited about.

That tour's going to take us into venues we never thought we'd play. Plans are still going ahead for December, and it looks like a headline UK tour for us in January.

How did your recent tour go with Balance & Composure and Seahaven and can you give us a couple of personal highlights from your time on the road?

It went really well! All the people in those bands, and their crew, have very large hearts. Awesome musicians and just generally warm to be around. The shows really couldn't have gone any better for us, our only qualm would have to be that it was a very short run. We were only on the three California dates. Playing at Slim's in San Francisco has always been on my bucket list, so that was a huge highlight.

What made you want to release 'Royal Blue' first from your upcoming album 'Haze', and how happy have you been with the response to it so far?

It was a unanimous decision between us and our business team that Royal Blue had the "lead single vibe". It showcases what listeners can expect from the rest of the album, without giving too much away. We're really blown away by the positive response it's gotten. It's obviously very different from our older material and it's cool to see folks hopping on the train with us.

What was the hardest part about putting together 'Haze' for you guys, and why?

Haze is a departure from our older material. I'd say the most difficult part about making it was letting go of our inhibitions and just writing whatever we wanted, without having any influence from older material or what was expected of us. With that being said, even that part wasn't very hard. The record was actually very easy to write because of its natural feel to all of us.

How did you end up working with Sam Pura, and what was he like to work with?

We've worked with Sam at a constant through-out the development of this band, so it was natural for us to just do the record with him. In fact, we didn't even discuss doing it with anyone else at any point. He's always a pleasure. He's got excellent ideas and an even better ear.

How would you say you have progressed musically since the release of 'Safe For Now'?

I don't normally like to think of things in terms of "progress" or "better than". SFN and Haze are different from each-other not necessarily because of the musicianship but because of their timestamp. Records, to me, are much like photographs. They both represent different times in our lives, thus, have a different tambre from each other. Wether that's received as progress is something I'd rather leave upto the listener.

Also, looking back on the release of 'Safe For Now' how happy are you guys with this record still, and what do you think it has done for the representation of The American Scene!?

SFN is still very near and dear to us. There's no way we'd be where we are today, writing the type of music that we are, if we never created SFN. I speak for all of us when I say that we will never lose that innate respect for it. In terms of its representation of us, and how we're perceived from it - we don't really think about those things at all! We just try to make the best music that we can and just let fate take its course. I find it particularly poisonous to cloud my mind with those kind of things.

You have been a band for over ten years now, can you take us back to how the band formed?

We formed in Aberdeen when we were at school. I was in a band called Fade and slowly but surely i kicked every member out until I drafted Jordan and Ross McTaggart (our original drummer) in. There wasn't a mass amount to do in Aberdeen when we were growing up so playing in a band was just something to do at the weekend and to occupy our time instead of skating about town all day.

At the time we started playing local shows there was an incredible scene happening. We were welcomed by a lot of bands we looked up to and from there we just kept working until we decided to move to Brighton to seek fame, girls and fortune.

You have since gone on to play countless tours and with some pretty hefty names, what was the highlight from the early days?

There is a man in Aberdeen called Tom Simmonds, he runs a great rehearsal space / studio / independent record company called Fat Hippy Records. We had self released a 4 track EP when Tom came to us and proposed we record in his studio and release an EP on the label. At the time we thought it was the biggest deal and I remember being so excited at the thought of our cd being sold in One Up Records which was Aberdeen's only Independent record store. Sadly they had to close the shop last year which was a complete travesty because it was one of my favourite shops on Planet Earth! I used to go there every day after school for my preferred education. The people that worked there were great with me, I must have been so pesky but I was just fascinated by the music i was discovering at the time. The employees of that shop have a lot to answer for in shaping my musical tastes.

Besides that, there was a venue called Dr Drakes and every Saturday they would put on local matinee / evening shows. It was a great place to hangout and there was a real community vibe about the venue. We felt a little out of place at school and when we started attending / playing shows we discovered that there was a large amount of people that felt the same way as us. The music scene in Aberdeen provided us with a sense of purpose and provided us with memories we'll probably cherish forever.

So, what made you want to release 'Shaking In The Water' first, and how happy have you been with the response to the track so far?

Well, we had been playing it live for quite a while and people seemed to really dig it. Over the course of time the song changed quite a bit and we thought it'd be an exciting song to come back with as people had heard it but not in its finished form. The response has been brilliant. People who have been following the band for years seem to be really excited by it and the song is attracting a lot of new people to the family. I would say it's easily the best reaction to a single we have ever had.

Can you tell us a bit about the narrative behind the track?

The song is about helplessness. I found myself in a terrible situation with someone I loved and the song is basically me waving the white flag admitting my faults. I have always found a scapegoat in other songs but with the new record and this song I'm facing facts and admitting I can do wrong...over and over again.

The new album 'There Is Only You' is due in November, what can you tell us about it?

It is undoubtedly our best record to date and if anyone argues that, you have my permission to hug them very uncomfortably. It features a beautiful intro and ten big pop songs with a lot of heart. Lyrically the album is about every rough road I had been down in order to find someone I truly loved and felt settled with. The meaning behind the record took a bit of an ugly twist when halfway through the recording process that person decided they couldn't be with me anymore. The songs have a real romantic feel to them in the same way nostalgia can be romantic. We wanted to make what we deemed a classic guitar pop record and I wanted the lyrics to be personal but very relatable. The songs have a universal feel about them which is something i don't think we have ever concentrated on.

How did you end up working with Dave Eringa, and what was he like to work with?

He produced our first record and we basically came up with an idea that we put into motion. It was a bit of a gamble but it really paid off. We had spoken about Dave and our good friend Paul Steel co producing the record with Chris Sheldon mixing, we had no idea if this was possible or if any of them would want to do it but fortunately for us the stars aligned and everything worked out perfectly.

Dave is great to work with. He is really excited about making records and he knew going in how great we wanted this album to be. He was totally on the same wavelength as us and he put as much heart and soul into the record as we did. It helps that Dave really cares for the band both musically and personally. He's a funny guy!

How did you get to the album title 'There is only You' and what does it mean to you guys?

The line 'There Is Only You' is from 'The Old Man and the Sea' by Hemignway. It really struck me in terms of what I was writing about and experiencing at the time, the feeling of worry at the idea I might actually be happy, content and in love. 'There Is Only You', to me, means this one individual who I care for so greatly and is my world, and on the other hand 'There Is Only You' means there is only 'I'. I'm the only one that can rectify my mistakes and learn to love and to be loved. I want 'There Is Only You' to be universal, for others to find meaning in it. Whether it be about love, religion, parents, yourself, your pet, friends, 'There Is Only You' is about one thing or entity that you are able to put everything into, your love, trust, faith, belief, heart and soul.

'There Is Only You' is your everything.

I believe there was some hearing problems for you during the writing process, can you tell us about this experience?

I perforated my eardrum on a flight back from France. I spent two and half months deaf in one ear with tinnitus ringing loudly 24/7. It was a miserable experience and I wish it upon no one. We / I had to take a break obviously but in that time I just studied classic records I love and listened (with one ear) very intensely. I am fixated on the idea of becoming a better songwriter and I've always thought structurally I could be more educated, so that's what I did when I was deaf and miserable, I studied.

How would you say the sound of The Xcerts has changed/progressed since you first started out?

We have undoubtedly become better songwriters. I think slowly but surely we have been crafting a specific sound and I feel like we have really nailed it with 'There Is Only You'. When we first started out we were a pop punk band, we then discovered Idlewild and Biffy Clyro and from there things changed dramatically. Now we are drawing from the history books. I really like the fact you can hear where we take our influences from but I want the delivery to have a different mark on them. We will always stamp a song with our individual twist whatever that may be.

What places would you really like to go to on the touring circuit for this record?

I really hope we can play shows in Japan again. We have been there once before and it blew my mind. I'd also love to do a full blown US tour. The Brand New tour is only a couple of weeks long so hopefully we'll get back out there and cover as much ground as possible.

How excited are you to be heading out on tour with Brand New in the states (your first time!), and what do you think this experience will do for the band?

We are incredibly excited! The Brand New guys have been really good to us and it's always great hanging with them so I'm sure the trip will be really fun. I actually have no idea what the experience will do for us as a band. I mean, we are a pretty tight unit as you can imagine so it's hard to imagine the tour bringing us closer together. I think it'll be a great introduction to America for us and it'll probably make us strive to be a big band in the US.

What else can we expect to see from The Xcerts in 2014?

We have just announced a UK headline tour in support of the album throughout November and I imagine we will be playing some shows in December. We are then going to take a break for Christmas, take a long hard look at ourselves and then start playing shows again in the new year.

Your new solo album ’Leave Me Alone’ is now out, what can you tell us about it?

Well I wanted to do a record by myself, I didn't want to do another acoustic record at this particular moment so I did an electric record. I wanted to play drums on an electric record, I know I'm not a drummer but I can play a little bit. It's something I always wanted to try and accomplish, I play guitar and bass and stuff but never drums, so I wanted to tackle that and it turned out good. I'm very happy with it.

The first album was an acoustic one with a bit of an edge, was there a feeling of not wanting to go down that road again at this point?

I do tend to do acoustic shows quite a bit and I really enjoy doing it, I'm sure I'll do another acoustic thing. I just wanted to really tackle doing a record like I just did. I could have done these acoustic but they sounded better. I wrote them on drums to be honest, I was humming the parts in my head and playing some beats on the drums at my house so I wrote them that way. The lyrics came from the last year or so, from things I had been dealing with, so that all kind of came quite easy. The drum parts; I never wrote a song on drums, I never thought of approaching a song in writing form on drums but when you’re playing drums and there's no one around you, like I said earlier you just kind of hum and sing in your head. So I wrote all the tunes that way and it came out pretty good!

What was it like to self-produce your own album?

Luckily I had my friends Harper and Trevor who were manning the controls, I know how I wanted to be and sound for something to come out with my name on it, but those guys did help me quite a bit as well as the engineers in the studio. However, I do like to have my hand on the final say of my music!

With it being a solo record does it give you more freedom than as part of a band?

I wish it was a band effort, just at the time I was going to do a Mondo Generators record but my friends in the band were having kids so instead of getting new members and screwing them I was like 'no I'm happy with my Mondo Generator band'. The guys that are in place are there for a reason and they want to be there and I love them to be there. They're a great band and a good bunch of guys, I've known them for a long time so I have to have some loyalty to them. So instead I did a solo record!

The guest appearance list is an impressive one, when you bring guests in do you throw ideas off each other before they lay down their parts or did you leave it to the moment?

No, for me I'd like them to hear something and make it a better song. Just like when I contribute a song to a friends album I'd like them to do it the same way, I'd just do it myself if I had to tell them what to play. They're there because I like their style and they could add something to this and hopefully make it a better stew! Phil Campbell's (Motorhead) playing, how are you going to tell Phil Campbell what to play? No, just do what you do. I said 'dude, throw a solo on here please' and well he rocked it man! He made the song jump out. All the guitar players on it that did solos, you can tell when they start playing as it was almost like they knew the other guys were on the record and it was a competition! They were really shredding right away right off the gate, and it sounds great. I'm really fortunate and lucky enough to know these fellows and that my record got to be graced by their greatness.

You have made numerous guest appearances on albums over the years, how much fun is it to do guest appearances ?

You want your friends to be available if you want them to be part of your record, so I like to be part of things like that as well. If somebody from a band asks me and I can do it, then I'll find my way there and add to it if I can. There's been times I've tried and it hasn't made it to the record, I've done more stuff than what has come out but I'm really proud of the stuff I've been a part of. It is a lot of fun, you get to hang out with your friends and hear their new songs as well before anyone else hears them which is also cool, I really enjoy that. Plus it isn't just your song, you get to hear the whole record and I really like to do that a lot and then tell people how good the record is!!

The Death Acoustic album was certainly something different, how did you come up with the idea of an acoustic album that if you put distortion on would be a thrash or death record?

Yeah, it's kind of ridiculous isn't it! That's all I know, I don't know how to do finger picking and shit like that, I wish I could, I've never been a good player like that so I strum really hard and I sing really hard! I don't sing very well either actually, I just go for it. Singers that are trained and stuff, they'd probably laugh at me but it's what I like to do and if someone comes and checks it out then I’m happy they have! Acoustic is a hard thing to do, like going up on stage by yourself. I looked at it as a sort of death acoustic or death punk something like that. I wanted to do some old punk rock songs and transpose them into acoustic to show that these songs are great songs and can be done in any style. A good song could be done in reggae or lounge or whatever. If a song is a good song it can be done in any style. Even bad death acoustic style!

What is it like preparing for an acoustic tour over a full band tour?

It's fun and sometimes it sucks. Sometimes you go out and it's a hard show, not many come out and sometimes I'll play better than other times. In the UK earlier this year I did 20 dates in a row and just went for it.

I was tired sometimes but it was all worth it and a lot of fun. I met a lot of people I've met before and some I hadn't. That's one of the best things about an acoustic tour, there's no barrier and no rock star shit. You're at the bar having a great time with everyone else, talking to people and meeting people. That's the best thing about it.

Getting on a more one to one basis?

Yeah, there's no barrier or security going 'WOAH YOU CAN'T TOUCH THE BAND!' you know, ridiculous stuff like that. I don't understand why there are barriers but I guess they need them for the super big bands. It's great because sometimes there's not even a stage, you just kind of play on the floor or a one foot stage and you're in the crowd and the crowd is on the stage. It's a lot of fun.

Do you have a stand out memory from playing shows in the UK? Yeah, what I can remember of some of them. I think Reading Festival was great a few times and the Astoria, that place was great both the upstairs and the downstairs. But they levelled it right?

Yeah, a while ago now!

Sad, it was a great place!

With so many projects under your belt over the years, which one is closest to your heart?

I love the Dwarves, I love Queens of the Stone Age. Fortunately I still do the Dwarves and unfortunately, I don't do Queens anymore, but that hasn't been a big boohoo for ten years now. We're going to do a reunion on Halloween, not a reunion as in the band will get back together, more as in my band is going to open up and we're going to end the night with six songs in an encore set where I'll get up and play bass so it's going to be a great Halloween, I'm looking forward to that.

Earlier in the year you appeared on stage with Queens of the Stone Age, how much did that moment mean to you?

Yeah, I sang Millionaire. They use in ears now, those in ear monitors? I couldn't hear myself because there was no monitor on stage so they were like 'you can come up and sing but there's no monitors on stage' and I was like 'what do you mean' and they said ‘they use in ears and you have to go blind!’ I could hear through the front of house if I sang loud enough but it's a screaming song, no harmonies or anything so I didn't really need them.

Could you envisage working with Josh again at some point in the future?

I've put it out to him, it has to be on his terms and when the time is right for him, he'll do it. I don't think we're ever going to do Queens of the Stone Age again, I'm pretty sure that is a far fetched thing. He's got a bass player already and he's quite good, I think he's got the guys in place that he wants in place that will rock stuff how he wants it rocked and that's important. That's where the band has gone and that's what the band is and well, he's killing it! He's done so well for himself and kept the band name going for ten years longer than I've been in it, so it's great. I keep quite busy in the smaller level of bands and stuff but I never stopped that's for sure. We're going to do a rehearsal and stuff then do the show so it's going to be a good October. Josh has talked to me before about working on a possible Desert Session or maybe we'll do another band. He played a lead on my last Mondo Generator record on a song called The Last Train, he played on it, and sang on it a little bit which is great, it made the song a lot better. He really added something to one of my tunes.

The new album is near its release date, what is on for the rest of the year and in to next year?

Well, I'm hoping to get out and tour the States, as I'd love to tour the record here. I want to go out to Australia and back to Europe as well. I'd like to do another record by the end of the year with Mondo Generator or with this band so we'll see what's going to happen. I'd like to do a record with a full band with input from everyone.

I'm hoping to do that, I have nothing on the calender to pin down, it's in pencil but I do tend to stay busy. I know in October I'm going to play on the new Moistboyz record so I'm stoked about that!

Can you tell us a bit about the formation of King 810?

Two of us started playing together about twelve years or more back. We were just kids on the scene in Flint.

We would pick up another guy, then another, over the next couple of years, so the four of us have been playing as a group for about a decade. We didn't call this thing KING until December 2007.

Also, how did you get to the band name King 810, and what does it mean to you guys?

We wanted to be amongst company like Queen and Prince ... so KING. But then also we couldn't forget our hometown. 810 (the area code for Flint). KING is a lifestyle, it doesn't have a meaning.

So how did you end up on the mighty Roadrunner Records, and what have they been like to work with so far?

A cat named Cody from New York City had heard us and got in touch on the phone. He was a fan of the songs he had heard and made it his mission to find a platform for us to be heard by more people. We didn't get our hopes up and kind of wrote it off. We stayed in touch though and became friends over the years and everyone he showed this thing to thought he was crazy. He ended up meeting Mike Liguori who would go on to A&R the record with Dave Rath. He gave them the whole pitch and apparently it was intriguing to them.

Can you tell us about how you got to the album title 'Memoirs of a Murderer' as well as what it means to you?

The album title kind of chose itself because that's what it is - a memoir, but instead of a book or notes, it's audio in song form and that’s the vehicle it comes in. It means everything a memoir would mean to its author.

It's my real life recollection of the people and events that have surrounded or happened to me in life thus far.

We've read that 'Memoirs of a Murderer' is your own memoir, so with this in mind, can you elaborate on some of the main themes and influences that a listener can expect to hear on this album?

There are a lot of themes and textures on this record. All the true life experiences with violence, love, religion, murder, crime and common feelings and happenings like that are literal. But it's also outlined as a three part piece that goes from front to back and leads you deep down an abstract rabbit hole. Influences for this thing are tough to pin down because it's beyond music. Sadly only a small percentage of life is inspired by music so the inspiration for this record comes from everywhere, but it's primarily first hand experiences.

Also, the album is in three distinct movements, so how did this idea come about, and can you tell us how each movement progresses?

This idea is loosely based around Freud's id, ego and superego mechanisms, in that order. The first movement of the record is id. Kind of the devil on your shoulder and primitive, instinctual piece of the puzzle that is a lot of what you would expect from a heavy band, which is face value stuff like aggression and violence, etc. This has a brotherhood and a comradic texture to it. The first section is moved via a spoken word into the next section called ego. This part is more the realistic id or the id after it's been run through a real world filter, and that appears as more of a typical male/female relationship dealing no longer with brotherly love, but opposite sex and what comes with that. The second spoken word acts as another vehicle to take you further into a more abstract artistic movement that is the superego which has a moral conscience and is the reflective final part.

Those are the three parts in a nutshell.

It's also heavily based on your hometown of Flint MI, so can you talk us through what it's been like to grow up there?

It's pleasant sometimes and it's a struggle most times. When you see violence day to day or shootings or murders and poverty you're constantly around those kinds of crimes and criminals. It's desensitizing and humbling. But these killers are your friends and your family and not everyone is that, but it's all a shaping process on the person experiencing it, just like anything else. I feel like it's the perfect place for four guys to grow up who were going to go on and do what we're doing now. Because on the other hand really, you still grow up like a regular person. We were just kind of unsupervised.

Can you tell us about the recording process for 'Memoirs of a Murderer'?

This was done in Bay City, Michigan with Justyn Pilbrow and Josh Schroeder and the bulk of it was done over 5 weeks. These were the only two we trusted with our record so it was the six of us and we had two studios set up in one house and we were just running back and forth working on a dozen ideas at a time. We must've made 30 songs or so in that period.

How excited are you for your upcoming tour with Slipknot, and what can attending fans expect?

Hell. Just as it's called the 'Prepare for Hell' tour. When all the bad people are buried and go to the core of the earth, this is exactly the line up that'll be playing down there.

What else can we expect to see from King 810 in 2014?

We go out with Slipknot and Korn this October in the USA. Aside from that we'll just continue to try and come close as possible to representing this whole vision.

So reflecting back on the break up of your former band, My Chemical Romance last year, how do you feel about this now and would you say this effected you creatively and musically as a musician?

I feel fulfilled. We really had a great time those past 12 years. I wholeheartedly believe that every experience you have molds the person you become. So of course it effected me creatively and musically. It also effected me personally. I spent almost half of my life being in my chem, I grew up in that band. When you think about it like that, it’s a bit crazy. But the life of the band effected me way more than the break up did and it's nice to be able to now go on, and do new things with those life experiences under my belt.

I understand you started writing songs post break up in your home studio, how would you describe your thoughts and feelings at this time?

I was going through a real rough time physically. I have spent a lot of my life battling a gastrointestinal disorder which causes me a lot of pain. And towards the end of 2012 and into 2013 it started to get really bad. I decided enough was enough finally and made myself take a defiant stand. Anytime i felt this pain coming on and I wanted to just curl up and die, I picked myself up and forced myself to go into my basement studio and write a song, or a poem, maybe a short story, or paint a picture. I needed to take control of my life again...especially my creative life. I needed to make things in order to forget about the way I felt. And it began to work. On a good day I could ride that creative high and feel normal once again.

Would you say the biggest reason for you starting your own main solo project was as a direct result of My Chemical Romance ending, or is this something you always envisioned anyway?

No I wouldn't say either. It just happened to be honest. I am always going to create, it's just who I am. It's in my DNA. It may be with a band, in a movie, maybe writing a book. It just so happened this time around it came in the form of a solo venture.

I know you have worked on other bands and projects such as, Leathermouth and Death Spells, are there any future plans for either band, as Leathermouth has had a quiet spell or are you mainly focusing on your new solo project, FrnkIero And The Cellabration?

Right now I am forcing myself to stay focused on the task and the record at hand. I have a tendency to jump around to different projects and spin a lot of plates. I seem to get inspired and I just go for it. But I see the pitfalls of that behavior and I want the projects to have their time to shine and I want to dedicate my full attention to them. So for now it's all about the cellabration.

How would you say your latest project differs from your other musical ventures?

I would say they are all so different from each other, drastically so. If I've done something in the past I see no reason to go back and retrace those steps. If it's not new territory for me, it feels like a waste of time. I have these different outlets because they serve different tastes of mine, different parts of my psyche. I like that those outlets exist for me. So when those itches emerge I am able to scratch them. These other projects though, LM & DS, they are bands. There's a collaboration there that I really enjoy. Stomachaches on the other hand, that all came from me just sitting in a room alone, creating songs from nothing. It couldn't sound like any of those other projects, not in a million years.

On FrnkIero And The Cellabration you play all the instruments with the exception of drums which are played by former My Chemical Romance drummer, Jarrod Alexander, being multi-talented must help when it comes to songwriting or would you say at times it's harder due to the extra efforts and creativeness you have to put in?

I think being a multi-instrumentalist is a necessity when taking on a project such as this. And while I am not fully proficient in all of the instruments I used on the record, I tried to use my shortcomings as tools. I became inspired by my limitations, and showcased those happy accidents. A great man once told me 'Play all the wrong notes as if they are the right ones.' I take that advice to heart, and apply it daily. To me it means take the road less traveled, make mistakes and embrace them...and when things go awry, never let the listener know.

How excited are you to now have your release 'Stomachaches' out in the world, and for those that haven’t picked it up yet, what can they expect from it?

I'm very excited and at the same time I'm also gutwrenchingly upset with myself for letting anyone else hear it.

You have to understand when I was writing and recording these songs I honestly had no intention of releasing them. I was just trying to get my life back and forget about the way I was feeling. These songs weren't "my solo record", they were my means to an end. I made them for me. So I kept them as pure as I could. I wanted to channel the songs through me and capture a moment in time. I never edited myself for mass consumption...now I suppose that could be a very good thing, however it's also a very scary thing. But I believe the whole point is to create for yourself, because you need to in order to survive. And then when you are finally complete, you must release it into the world and allow your art to affect other people.

Given your history and past affiliations do you feel a lot of pressure as a musician on your new musical endeavors?

No, I don't think you can do that. If you were to base your entire future on your past endeavors you wouldn't have the time to live your creative present. It's silly. Every project, every record, every song for that matter is a new beginning. A chance to explore and do something new. People may compare and contrast, maybe even spot some familiar influences or nuances but today is a new day, and if you let those outside feelings in you will ruin everything.

The first single, 'Weighted' aired in July 2014, so what made you want to release this track first, and how happy have you been with the response to it so far?

That was actually the label's decision. I write the songs and do the art, and with in reason I leave the marketing business to the professionals. I have my opinions on what I think would work well for singles or what not, but ultimately I feel that is their expertise and I want them to do their job to the best of their ability. As far as the reaction I must say I am completely overwhelmed. It's a really nice feeling when people appreciate the things you've made. Especially the things you've made in such a pure and intimate fashion. It feels like an exceptional conversation is occurring.

You also released a video for 'Weighted', can you tell us a bit about the making of the video and how you wanted it to represent your music?

I actually ended up writing two treatments for weighted, the first of which was turned down for being too over the top, so we ended up going with the one where I rise from the dead and viciously murder 5 children haha.

Sometimes I like when videos follow the song and become a complete visual representation of the lyrics. And sometimes I like when an artist takes the opportunity to make two completely different things in the same 3 or 4 minute time period. In the instance of weighted, I felt like I had said everything I wanted to say in the audio and the lyrical content of the song. So why not use the video as an excuse to make something brand new. And that's exactly what we did.

How did you get to the album title 'Stomachaces' and what does it mean to you?

A theme I feel that really travels throughout the record is trying to find the beauty in things that at first glance we may see as ugly or mundane. I think while writing these songs, because of the process, my stomachaches eventually became synonymous with creating music. I tried to turn my downfall into a positive. And I couldn't think of a more beautifully fitting title.

What else can we expect from FrnkIero And The Cellabration in 2014?

Well definitely more touring, and another video will be coming soon for our second single, joyriding. I think there's a lot to come!

Your new single ‘My Heart Is Pumping To A Brand New Beat’ came out recently, how has the feedback been from it?

It's been really cool actually because we've been doing quite a lot of festivals over the Summer, that's why we really wanted to get the single out in June so we could play some new material while we're out playing all these festivals. It's been going down really well, it's nice for us to see these festival crowds who know some of the words to a new song or perhaps haven't heard it, getting into it. So good timing I think.

What was it like to perform with AC/DC? We were a bit terrified for that! That and Download is probably the most scared I've ever been going on stage.

You know that band that people talk about and they deliberately go to throw stuff at? I thought that might have been us but we were lucky that the AC/DC crowd were pretty friendly to us. They are one of Josh and Billy's favourite bands, the first gig they ever went to with their Dad was AC/DC at Wembley, Billy plays an SG because of Angus Young so it was a massive thing for us.

The single marked 10 years since you won the chance to be at Glastonbury, at 17 years old did you fully grasp the enormity of playing such a world renowned, huge festival?

It was all such a whirlwind that time, we were so young. I remember revising for my A-Levels in the back of the van going down to Glastonbury which seems completely mental now and to go from playing all the Toilet Venues around London to 50-100 people to suddenly be on-stage in front of 10,000 was just mind blowing.

The whole thing is just a bit of blur if I'm honest, just being thrust into this situation but we are so grateful for that. Also we're really pleased that we got that slot this year as well, same stage, around about the same time.

It was a real celebration to do that and show that we're still here and we're still enjoying it.

To say it is a blur is understandable, what did you think at the time having just played to that many people? It must have been a bit of a head fuck for lack of a better word?

Head fuck is actually a pretty good description! I think we were aware that we needed to make the most of it and jump on any kind of publicity we had. We knew that this was something we really wanted to do if we could make it happen so that got us a bit more label and industry interest. We got to play Reading/Leeds after that and then we put out our first single with Transgressive Records and booked our own UK tour. I think that helped us carry on with the exposure we got.

So what made you want to have a self-titled album name?

This album has been a real "team Subways" effort with Billy producing the album and us doing the majority of the recording in our home rehearsal space. There's been very little outside influence, Our manager, who has been with us from the start, has been closely involved with helping us make this happen and create the pre order idea. We don't think that any other band has released half the album with the pre order before, so it's been quite a complicated process to make that happen.

Can you tell us about the main themes and influences that run throughout this record?

We're all quite split on our influences these days, which I think helps create our sound. Billy is the lyricist for the band and I think this record is more of a return to the personal lyrics on Young For Eternity. Personally, I've been listening to a lot of Fleetwood Mac throughout the making of the album, though I can't ever hope to match their greatness!

How would you say this record compares overall to anything The Subways have done before?

I think in many ways we've gone back to our roots, especially with I'm In Love and It's Burning In My Soul, that song has been around since before Young For Eternity. I like to think the album is bursting with energy in the same way that we are on stage.

How did you end up working with Zash Ore for the artwork, and what was it like to work with him on this process?

Zash uploaded a poster design for a gig on our Facebook page and we all thought it looked really cool! We approached her and asked if she would be interested in creating the album artwork with us and she said yes!

We love the designs she has come up with and think the comic book style versions of ourselves are awesome!

The band had a very grass roots beginning, how different is it making an album or booking tours now compared to when you first started out?

We still like to be really involved, particularly with the touring. I think now we have played in a lot of different places we do have a grasp for different venues and places we've really enjoyed so we're looking at booking a quite long European tour next February and March. It's really cool to look through and know 'that's going to be awesome and we need to go back to there' so for us it's really important to be fully involved, we've always been that way. I like to know how everything works and it is important because this is our business. It's hard to think of it as business because it is so much fun but you do need to be aware of what's going on.

Can the fans expect to hear some new material played on the tour?

Yes, we'll be previewing a few songs from the new album. We played a few over the Summer at festivals but we're going to do a few in rehearsal before we head out and get a few more of those songs ready. I think for us as well as the fans, it is really good for us to play them, see what people think and get some kind of response.

Are there any songs you could name that you are excited about playing?

There's one called 'Taking All the Blame' which is one of my favourites that we have been playing over the Summer so there is probably some YouTube footage of it out there but that one’s been going down pretty well.

I've seen Nirvana cited as a big influence so how was it to work with Butch Vig? It was amazing, we were so nervous before because Nirvana were a huge influence and for me, I'm a huge Grabage fan. Shirley Manson is one of my idols so to work with Butch Vig was just kind of quite mind blowing.

We went over to L.A , an incredible, posh awesome studio and we were still quite young at the time, it was our second album and at 21-22 we were just completely blown away that we're in this place with this amazing producer, who was so nice as well. The whole experience was just so much fun. We were really worried that we wouldn't be good enough for someone like that but he was really intelligent and we had a really good time!

Every band has its own unique relationship with their fan base but The Subways seem to have a more hands on one than most. Has this been a natural thing for you?

It has been, when we were playing in London and we started to recognise the people coming back. We'd always go out and talk to them. Some of our fans now, we consider them friends because they've come to so many gigs we know them really well which is a really nice thing. It's important to be involved because without those people, we wouldn't be able to do it and we've met a lot of really cool people too so it is definitely a positive thing and something I don't think we'll ever lose, it's part of our identity as a band.

The first time I had properly heard the band was on The O.C, that show really brought a lot of newer bands to peoples attention, how did you come to work with them?

I don't know how they picked up on us. That show was quite important for a lot of bands, you don't really realise until you've been on it how many countries it's screened in. I think for us, we've been lucky to go to a lot of places like Russia, Eastern Europe and South Africa and places a lot of bands don't get to go to and I think a lot of that is down to things like The OC, we had a song in Rocknrolla. These films and TV shows go a lot further than you think, it is an international thing. I really like the show as well.

Rock can be a very male dominated style, how is it to be the only woman on tour?

In recent years it's actually been a lot better for me, we have a female monitor engineer now, I'd always end up in a room on my own before but now I have someone to share with which is quiet nice! I feel incredibly lucky that I've always been surrounded by cool guys like Billy and Josh who never made me feel like the odd one out and they are brothers! I'm lucky to have had a good and positive experience, I know there are other females who haven't like the singer from Chvrches who wrote an open letter about her experiences in the music industry and I was completely gob-smacked that she'd had such a horrible experience, it made me feel really lucky and appreciative of our fans that we don't have people like that coming to watch us. I don't really feel it unless I think about it, say on a big festival stage quite often I'll be the only girl on that stage playing all day which I think is a weird thing. I don't know why it's become so male dominated. I do think it has been better in recent years, there's a lot of cool girls in bands coming to the forefront and not just lead singing.

Bands like War Paint and Haim with all girls, I think it's quite a good time for it.

CONTACT: Facebook.com/beforethestoryends A female fronted 5 piece from Birmingham that has taken essences from 2000s punk mixed with modern alternative rock to produce an exciting blend of new music. Have been gigging around the local Birmingham area throughout 2013/14. They released an EP during the middle of last year and have just put the finishing touches to a brand new one earlier this year. "Story's Not Over Yet� is available from iTunes now: https://itunes.apple.com/gb/album/storys-not-over-yet/id910756177?i=910756183

The new album has been out for a bit now, so how has the reaction been to it so far, and what new songs are you really enjoying performing live?

The reaction has been as positive as we could ask for. People who have been with us for a long time seem to like it, and there is a whole new group of people listening to us and coming out to see us for the first time. I love playing The Talk, Asshole, and Rodent live.

How did your summer tour go with Lemuria, and can you give us a couple of personal highlights from your time on the road?

The tour was phenomenal! Pup and Cayetana were also on the tour with us. We couldn’t have asked for a better group of people to tour the country with. Playing such massive shows in New York and Philadelphia were a huge highlight for me. It was just crazy to have our friends and family with us at huge venues. We just raged. It was fantastic. Oh! Also I shaved for the first time in years while we were in New Orleans. May not seem like a big deal but it was a fun time for me. Naked face boy.

How much did the experiences of Impossible Past contribute to the growth on Rented World?

They contributed a whole lot. We started to become adults during OTIP. Life started smacking us in the face.

We also were fortunate enough to begin touring full time and meet all kinds of incredible and interesting people from all over the world. It really opened up our lives and let us grow as people. Since we write mostly about our lives and experiences, those changes in our lives shaped everything on Rented World.

The bands sound has been evolving over the years, with hindsight would you have done anything different at the start of the bands story?

I would have paid more attention to what I was doing and not lived like such a lackadaisical asshole. However being drunk and fucking around for a few years led us to this point that we’re at now. So I guess no, I wouldn’t have done anything different at the start. Actually, I would have spent a lot less time worrying. Worrying is just praying for something bad to happen.

At the last look at your ticket sales on your Facebook page the UK tour looks to be heading to a sell out, how much does that mean to the band to travel so far and sell shows out?

It’s such an inspiring and reaffirming feeling. It’s kind of like when you drop a quarter and it lands on its edge, or you make an insane trick shot or catch a falling glass or something and no one is there to see it, except everyone is there to see it and you did it with telekinesis.

Can you give us a couple of personal highlights from performing in the UK over the years?

We have so many wonderful friends in the UK that we don’t get to see often enough. Every night I get to spend with them is precious. We’ve been to insane house parties, bars from before the English set foot in America, ROMAN RUINS, and giant festivals. The UK is a wonderful place to be.

For those that might not know, can you tell us a bit about the formation of Sleepwave?

Sleepwave is a new band I made with my friend Stephen Bowman, really it spawned from us playing for fun with no intention of releasing the material, once Underoath started to slow down I took the ideas we had and turned them into songs. We demoed and demoed and spent every cent we both had to find the right team and the right producer and now we have our debut record "Broken Compass".

We've read that at one point after the break up of Underoath you were literally emptying your piggy bank to make it through the day, so for you, how rewarding has it been to work on this band from the foundations to how well it's already doing?

It’s been an amazing journey for me so far, I was and still am basically on empty, I have yet to make a profit from Sleepwave but that doesn't mean I’m going to give up, hopefully things will change soon.

So how did you guys get to the band name Sleepwave, and what does it mean to you?

Basically we sent in about 60 names to our lawyer and that was one of the 4 that came back uncopywriten, which is crazy. It’s basically two words and I took the space out, it’s the wave form recorded while your brain is in REM sleep, so to me it’s when you are truly free, you have let go and are no longer in control, I like that idea.

How would you describe the way Sleepwave sound, and what kind of rock do you think this band will strive towards?

Sleepwave is just an honest rock band with a lot of electronics on top...I think we are striving to bring back everything that’s been missing in rock music for a long time and adding our twist on top which makes it new, modern and original.

Touring wise, what have you been up to this year, and what's it been like to take this new band on the road?

We've been touring for a while, we did a run before we recorded, it was a nightmare haha.

We then went straight from the record to tour with Taking Back Sunday and The Used and right now we are on the road with Nothing More. I love playing live so I’m happy.

How happy have you been with the response to your material so far, and which songs are you really enjoying playing live?

I love playing "Hold Up My Head" it’s one of the most fun ones to play because it’s so different, the response has been amazing so far, I’m very pleased.

So can you tell us a bit about the main themes and influences that run throughout 'Broken Compass'?

That album is the journey of my last two years in life, it’s been a hell of a ride and everything is on that disc, it’s brutal and it’s honest but it’s me. It all happened so I wrote about it.

Also, how did you guys get to the album title 'Broken Compass' and what does it mean to you?

I named the album that because I knew where I wanted to go next, I had a very clear vision and knew exactly what I did and didn't want but I wasn't sure how to get there...it’s like being lost on an island and your compass is broken what do you do? You trust yourself and follow your own sense of direction without the help of a tool that would lead you in the right direction before, a tool that maybe you relied on in the past, it’s all about trusting yourself.

How did you end up working with David Bendeth, and what was he like to work with?

I’ve known David for a while, he actually mixed an Underoath record. He's a nightmare ha! He actually is a great guy I love him to death but he worked us harder than we've ever been worked and as much as I say it was a tough process I cannot thank him enough for pushing us to our limits and then some more. I’ll definately go back and work with him again.

How would you say the writing and recording process on this record, compares to how you have worked in the past?

It’s only two guys so it’s easy, I write all the time. If it’s piano, guitar or vocals I'm always up to something, me and Stephen just click, it’s like we don't even need to talk it just gets done and we are pleased with it.

How excited are you to be performing with Bring Me The Horizon at the London Wembley Arena in December, and what can attending fans expect?

We are very pumped about that show and being in the UK for the first time with Sleepwave! Oli is a friend and I respect that band a lot for the material they make and I couldn't be more honoured that they asked us to be a part of their show. Everyone can expect us to go hard and have a good time, we loooooove playing live, it’s where we feel most comfortable.

What else can we expect to see from Sleepwave as we head towards 2015?

Tons of touring, we want to hit everywhere more than once on this record, it’s hard for a new band to afford to tour especially overseas but we are doing our best to go anywhere and everywhere!

See y'all soon.

Your new album ‘Up In Hell’ is now out, so how would you say it stands up against the previous releases?

I believe this is our best all round album yet. From beginning to end, it is Incite at its best from raging thrash, to massive groove and gut wrenching vocals. I think with this one we finally defined a sound that is Incite, no doubt about it.

Matt Hyde has worked with some of the best in metal, what did he bring to the band?

He truly was a game changer to have on our side. From the moment we started recording, we knew he was a bad ass. Matt brought our focus and drive into full gear on this recording and was very involved with every step of this album. We have never had so much input before and it was huge for us to have an outside ear to get us where we needed. From vocal patterns to guitar sound and drums, he's a master. We had a killer time and I believe he brought the best out in us all. We wanted to let him take over and guide us in making a really great metal album. You walk into his studio and there's a Grammy there and tons of gold records so you know he's not messing around.

The lyrical content has always been an integral part of an Incite song, where do you go to draw inspiration for them?

It's mostly through life events that I draw experience. I try to make every record a personal thing and let out all my rage and built-up anger or frustrations. I always want people to be able to relate to what I'm saying, and want it always to be about real situations not fairy tale stuff or a false life. I want people to see stuff is not perfect like a lot of music likes to make things seem. I believe in getting everything off my chest and not holding back. My life has been crazy and I have no lack of terrible things that have happened.

The artwork seems to delve back to some of the classic epicness of old metal albums, can you tell us more about it?

Yeah, I wanted something that you would see and know exactly what this album is about. I felt we were a little conservative on the first two covers so this one had to be huge and fit the music and topics of this record. I got the help of metal legend Dan Seagrave who has worked with bands like Morbid Angel and Pestilence, to really get the dark imagery we needed. He was killer. I sent him the ideas I had and he knew what to do right away. I believe that the cover is very important in setting the vibe of your record. I want that to be a huge part of Incite for the future. It's basically hell taking over earth.

Are there any songs that stand out on a personal level for you?

Yes, songs like "Who Am I" and "Losing Grip" are songs about questioning who you are and if you have what it takes to make it through life. I felt very down writing this record. My band members left me, it felt as if the band was just absorbing every aspect of my life and it felt like I was losing control of everything, so there was a lot of questioning of the future and where I was heading. I just know that each song really is a look into my mind and everything I go through and feel. Songs like 'Up in Hell' and 'WTF' are songs about the world now and people...There are so many pieces of shit, politically correct dumb asses out there and it's a crazy time. I just want people to realize it.

You've recently been shooting some videos, which songs are they for and what can we expect from the finished videos?

It's for the songs, 'Fallen' and 'WTF'. We went with director Robert Sexton (Devil Wears Prada, Cavalera Conspiracy). He has very dark imagery and felt like he could capture these songs perfectly. We did some killer shots of the band rocking out. 'Fallen' has the band in it and 'WTF' is a video with actors, we're not in that one.

We wanted two completely different videos for the vibes to be set. 'WTF' is going to blow peoples minds, touching on death, darkness, and love. I think they'll be talked about. We really wanted to push the envelope with these and show people you can still make a killer video.

October will see you in the UK, so how excited are you for this, and how has it been for you guys to perform here over the years?

We love it there! We're so pumped to be coming back to the UK. It's been about two years since the last time and it's long over due. I believe the UK will be the center for the Incite takeover and the rest of the world will follow. They've been so supportive and ready for a new kick ass metal band and that blows your mind. We always have had monster pits, loud ass crowds and just a feeling of getting bigger and bigger there each time.

I believe the UK has one of the best scenes in the world, so I know how important it is for us to come over there and just really destroy every single night with all we got. You will be the first crowds to hear the new songs live and it's perfect for us to have that chance! We're so fired up!!!

Are there any songs from 'Up in Hell' that you are especially excited to play live and why?

Yeah, ‘WTF' and 'False Flag'. I think people are going to go ape shit when we play these songs over there.

They're two of my favorite Incite songs to date. They were made for metal festivals and they're going to destroy. It gets me fired up just thinking about it. Those two are defiantly going to be a blast to play live.

Incite like many bands these days have had their fair share of line up changes, do you feel this one is the one that will go forward?

Yes for sure. It's a part of music now. The biggest to the smallest bands go through line up changes. It sucks, but can be for the best and I feel this was for the best. The vibe was not right before. Now it's never been better and more exciting. I believe if Dis and myself always stay together this band will always continue.

Lennon, Dru and EL have brought a lot of energy and excitement that this band needed. They are here to stay and I see no changes for this band again. It just took time to find the right ones to go into battle with and I believe we've found them.

Touring wise, what have you been up to this year, and can you give us a couple of personal highlights from your time on the road?

This year we were mainly concentrated on trying to get the record finished. We were on tour with La Dispute in March and April, and then spent all of June in the studio recording the record, so most of our touring will be happening in the coming months!

Have you been playing any new songs live? If so, how's that going for you, and what's the response been like?

We have been playing two and it seems like people have been really receptive which is great because when you are starting to do something new you always hope that people are receptive and open to it.

What made you want to release 'Repine' first, and how happy have you been with the response to the track so far?

Repine seemed to be one of all of our collective favorites so we wanted to release that one first because of that, and we couldn't be more excited about the songs reaction! Everyone has been so supportive which has been amazing.

So, how did you get to the album title 'Keep You' and what does it mean to you?

"Keep You", for me anyway, basically means that no matter where those people go in your life that you have lost by way of death, or just disconnect in a friendship, etc. you will always keep them in your life if they made an impact on you, regardless if they are around or not.

How did you end up working with Will Yip, and what was he like to work with?

We heard nothing but amazing things with working with Will and everyone was right. He was beyond positive and an amazing person that became an amazing friend. He helped realize our vision for this record and we can’t imagine doing it with anyone else.

How would you say this album compares overall to 'The Lack Long After'?

I think they are definitely two different things. That's one of the most special things about recording an album is that they always become something that is a time and a place. I think they are both great albums, but for many different reasons.

What was the hardest part about putting together 'Keep You' for you guys, and why?

Probably trying to step back and make an album that was more focused on songwriting. We have spent a lot of our career building songs on parts and "cool" parts rather than trying to see it from a songwriting perspective. With this one we tried to make the best "songs" we could and we tried to just push ourselves in writing interesting music that we all loved.

Can you tell us about how the artwork for this record came together, as well as what it means to you guys?

The idea is sending a smoke signal i.e. trying to tell someone something when they are not around. Chad, our guitar player, came up with the idea and it was the one idea that definitely clicked and made sense with all the other themes of the record!

You performed at the Warped Tour over the summer, so what was this experience like and how was it being on the main stage?

As corny as it sounds, playing main stage warped tour was a dream come true for me. I've been going to warped since I was a kid and always wanted to be one of the bands up there. Especially on the main stage.

We had done warped tour in 2012 on a different stage but this year was a whole new experience being on main.

You're heading out for what is a very extensive run of dates in Australia and New Zealand, so how excited are you for this, and on a global basis how happy have you been with the gradual growth and popularity of your band?

I think for us, the biggest benefit of being in a touring band is actually the touring. Being able to go to other countries on a consistent basis is something I never thought we'd get to do. Not only that but having people excited to see us play far away from where we're from. That's really cool. Especially places like Australia and New Zealand which I don't think I would ever have to chance to go without being in this band.

Looking back on the release of 'Get What You Give' how happy are you guys with this album still, and what do you think it has done for the 'status' and representation of The Ghost Inside?

I'm still very proud of Get What You Give. I think for us it came at a time when we needed something to really separate and legitimize ourself in people's eyes. Having a label like Epitaph behind it really helped us get some exposure with it, then it was up to the songs for people to decide if they like us or not.

So what can your fans expect to hear from ‘Dear Youth’?

Yeah album number 4 for us. Pretty wild. I think for this album we really had a direction. We had a drive and a vision that we wanted to see out and I think it's going to become our best work yet. People who like the band now will be into it and people who've been on the fence about our band, this might be the album that gives them the push they need.

Can you tell us a bit about the recording process for ‘Dear Youth’?

We recorded with Andrew Wade and had Jeremy McKinnon work with us again. We had a really great dynamic for Get What You Give and we wanted to have the same team of people on it for this album. They're both very talented people and take what we do and make it that much better.

What would you say has been the hardest part about putting together ‘Dear Youth’ for you guys, and why?

The hardest part for us was staying off the road to actually write and record it! It's no surprise that we like to tour so it was hard to write and record in between tours. So it ended up being a long process but we didn't have to slow down our touring so that was good!

Going back to the bands early days, who were the bands that helped to craft your sound?

I like to think that musically, we are a mix of Comeback Kid, Bury Your Dead and Misery Signals. All of our favorite bands and ones that we've been fortunate enough to tour with.

So how excited are you for your upcoming UK tour with Asking Alexandria, and what can attending fans expect?

Yeah I can't wait for this tour. On top of it being an awesome line-up, we get to spend like two weeks in the UK which is unheard of for most bands. Anytime we've been there it's usually around five shows so it's going to be great to spend some quality time in the UK playing awesome shows.

Can you give us a couple of personal highlights from touring the UK over the years?

Being able to play Download was a big deal to me. Huge festivals don't really happen like that in the United States and that was rad to be a part of. More recently, playing Slam Dunk was really fun too. There was tons of friends bands playing as well so the hangs were just as good as the shows. The weather was pretty bad the whole time though!

As a key part of the Melodic Hardcore 'scene' how would you say this scene has changed or progressed since you first started out?

It's become a little more inviting than it has been in the past which is a great thing. There are a lot of people (bands and fans alike) that love to pigeon hole bands into a certain type. I think those days are starting to come to an end which is cool because it leads to playing and touring with a little different sounding bands. You see more diverse bills (kind of like the next tour we’re doing in the UK) where as before I don't think something like that would have worked out.

What else can we expect to see from The Ghost Inside in 2014?

Lots and lots of touring. Especially after putting out Dear Youth. We want to try and do another "world tour" and play all the songs that people want to hear.

The new album has just come out, how much of a relief is it for a band when the album is finally out and everyone can hear it?

It's the best feeling in the world, I put myself personally in all these songs lyrically and to see the impact they have, makes all your serious issues and honest issues that you talk about, worth it.

Can you walk us through the process of recording this album?

We did this album in L.A with Mike Green, we had about ten songs that we really wanted on the record and had between 16 and 18 to choose from. The focus of this record was structure with some anthemic songs, a lot of verse-chorus songs, so something kind of different to what we've done in the past. Less technicality and more focussed song writing with lyrical delivery.

Which songs are you particularly looking forward to playing live from the album?

I literally love every song on the record, we did a lot of pre-production this time round. No Hope was pretty much written lyrically and vocally in the vocal booth. I had a lot of lyrical content that I needed to get through and on this record I kept it very focussed as to what the songs are about with the subject matter. I do a lot of this quick time rap style vocal and it's very demanding, probably the most demanding thing I've done. So taking that and the emotional connection of a lot of these songs are going to hit home because that's where they came from. They came from the fans so that is exactly what I wrote about on this record, so it's going to hit hard.

All your albums deal with various themes of life, are there any themes to the fore on Hold On Pain Ends?

Yeah, we wrote the last record based on, personally, what I was dealing with at the time. I was going through some pretty detrimental issues at the time and wanted to make a record that was very open and honest about them. No Hope wasn't just an album title, it was a lifestyle decision that I'd made at that point. So, in doing so, I made a promise to myself that I would be very accessible. I literally did merch for the band on the entire album cycle, even on the A-market and club tours, it was a very demanding thing for me to do being at merch and just yelling over bands playing and literally being there selling every article of clothing hand to hand. We played acoustic shows afterwards almost every night in the parking lot to really stay connected this last year and Hold on Pain Ends is basically the observation of what people came to me with. It's crazy, I received hundreds of letters last year, and I read every one of them, the content and the subject matter inside those letters. Anything from eating disorders, suicide, dealing with depression, drug abuse, alcohol, man it was overwhelming. It was very clear that I needed to write a record about it so that was the premise of Hold On Pain Ends. Just what I had those fans coming to me with in such abundance and the direct relation to those subjects.

Would you call it a therapy sort of thing?

I think it is, my whole life I've kind of looked for a resolution. I've been to that place where you’re stuck alone in your room for days and you're staring at the ceiling questioning what your purpose or what your existence is.

I've spent a lot of years with the recurrence of that longing for purpose so when I put those issues into songs as an artist and I share them openly without shame or without questioning, without second guessing, this is what I have returned. You can measure success in a lot of different ways in the entertainment industry, most do it financially but for me, this connection that I get to have, this is, personally, what I've needed my whole life.

Money comes, money goes. The things in life, I think, in a humanistic fashion, we think we need a lot more than we really do and I've learned to get by on a little and not depend so much on being financially sound but rather, mentally being sound. In order for me to do so I have to be giving things back and connecting. It's kind of the resolution to my entire existence.

Moving away from actual song writing, how do you as a vocalist prepare for recording a new album both mentally and physically?

I think it was reading all those letters that people had sent me. It was a time where I feel like it does get heavy.

I've started seeing a therapist just to keep my self grounded and strong when I get home from touring. Touring last time was so demanding and rigorous, I didn't realise the effect it would have on me, I have a soft spot for people going through problematic situations because I can identify with every single one of them. For example seeing a person in a very vulnerable place dealing with the intensity of life. I didn't really have family there for me growing up so these supporters have essentially become family to me and it's my job to make myself accessible and prepare myself daily and I do that by reading these letters and really withdrawing myself from my own wants and needs and giving to what they want and need.

With how you talk about giving back, is it something you could see yourself doing more of doing in band downtime?

I think it's a very clear indication that I need to be doing some sort of guidance counselling with todays youth.

With today's social media and as the problematic situation in our society in American culture grow there is a greater need for people keeping a positive view on things. We're handed bullshit every day in life and it's up to us to deal with it. I wrote a lyric that reads “you can still lead a positive life with a negative mind� and that's essentially what I do with The Color Morale and what I deliver, with all the horrific places that I've been, this is what I've chosen to do with music as my outlet.

How did you end up on Fearless records, and what have they been like to work with?

I have a personal relationship with Sal Torres, our A&R at Fearless. We wanted to try something new and Fearless from the very get-go was very in to what I do as an artist and as a creator. Obviously any record labels first job is to sell a product and they have a strong understanding that I don't do this for recognition or for compensation, I do this for a bigger reason than that. They've been on board with that and backed me as a creative artist in anything I want to do. They are actually the ones that helped me set up the acoustic track on Hold On, it's the title track and the last chorus has over 30 people singing the chorus so it's been great, I feel more of a family vibe than a business vibe.

Despite only forming in 2007, this is your fourth album, an album every two years is a pretty rare thing these days, is that something you'd aim to continue doing?

Oh absolutely, I'm a right brainer, I love to create and build things out of nothing and especially out of negative places in my life so for me I feel that I have to create and make a new album as well as giving things back. It is a driving force as to why I'm doing what I'm doing. I love The Color Morale and everything it represents. The whole band are really good guys and we have have a clear understanding of why we're doing this as a band.

It's awesome. I see many records to come and especially having Fearless on board, they represent the other side of the industry. They take care of everything so I don't have to worry about it or let it influence what I do. I have to create or I will swallow myself alive!

You hit the UK in October, how much are you looking forward to getting over here?

I can't wait man! I love it over there, we've established so many connections with so many families and we're really excited to get back over and see everybody and play these new songs. It is such a crazy experience seeing how No Hope effected so many people over there so I'm equally excited to see how this new album affected everybody and hearing the stories and connections everybody will have about it.

You're touring with We Came as Romans back in the US and Dave Stephens is guesting on the album, is there a story behind that?

Yeah, Josh Moore is one of my best friends and all of them are great friends of ours. Dave and Greg Owens are two artists that I respect greatly and they're friends before peers so to have them on a friendship level and artistic level involved with what I created is an awesome experience for me. Those two tracks are my favourites on the record, they're the best in the craft at what they do and to have them on something that I created is a surreal feeling.

Are there any new places you would really like to play on this album cycle?

Everywhere, hopefully somewhere we haven’t been before. I learned something a long time ago, if you play a show to five people or 5000, you should play the exact same way and that is a quick way to identify if you're playing music for the right reasons. I'm excited to play to new faces and to see old friendships. Anywhere we can make noise and do what we do, that's a great day!

2014 is heading towards its end, how do you feel looking back at it?

It was wonderful, we just got off Vans Warped Tour and that was the coolest tour we've ever done. The most demanding tour but you play at a festival and you're having fun all day so it was an amazing year, our fourth record is now released. It's crazy, if you were to tell me I'd be putting out one record as a professional musician, I would have laughed at you! It's awesome to see the growth, the band is still on an upward growth and the longevity we've created and the authenticity of our fan base is the biggest reward in this. There is a lot of gimicky, quick to the minute bands in this genre, I find a lot of confidence knowing that we're not a band that just made something to sell and be popular for a while then fizzle out. We're a band that has a message behind what we do and have an authentic connection with its fan base whilst also being a band that is very diverse. I don't even know if I want to scream on the next record or if I want to write the heaviest thing I've ever heard in my life but that is the curve ball you'll always get with The Color Morale.

What can you tell us about the recording process on Pale Communion?

Well, the recording took place at Rockfield Studios in Wales. We did it in 13 days so it was a very effective recording process. Everyone stayed there so that saved us a lot of time and we could work long days. We used the demos like a click track, so when Martin Axenrot (drums) and Martin Mendez (bass) recorded their parts together they could hear all the tracks from the demo. When they were done we took the demo out and tracked guitars, keyboards etc.

Can you talk us through any songs that were particularly challenging to create?

The song ‘Moon Above, Sun Below’ is more than ten minutes long and it has a lot of different parts that are quite challenging to play. But overall everyone knew their parts really well, so the actual takes went pretty smoothly. We spent more time on getting the right sounds!

To create the more old school sound on the album did the band go for more old school guitars, amps etc?

We used PRS guitars and Marshall amps and cabs. We combined a plexi head with a JVM Satch. And for some more mellow parts we had a Marshall blues breaker which sounded brilliant. For keys, we had the Mini Moog, Mellotrons and Hammond, Wurlitzer and one of the grand pianos at Rockfield.

I've seen the name Martin Birch mentioned at times by the band, what is it about the albums he has produced that has made such a big impression on the band?

We grew up listening to many of the great albums Martin produced and those albums still sound fantastic. I think it's about that honest warm organic sound that he achieved. We tried to capture that in when we recorded Pale Communion.

Can you tell us a bit about the main themes and influences that run throughout Pale Communion?

It's not a concept album. The lyrics are kind of bleak and not so uplifting but they're personal to Mikael. We listen to a lot of different kinds of music, but our roots are in Hard rock/Metal and recording at Rockfield was inspiring since a lot of our favourite bands have worked there like Rush, Priest, Budgie, Sabbath etc.

How did the artwork come together, and can you tell us a bit about what it means to you?

It was once again a collaboration between Mikael Ă…kerfeldt and Travis Smith. We went for an oil painting kind of vibe again this time, like we did on Heritage. It's basically about 3 stages in life; birth-middle life-death.

There is some hidden stuff in there as well.

The band has been described as being very prog like over the years incorporating a range of styles, how do the band go about creating the songs that have made Opeth so different to many?

In a way it's about not having any rules, I guess. I don't think Mikael sits down before he is about to write a song, telling himself this has to be a 12 min opus. It’s just the way they turn out, I guess.

Opeth hit the festival trail pretty hard this summer, how much different is it doing a festival tour as opposed to 'normal' venue/gigs tour?

Festivals are great fun. You get to play in front of a bigger crowd and meet friends from other bands. Venue gigs you are more in control. You get sound checks and play longer sets and it's dark in the room, which is optimal for the lights.

Also, how enjoyable have the festivals been for you, and can you give us a couple of personal highlights from performing at such events this year?

It's been a great run this summer. My favourite shows were the ones we played in Norway, especially TromsĂś.

The scenery is just fantastic. Best performance was probably Graspop in Belgium.

How excited are you for your upcoming UK tour, and what has it been like to perform here over the years?

Very excited indeed. I love the pub culture in the UK. It seems like we have a strong following and I have many great memories from previous shows. Performing at the Royal Albert Hall is the highlight so far.

Which of the new songs are you most excited to be playing and why?

We are just about to decide which ones to play. We will rehearse soon and then we will choose the ones that sound the best. But I'm looking forward to playing Cusp of Eternity because I think/hope it will work great with the crowd. Hopefully they will sing along with the chorus so we get an Iron Maiden moment.

After almost 25 years as a band are there any places that you have not played that you still have plans to play?

The only continent we haven't played is Africa. We haven't played the North Pole or the South Pole but I doubt that will happen. Hawaii would be nice to play - I've never been there.

I think it’s safe to say that We Are the Ocean have been out of the 'public eye' for a little bit. So in a way do you think that aides the creative process of writing an album?

There is a part of us that wants to get new music out as soon as possible just to get back onto the circuit and scratch the colossal itch that not touring for almost a year creates, but if I’m speaking pragmatically, being out of the public eye for a little while has afforded us time and space to really put our everything into this album.

Our writing processes in the past have been jagged sessions, peppered between tours and lacking any real fluidity, so it’s great to be able to immerse ourselves entirely in this album.

I think expectations on new music rise the longer an act is out of the public eye, and that is really motivating us to write music to the best of our ability.

You guys have been hard at work writing the new album, so how is this process going so far, and what do you think fans can expect from your new material?

The process has been massively invigorating. The constraints of time have been lifted and we’ve been able to sit with songs a lot longer than we usually would, and we’ve also had the scope to record everything together live to give it an entirely natural feel. On all of our previous albums we’ve tried to avoid boxing ourselves in with a strict genre or formula for our songs and this album carries on with that theory. We’ve stretched our boundaries both musically and lyrically, mixing typical WATO songs with upbeat and fun songs, and darker, sombre tracks, to provide a great counterbalance to the whole album. Fans can expect to hear the fruits of us exercising our musical muscles more than we ever have before.

Can you tell us about where you are recording the record, as well as who you are currently working with to put this next release together?

We are recording at Middle Farms Studio in Devon, where we have produced the past two albums, with Peter Miles. As well as working with Pete again, we will be releasing the album through Hassle Records once more.

It is very important to us that we work with a group who have been there from the early days, so that everyone is on the same page in the direction and goals of the band, and we can all pull together to achieve them.

What are your current main goals and targets with this next release?

We are all growing as people and as musicians, and we want to harness that growth into every aspect of this next release. We have more stories to tell, more musical ambition, and we want to prove it, and mark this next release as a defining chapter for the band.

It’s harder for bands to make a living these days with music downloads, so how do you feel about illegal downloading?

Obviously it is not ideal that many people feel they are entitled to music for free, after many musicians (including ourselves) have poured weeks and months into creating it. However, I think a positive spin could be taken on it, if these people were to take it upon themselves to then go to more shows, and support the acts in other ways. Then, we could treat downloading as an opening of doors, as there is no doubt that without downloading considerably less people would have heard our music.

Maybe Today, Maybe Tomorrow was your first album without Dan, so looking back on this album, how happy have you been with the response to it, and what do you think it has done for the representation of We Are The Ocean?

We were always confident that the album was strong enough to withstand the transition, and to bolster the decision, and the response to it has been wholly positive. Musically we are on the same path as we always were, and I think people have grasped that. I think it’s helpful that people have had time to sit with that album (MTMT) for a while before releasing the next.

How excited are you for upcoming UK tour, and what can attending fans expect?

I can’t even begin to say how excited we all are. Having gone almost a year without touring, we are champing at the bit to get out there again, and savour every second of it. I truly believe our elation and relief to be back touring will shine through our live shows, and make them some of the funnest shows we’ve played.

How did you end up picking Decade & Boy Jumps Ship for your upcoming UK tour, and can you tell us a bit about each act?

We’ve been aware of both bands for a while now, and they’d both recently released killer new singles which we’d been really into, so when it came to looking for tour supports both names came straight to mind.

What's it like to be such a key part of the alternative rock 'scene' in the UK, and how would you say it has changed or progressed since you started out?

The biggest change I can see now on the scene between now and when we first started out, is how social networking has taken a hold on it. Bands have more of a face now than ever before, with individual members all amassing their own fame alongside the music. I think it’s great that fans can be closer to the acts they love than ever before, but when a guitarist’s twitter feed is more pivotal to an act’s success than the music they write, it can be a bit questionable.

What else can we expect to see from We Are The Ocean in 2014?

As well as the UK tour, we’ll be releasing an EP towards the end of the year to showcase some of the new music we’ve been working on. This will mark the start of a new campaign which will soar into 2015 with the release of our new album.

With your debut album, 'Signals' reaching the top 40 in the UK charts and as a band that hasn't been together for that long, then how does it feel to have had such success & support since the formation of Mallory Knox in 2009?

It was a wonderful feeling. We were actually at band practise on the day we found out we'd made the Top 40 so it was really cool to be all together when we found out. We knew with how things were going at the time there was a small chance we could do it but we never really expected it to happen so it was a great surprise.

We even finished band practise early & popped down to our local for a celebratory pint.

With a successful debut album under your belt, then did you guys feel any 'second album syndrome' when putting together ‘Asymmetry’?

I think maybe very briefly at the start. We'd sat on Signals for so long that we went a good year without writing anything so it took a few weeks to get back into the swing of it. Once we had 2 or 3 songs in the bag it all came pretty easily after that. It all felt very natural so it kind of erased any pressure we felt before hand because everything was flowing so well. It's amazing how writing a few good songs at the beginning enable you to write without any fear so to speak.

How did you get to the title 'Asymmetry' and what does it mean to you?

We had a few album names floating around but not everyone was sold on it. I remember sitting in my living room one afternoon & was thinking of the songs as a whole & realised that most of the songs are about love & loss & how things have moved on so quickly in such a short space of time. We've now signed to a major record label, a few of us have experienced some pretty rough break ups & individually we've all been through quite a lot since Signals came out. We are the same five people, the same band but in completely different circumstances. Asymmetry just popped into my head as a perfect word that represented how things are compared to where we were two years ago & all of us felt it worked well so it stuck.

How would you say this record compares to what you've done before as Mallory Knox?

I'd say it's just the next step onto the platform that we've built ourselves from Signals. We've just gone in & had the same mentality as we had before & tried to be our favourite band & write the songs we as music fans want to hear. There are some songs that sound like it could be the soundtrack to a Country Western film & then there's a song that lasts up to 7 and a half minutes. We've not been afraid in trying new things on this album but of course there is always going to be those songs that sound like a continuation from Signals. When you've toured & jammed as much as we have over the 2 years that experience will make you become a stronger unit & I think that comes across on this album.

What made you want to release ‘Ghost In The Mirror’ first, and how happy have you been with the response to the track so far?

Picking the 1st single was actually really, really tricky. We mulled over it for weeks to the point where It went past the date that we had to make a decision. Everyone agreed we needed to come back with a rocker but no one could agree on what song. Ghost was one of the 1st songs we wrote for the album & when we had finished writing we never really saw it as a single so that's why we played it live before it was released. It wasn't until the label got hold of the demo they started pushing it to be the 1st single. If we'd known that we definitely wouldn't have played it live before its release. The reaction though has been amazing. It's become our first ever A-List single at BBC Radio 1 & people seem to be really into it so thankfully it looks like we made the right choice in releasing that one first!

Can you explain the main themes and influences that run throughout 'Asymmetry'?

It's not something we pay too much attention to when we are writing to be honest. I'm a strong believer in letting the music tell you what the song should be about. It can bring out certain emotions when you're playing the song & maybe takes you back to certain memories & that's how I tend to write my lyrics anyway. It wasn't until we'd finished the album I'd realised that a lot of the songs are about love & the loss of love. It's cool because it's almost showed me how I was feeling at the time without me even really knowing it.

How did you end up working with Gil Norton, and what was he like to work with?

It was nothing short of incredible. The guy is a legend. When we came to look at choosfing a producer Gil was perfect because some of these songs might be "poppier" for the lack of a better word than some of the stuff on Signals and we knew we didn't want to lose that Rock edge. Gil is renowned for being one of the best Rock producers of all time so when we enquired & he said yes then it was a no brainer. It took roughly only a week until I looked at him more as a friend than just a guy working on our record & that really, really helped. You need to be able to stand up for yourself when you don't agree with others ideas & to tell someone whose told Dave Grohl he can play that guitar part better is a bit daunting to say the least but he was fantastic at kind of letting us roll with it & when we needed guidance he more than delivered. The whole experience was nothing but a pleasure.

I understand you created around 16 songs for the new album, but you then got it down to the number you wanted. So what was that process like for you guys, and will some of these songs make an appearance as B-sides at some point?

We wrote 14 songs & all 14 songs are on our deluxe edition. We didn't want to drop any of them because we all believe in them so much. We feel it has the perfect balance. Picking 3 songs to leave off the standard album was a nightmare & almost heartbreaking. When we write it's hard for us to finish a song if we're not really into it so B-sides aren't really a thing for us. If we finish writing a song it means we love it so you best buy the Deluxe edition because I assure you all 14 songs are worth it!

You played at Slam Dunk Festival in May, so how was this for you, and how important do you think these festivals are for the alternative rock scene in the UK? Slam Dunk is one of my favourite festivals in the UK & to be given the main support slot on the Main Stage was a huge deal for us. We knew there would be a few people feeling we weren't worthy of that slot so we really wanted to step up to the plate & I think we did. Festivals like that allow really good smaller bands to get the exposure they need & deserve. There are so many hidden gems out there & festivals like Slam Dunk allow those bands to shine.

You're in the midst of a pretty sizeable US tour, hows it been going?

It's been going brilliantly, we're on date five so there is a way to go but it's been amazing. It's great to be over here with a band from the U.K as well so there's a big bunch of English guys over here. The shows have been amazing, we're playing to great crowds and we get on really well with You Me At Six so it's been charmed so far!

Given the the size of America in terms of distance, is there a different type of preparation needed mentally compared to a UK tour?

Yeah, it is a very different experience because the travelling distance is so huge, travel between shows can be a lot longer. It is a lot more physically demanding, because for example right now we're travelling through the night and you don't really sleep. Our band has been fortunate to have some creative success on the radio, a lot of time is taken up by promotional activities so we can be up at 6am performing acoustic sessions for the radio and then after that we'll go to a local T.V station and do the same thing. We'll also get to the gig, load in, sound check, play the show, sell the merch, so very much 16 hour days. It's very exhausting but it's also a lot of fun. When you're fortunate enough to tour countries so far away it isn't hard to be grateful and to roll with it.

Mentally it's very different and probably a lot more taxing in a lot of ways but overall it's brilliant, and we love it!

America is historically a notoriously tough nut to crack for British bands but you seem to be one of a few that is making big head way, what is it about the current generation of young British bands that is striking a chord with audiences there at the moment?

I don't know, when we had our single go to number one on the radio, we were told we were the first British band since Bush to be there and that is quite a vast gap, we're talking over a decade and I was surprised by that. I don't know why it's taken so long, I think it might be fair to say there was a little bit of a lull in the U.K rock scene but that lull, I think has definitely passed because coming out the other side of that there is a new generation of bands that are really great and are starting to do really well. When you get bands doing well from somewhere else people look to see if there are anymore and we have bands like Bullet for my Valentine, You Me At Six, Bring Me The Horizon and it shows that it is very strong.

The video for 'I Want Out' came out recently, this is obviously the first single from the new album, is it an indication of the sound we can expect on the album?

There are obviously elements and it is part of a body of work but I think it is fair to say there is an awful lot more to the record. It is our broadest and most experimental record that we have written and that is probably one song that sits well with the older material. We thought it was a song that connected the material of our previous records and where we are going on the new record. There are elements in that song that are through out the whole record like the slightly heavier, electronic but it does have a lot more different sides to it.

The album is expected to see light early next year, what can you tell us about it in terms of creating the new album?

Well it's all done and just being mixed right now. In terms of the record itself, it's very much the sound of a band really challenging and pushing themselves to be, not only a much better version of the band that they were before, which I think should always be the case, but rather a band really asking questions of themselves.

I think it's really important that you don't let yourself repeat what you've done before and I think it's a really brave record actually, embracing different ways of writing music and trying our hand at different things.

You signed to Virgin/EMI, how has that relationship been working out so far?

Traditionally bands would be wary of major label deals and I think it has done the band good being careful but our relationship has actually been pretty great so far, they've been fantastic with us in fact. We've had complete creative control and as a band we're the happiest we've ever been. We were attracted to the label because of the passion they had for the music we were writing. We're in the best place we've ever been!

You'll be joining Bring Me The Horizon at Wembley Arena in December but many will be asking when they can expect a full UK tour?

It will be very shortly after that, it's pretty much done and wrapped up right now but because the record isn't out for a little while it seems a bit futile doing too many headline shows before the album comes so people have a chance to absorb the music. So, we have this tour which takes us through to November, we have European commitments and then the BMTH show. Not too long after that there will be U.K dates.

All Our Kings did big things for the band and Bones put the band on an even higher level, what are your hopes and aspirations with the forthcoming record?

I think you obviously always want to continue to progress as a band. There is always the temptation to feel that standing still isn't exactly moving backwards so I hope that we do get some progress. If nothing else I hope we will continue to be a band that get to write music for a living, as that's all you can truly be bold enough to hope for. We've never been a band that says, right I want to be headlining this in a certain amount of time. I think we've made a really great album, and I hope people like it!

So we must ask, how was Warped Tour, and can you give us a couple of personal highlights from your time on the road?

Warped Tour was a really great time for us. There were a few shows that were some of the best shows of our entire career. We got to play in front of a lot of new people and I think it really helped to build our fan base.

Due to band departures last year and this year, such as ex-drummer Angelo Parente and his replacement, Brandon Richter both leaving, resulting in just you being the last original member, how would you say this affected the band and your musical direction if any?

I have always been the main writer of the music for the band. No member we have brought into the band besides Ricky has ever written anything musically for the band. Our sound has evolved because of how Ricky and I as song writers have evolved. So the departure of the drummers hasn’t really had any effect. It’s really humorous to me when people blame newer members of the band for changing our sound. They don’t even write any of the music!

Last year you did your first full UK tour with The Defiled and Glamour Of The Kill, how did it feel to do your first full UK tour and how does it differ to playing elsewhere in the world?

We LOVE the UK. It was one of the best feelings to do a UK headliner and a serious accomplishment for us. I feel like the fans over there really appreciate when a band from another country comes and plays for them because they don’t get to see them as often as the fans in the states do. It’s really a great time and I can’t wait to come back.

What can attending fans expect from your live shows?

We always just put 100% energy into our shows. Playing live is my greatest passion in the world so I love every chance I get to. I wish we could headline arenas with massive production, but for now we just go up there and play our asses off.

Earlier this year you featured on the compilation album, 'Punk Goes 90s Vol 2' with a cover version of Rammstein's 'Du Hast', what made you decide to choose this song and what was it like to record it?

We wanted to do a song that we felt fit our style. We didn’t want to cover a pop song or anything like that. We wanted to stick to something that was in the realm we fit in and Du Hast is one of the music iconic metal songs out there. We considered it a major homage to Rammstein.

Your brand new album 'Reincarnate' is now out, so for those that haven’t picked up the record just yet, then what can they expect from it?

Overall I think fans are really going to enjoy this record more than our last two because the songs are so huge.

It’s heavier and more aggressive than our last record and I think people will enjoy that.

Can you tell us a bit about the meaning of the title of the album, as well as any lyrical themes that run throughout?

The title is to represent that we are not the same band we once were, but we are still maintaining characteristics of our former selves. We have become a different entity and have laid to rest many of the mistakes and parts of the past we were not particularly fond of.

What can you tell us about the song writing and recording process for the new album, especially considering you’re now a quintet?

Well, since the only writers in the band are myself and Ricky, it was very easy and very focused because we both share the exact same vision for what we want the music to sound like. We hired a very close friend of ours, Tom Hane from In This Moment to come and record the drums. He recorded 13 songs in three days. It was mental! Ricky and I recorded all the guitars and bass and other instruments and it went pretty smooth for the most part.

Do you have any immediate plans to find a replacement drummer?

We are no longer trying to replace the drummer position with a permanent member. We now have a permanent touring drummer, but that’s as far it will go for us. It’s what works better for us.

You released a new song and lyric video for 'Puppets 3 (The Grand Final)' which features Dani Filth of Cradle Of Filth, what has the reaction been like so far to this and what was it like working with Dani?

I’m not really sure what the reaction has been as I don’t read Youtube comments. However, it seems most reactions I have seen were really positive to the song. I think people weren’t expecting Dani to sing on any of our songs, so it was a nice surprise.

How did Tim Skold & Maria Brink end up featuring on the record, and what did they bring to the process?

They are both really close personal friends. Maria I wanted on the song because she has such an amazing and sexy voice that fit the song perfectly. Tim sang on the song he is on because he and I wrote the song together and it was a really personal thing between us.

The new album has been out for a few weeks now, how has the feedback been?

It’s been very good so far, I think people really like it which is a good thing obviously when you've just released an album! People seem to enjoy the production and the sort of, new direction-ish that we started with The Power Within so it’s kind of cool.

As you said with the new direction there seemed to be a change in the style from the big epic instrumental sections to a more stripped back style, has that been a deliberate change?

Yes and no. We did two big world tours for Inhuman Rampage and Ultra Beatdown, they were around 18 months, that's how long it takes to do a few trips round the world so you're pretty tired. We just seemed to notice that people liked the shorter songs so we didn't exactly say 'let’s do that' but we noticed when we were playing 'Strike of the Ninja' and it was around three minutes something, we enjoyed playing that and the crowds were enjoying that short, straight to the point kind of thing. When we started to write for The Power Within the songs were naturally shorter. With this one we also had Jens, our producer, sometimes you play a riff four or five times because you like it or you think people are going to like it but with him we had someone that would say 'maybe you should cut that down or remove something'. So like I said, straight to the point and a bit shorter than it used to be, With Dragonforce touring as much, when writing an album is there ever any thought in

the process of how songs will sound live?

It depends really, it’s hard to tell. We just write songs that sound good, Sometimes you want to close your eyes and imagine...

80,000 people at Donnington...

Yeah, 12 people in a garden or whatever! It depends, say for the new album a song like 'Three Hammers' you can imagine a big German crowd going 'ah zuper!' So you sometimes close your eyes and imagine but what is important is that we do music for ourselves, and then hopefully people like it as well!

You went out and recorded the album outside of the U.K for the first time, what did being outside of, I suppose, your comfort zone add to the process of making this album?

It was great as far as I'm concerned because I don't like being in the U.K, I don't like the food here so I was quite happy! No, no, seriously. It was something that I wanted to do anyway, I found some notes the other day on my Ipad, and I actually wrote that we need to go somewhere else. Basically you'd wake up and you'd know exactly how your day was going to be, you could take your time and you don't have someone pushing you so you just think 'ah I'm just going to play Donkey Kong instead of doing my guitar rhythm'. I'm not meaning anyone in particular (note; while Sam eats dinner opposite...) so that's just how it went. I think it was nice to be there with someone on the clock, Jens would start at six in the morning, I would wake up a little later, until six in the evening so you have to deliver. I think it helped us and that's the way I like to work. I enjoyed it and I think the other guys did as well.

So you’re currently on tour, how have the new songs been going down live so far?

Very good, which is always great because it is like your question before, 'do you imagine people reacting?' It's always a bit of I want to play that song, I really like it but are they going to like it or are they going to go 'meh'.

Is it like the kind of nerves you'd have just before an album comes out?

Yeah it's something like that, it's slightly different but yes it is. They seem to enjoy the new songs so that's a good test, we're very happy. We keep changing them, everyday we move things around based on what we see the night before but the reaction seems like there is a lot of young people who know the new songs better than the old which to me is a good sign.

It's been 15 years for you as a band and you now have a healthy back catalogue, is it hard to balance the 'classics' with the new songs to keep the fans, old and new, happy?

Oh it is, we were still arguing about it today before our show! I was very happy with the new album so I want as much as possible in from it but we still need to play songs from the older albums and it's hard to choose, do we have that one or that one which was a video, but I prefer that one and so on! It's not very easy. I'm still thinking of which is my favourite (to play) I think I like 'Defenders', that's the first one we come on stage with. It has a lot of different tempos, kind of thrashy so yeah, I like playing that one! I will probably change my mind shortly though...

It must be great to see so many sold out signs going up at so many venues on your current tour! Especially in places you haven't been before?

Yeah, exactly. What can I say, it's better to have sold out than the opposite so it's very good, it shows that people care and it makes me want to cry!

It's a pretty lengthy tour this time. There aren’t many bands putting in shifts as big in the UK these days, so is that something you guys wanted to do and get back to a grass roots style tour?

Yes because what we used to do or what we ended up doing on the last three albums was definitely a bunch of the, if you like, the big cities, major city markets or whatever they call it! This time we wanted to go to the fans rather than them having to travel to the big city. It has a nice atmosphere as well, we can't really run on stage so it's party time and it's fun.

Where else will the Maximum Overload tour be taking Dragonforce?

We finish U.K then we have one show in Japan, we play Loud Park which is always very pleasant because we love Sushi and Japanese people. Then we do Europe with Epica over three weeks in November and December then January, February. We also head to the U.S.A...Basically our manager has told us we are going to be on tour until mid or at least early 2016 so this is going to be quite a lot. Take a picture of me now because next time you see me I'll probably be all grey!

Last year saw the departure of founding member rhythm guitarist, Steve Klein, making you a four piece for the first time in 16 years, so how would you say this has changed the dynamics in the band?

The dynamics of the band, as far as the music is concerned, haven't changed much if at all. We have played quite a few shows now as a four piece, and everyone has been receptive to our performance and sound this way. Also, when writing and recording our new album, we focused on creating a powerful sound that was based around one guitarist, something that plenty of great bands have done in the past like Rage Against The Machine and Pantera, and I think we were successful in making sure that our music still has the same energy as NFG has become known for throughout the years.

Will you eventually seek out a new guitarist or are you happy with how things are?

We have no plans to seek out a new guitarist, as we have been playing shows for some time now as a four piece.

What made you want to release ‘Selfless' first from your upcoming new album, 'Resurrection' and how happy have you been with the reaction to it so far?

We are very happy to have been able to release "Selfless" and give everyone a preview of what to expect from our new record. We think that "Selfless" is a great introduction to the record, as it's got a classic NFG half-time feel, very bouncy yet powerful music with a catchy chorus. We wanted to make sure that the first song that everyone heard from this record was the type of song that our fans would love, regardless if it would be considered a "single" or be played on the radio. We've been playing the song live now for a few weeks and the reaction couldn't be better!

Earlier this year you left Epitaph records and signed with Hopeless records, how do you feel about this, and how is it going so far?

Hopeless Records is a great label; they've been around for years and really understand not only the scene and industry today, but they also are a great fit with bands that have already established careers and are looking for continued success, such as us, Taking Back Sunday, and The Used amongst others. They have been a joy to work with as we all collaborate together on ideas and they really find great ways to help get our music out there. Also, their presence worldwide is strong, and that is something that is of great importance to us, as we focus a lot on touring all over the world and not just in the US.

The new album, 'Resurrection' is out in October, so how excited are you for its release and how would you say it compares to previous releases?

I'm really excited for 'Resurrection' to finally come out...it feels like ages since when we first started writing the songs for it! I think I'm most excited because I know that everyone out there is looking at this record to try and judge us to see if we can bounce back and continue even though we've gone through a lot over the past year, and I know that all of us agree that we've overcome all of that and in a lot of ways we're better than ever! I think musically on this record we've been able to accomplish a lot, from writing big sounding songs even though we've gone from a five piece to a four piece, and also having songs that don't all talk about girls and relationships -- a common theme on our past records.

Can you tell us about the main themes and influences that run throughout Resurrection?

Well, instead of having practically every song talk about relationships and breakups and all of that, on 'Resurrection' I feel like we were able to have lyrical themes that touch on other aspects of life. We still have a couple of songs about relationships, but there's also the theme of how to get through life no matter what situations you're put in, how you might view yourself and the way that you approach life, and other things like that.

How did you end up working with Paul Miner for the recording process, and what was that like for you guys? You also produced alongside right?

We've worked with Paul Miner on quite a few of our past releases, including Coming Home and From The Screen To Your Stereo Part II. When deciding on working with Paul again, we wanted to make sure that we put ourselves in a comfortable environment so that there was no unnecessary pressure and we would be able to communicate freely and really get our vision for the album to translate. We produced the record ourselves while Paul engineered, and I think our experience working together in the past made for a very easy recording process.

How did Brendan Yates, Anthony Raneri, Scott Vogel become guest features on the record, and what were they like to collaborate with?

We've known all of those guys for a while now through touring with or being friends with them and their respective bands. When we write songs and think of guest artists, we usually know right away the type of singer or the exact person that would be best for the part. The trick is to get these guests to come in the studio -- they all usually end up living in other states and luckily while they are on tour they end up passing close to Southern California where we record, so we can get them to come by the studio on a day off or after soundcheck or whenever it may be. It's always a fun time to have these guys in the studio and they end up adding a great dynamic to our music!

In November you're heading out on your 'Pop Punks Not Dead' Tour in the UK with The Story So Far, Candy Hearts, State Champs, & Only Rivals, so how excited are you for this?

We're so excited to finally be able to bring the 'Pop Punks Not Dead' Tour to the UK! It's been a few years since we debuted the tour in the US, but we had so much demand to bring it overseas that we knew right away we would eventually have to expand the tour to other countries. I'm happy with the bands that we have assembled for the tour -- they're a great representation of the state of pop punk music right now and the future as well. Fans can expect an energy filled night with bands that really showcase all of the different elements/sounds of Pop Punk music.

In March you played on Paramore's Parahoy! Cruise, how much fun was it and what was the experience like for you playing as a band on a cruise?!

The Parahoy! cruise was amazing! It was definitely interesting and a "first" for NFG -- playing on a boat while it's swaying back and forth wasn't the easiest thing. In fact, at times I felt as if I was going to fall off of my drums while playing! But the fans were great and I think that everyone (including us) had a good time out at sea. It was fun for us to be in such close quarters with all of the other passengers of the ship. We would run into people at our shows and then again in the restaurants later in the evening while filling up on unlimited soft serve ice cream! Classic!

How does it feel to be considered Pop Punk Pioneers emerging as the 'godfathers of pop punk' since forming in the late 1990s and how do you think the genre has changed since, especially as your upcoming tour is titled, 'Pop Punk's Not Dead'?

It's very flattering for us to be considered pioneers as we never set out to define the genre, we only wanted to write and play music that we thought was good and fun for us. The genre has definitely changed throughout the years, but one of the biggest keys to pop punk and its success has always been touring and the relationship between bands and their fans. This genre is defined by bands that are on the same level as their fans, there's no room for egos in pop punk, and shows where everyone comes together as one, singing along to every word of every song. The genre might have changed, but it's stronger than ever, hence the name 'Pop Punks Not Dead'.

We know all members of NFG are extremely busy, so can you tell us about any projects that you might currently be working on alongside the band?

All of us in NFG have different hobbies and/or projects, but when it's time for NFG to tour and promote our album, we put 100% of ourselves into it. So, right now we're all at home enjoying the last few days before we hit the road in support of 'Resurrection' and I'm sure we'll continue playing shows and supporting this release well into 2015!

What else is in store for New Found Glory in 2014?

Besides the album release on October 7th worldwide, we also have a US tour in October-November leading right into our Pop Punks Not Dead Tour UK and some dates in Europe. That will finish out our year but we already have dates scheduled in early 2015 in Australia as part of the Soundwave Festival, so we'll be busy for a while!

Before we start talking about the new signature guitar can you tell us about what made you first pick up a guitar and how old were you?

I was.... 14 I think and my Dad had always had a guitar lying around the house, he played a bit and he used to put one in my room to try and get me to play it and I never did. So, he sold it and about two months later I got into music and decided I wanted to play guitar so he was gutted. I bought one with my Christmas money for about 80 quid and just started from there.

Can you talk us through your earliest guitar experiences and how you grew as a player?

I think the first thing was my Dad showing me The Shadows song Apache, he showed me bits of that and that's where I started to learn little tunes. I got obsessed with Metallica and learned just about every riff they ever wrote, I used to have the Tablature books to learn so that's how I got into playing metal music. From there I just played, and got into little bands jamming with my mates. Eventually after school I went to music college and met a drummer...that's how it started.

So it would be fair to say Metallica were a big influence on your playing?

Yeah, definitely. I loved them, still do, love the riffs and the old stuff is really good for guitarists to learn. It helped me play a certain way really.

When did you first hear that Epiphone wanted to do a signature guitar with you and what was your reaction?

I was playing Gibson for a while, I met a guy who worked for Gibson in Germany and he came with up the idea “what would you think about getting Epiphone to do you a custom?� So I was like, yeah that sounds great but I wasn't expecting them to be so up for it. He took the idea to them and they were all really up for it. That was about four years ago so I met up with the boss at Epiphone and talked with him and we started working on it from there.

Can you tell us about the process of designing the guitar?

Basically the look of it is based on a Gibson guitar from the 70's called an Artisan, they only did a limited run of it and I really liked how that guitar looked, so I knew I wanted a guitar that looked like that with a really nice wood finish.

Everything else is from touring for the last 10 years, it’s all my favourite things put into one guitar but kept really simple. It’s just what I wanted out of a guitar and I think when people play it they'll realise it’s really good!

The pick-up configuration is an interesting one, how much trial and error was there in getting to exactly the sounds you wanted?

There was a lot of back and forth especially because I'm on tour quite a lot.

Epiphone would send me pick ups to try, we'd swap them out and I'd play them for a night on tour or at home practising, and give my feedback on what I did and didn't like about it. They'd send me one that I was keen on some things about it but not others, it was an old Gibson pick up. So I told them what I'd like more of out of it and they basically modded it and made it a new pick up.

So this pick up is an original that hasn't been out before, it's really cool that they did that for me.

What does the P90 add to the sound over a standard single coil or full humbucker?

It sounds thicker than a single coil but it's what I'd say a bit clearer than a humbucker, it's got more of a twang to it. That's why I like the clean sound because you get more of a twang and it gives it more of a glisten than a humbucker and it's not really thin sounding.

Does this configuration simplify things in terms of sound for you playing live?

Yeah, I switch between really heavy distortion, big sounds down to clean quite a lot and I like my clean to be really nice and clean so the pick up in the neck, the P-90 is one of my favourite sounding clean pick ups and when I switch to clean I just switch to that and it sounds really great! Then I can switch back to super heavy sounding, it makes it really easy.

The Les Paul has become probably the most instantly recognisable shape in guitars, what is it that attracted you to a Les Paul the most?

I think when you think of an electric guitar, you instantly think of a Les Paul. I've always loved them and wanted to play them so when they offered to make me a custom, it's my favourite shape anyway so straight away I was like “it's going to be a Les Paul”. I didn't want to do anything weird like a flying V or try to be weird for the sake of it, I wanted a really classy, Les Paul.

How has it been working with Epiphone?

Good yeah. They're super nice, the last time we were in America they took me round the factory and everything. They have so many big artists and it was nice that they took so much time with me.

How did it feel the first time you held the finished product?

Amazing! I didn't expect it to be quite as good as it is. It's affordable and it's a great guitar, I use it every night on tour and I'm going to use them all the time now. I think anyone who plays guitar could pick it up and they're not going to go “it's cheap” or whatever, you can see why it is really good.

The Sempiternal cycle has seen the band all over the world and doing how ever many shows you must have done on it, can you give us one highlight that stands out?

I think one of my favourites was Reading Festival in 2013. It's crazy to be playing main stage at Reading anyway but everyone went insane for some reason! It was one of the best festival sets I've seen in a long time.

You know when you watch old Woodstock videos from 1999 with Rage Against The Machine playing? Well it reminded me of that and just everyone going crazy and mental! It's one of my favourites and one of the best I've ever had.

Bring Me The Horizon have recently announced three shows in South East Asia, have you been there before?

Yeah we've been all over, we've been on a South East Asia tour before, which stopped at Hong Kong but we haven't been to these places so that's why we're doing them on this cycle!

Obviously places like these don't get the volume of bands playing that we in the UK or USA have, so how do the crowd reactions there compare to other places that do get bands as regular?

It's usually amazing to be honest, sometimes I think, they think, you are a lot more famous than you are. For them it's a really big thing so when you go over they treat you really well like the promoters and stuff, and the shows are usually some of the best shows you'll ever play. The people go totally mental because as you say, bands don't really go there that often so it is always great. The culture over there is so different so the experience of being there and seeing everything is really good as well as eating their food! It's just a really good time so that's why we try to do it a lot.

You round off Sempiternal at Wembley Arena in December and then fans will inevitably start asking when a new album will be on the way, do you have any time scale on the follow up?

Well we'll play Wembley then we'll have Christmas off then early next year we'll start getting together and writing. We're just as excited to get another album because Sempiternal was such a fun cycle, we just want to do it all again so we're going to get straight back on it pretty much and try and get something out as soon as we're finished.

How much has the success of Sempiternal changed things for BMTH? I don't think it's changed us that much but I think it's solidified us in the music industry and proved ourselves.

The album before that did pretty well and got some good reviews and stuff but I think it was really important that Sempiternal was good and if anything it kind of separated us a bit from the old genre and 'scene' we used to be in and it got us out of that a little bit and into our own little area.

Bring Me The Horizon tend to split opinion at times, does that have any bearing on how you approach a new record?

Not really, there's certain people who'll say its crap or whatever, it could be their favourite thing ever but they'd never say it was good because they've just decided they don't like you, but we never really think about that.

We usually just go in and write what we want to hear or and try and put everything that we like listening to in our own style and make it sound like Bring Me The Horizon.

So when did you first get into acting?

I got into acting as a young teenager. I started to make moves by getting the head shots and representation, doing background extra work, enrolling into acting class, etc. when I should've been concentrating on my high school homework.

Was there maybe a certain moment when you realized that this is what you wanted to do as a career?

There was never a certain moment. I've only ever known wanting to be an actor.

What was your first major project as an actor, and what was that like for you at the time?

I did 25 days on "If Looks Could Kill" as a teenager which at the time was the most expensive movie ever shot in Quebec, Canada. It was the experience of a lifetime and it also provided me with friends for a lifetime.

What was it like to work on Falling Skies, and can you give us a couple of highlights from your time on the set?

Landing a role and working on Falling Skies was a dream come true. Meeting Steven Spielberg was definitely a fantasy day on set. As a male getting to work with firearms and pyro every second day of filming was thrilling in every sense of the word.

What was it like to film your last episode with the crew from Falling Skies?

Shooting my last episode of Falling Skies after finding out about my character's death only the day before is something I hope not to repeat professionally. It was quite unsettling as several of the days I had to lie "dead" on the nasty location floor inhaling pigeon carcass and rust.

This year, you were a part of Hawaii Five-0 so what was that like for you, and how did the experience compare to what you've done in the past?

Working on the "Fan Built Episode" of Hawaii-FIVE-O to me, was a "right of passage" as an Asian actor. I have been a fan of the original series' reruns all my life! I wondered how long I could exist without making an appearance on that specific show! CBS called me earlier in the year and offered the guest role to me and who turns down a trip to the Hawaiian Islands? It was 10 days in Honolulu - a place that I love dearly and have been to many times. The experience was especially moving to me because lead actress, Grace Park and I, have been friends for a long time - we even studied acting together in Canada many years ago before we both ever had our shows!

We see that you are currently working on the Daredevil TV show, so is there anything you can tell us about this show just yet?

Yes, I am currently shooting Marvel's Daredevil for Netflix in New York City. As you can imagine, I am bound by contract and cannot really go into details about the show other than that I'm enjoying shooting here and that fans should expect something very special from this addition to the Marvel Universe. I think that this particular project will have things to offer that the cinematic universe doesn't offer - the gritty streets of Hell's Kitchen.

Can you tell us about some of the other films that you have just completed work on, as well as what we can expect from those projects?

I currently have three independent features that are in post-production stages: The Lady Killers in which I portray a Los Angeles high school teacher, Western Religion is a low budget Western that I couldn't turn down playing a Chinese cowboy, and Inflection, a romantic drama shot on location in Hong Kong. I also a have a couple of high concept VFX shorts that are also in the finishing stages to be released online shortly.

What was it like to work on Supernatural, and what do you remember from this experience?

I can't believe how long it's been since I worked on Supernatural season 1! It feels like yesterday! I had a lot of fun working on that show. It was the second time working with Jensen Ackles after Dark Angel season 2 in which I was a guest. Between him and Jared Padalecki I had a very chill and relaxing shoot. They are both standup guys.

You also got to work on I, Robot, so again, what was that like, and what do you remember the most from your time on the set?

Meeting the gentleman James Cromwell working on I, Robot, was a big thrill. Having lunch and talking to director Alex Proyas regarding the facts surrounding Brandon Lee's death on the set of The Crow will stay with me. Watching Will Smith behind the scenes as a producer as opposed to a performer was interesting to me as well.

It's fair to say that you enjoy working on Sci-Fi, but for you as an actor, what genre of TV/film do you like working on the most, and why?

I love Sci-FI as an actor but I especially love the genre as a fan - I always have. Professionally, I'd love to branch out into all the genres that usually elude someone with my racial background. You know, broad comedies, romances, period pieces in which I could be something other than what Asian actors usually are hired to do. I can easily admit that I enjoy the more collaborative indie projects only because I can enjoy contributing my own ideas to the work. With studio jobs actors are merely existing within the executives' broad design - a design that follows mostly their statistics and algorithms.

What's the hardest action scene you've ever had to shoot, and why?

In Falling Skies there's a scene where I slide down an embankment with an RPG. That, under the circumstances was a dangerous, difficult and uncomfortable stunt that ended up looking pretty good in the end!

So what's the hardest part about being an actor in this day and age?

The hardest part of being an actor? I'm obviously a visual minority. Being such and standing on the sidelines of Hollywood watching and experiencing the pigeonholing of minority actors is unsettling. We live in an international world and Hollywood stereotypical depictions of minorities is hard to swallow at this day and age.

Alternatively, what's the most rewarding part about what you do?

I am truly blessed. Success in this profession affords me everything I want out of a job! Having to learn skills I never would've, traveling for work, and meeting new individuals is consistently rewarding!!

From what I can tell you were a bit of a latecomer to acting, when did you first get into acting?

My first role was in 2011 in a movie, I did some training in an acting school in New York and it went really well and I kind of fell in to this first role and things picked up speed from there basically.

What were you doing before you got in to acting?

I'd spent most of my adult career as an entrepreneur, I had several business's and had been around the world quite a lot doing different projects, mostly in property. I reached a point where the fun had really kind of gone out of it so I decided to go back to my roots. My family are a creative family, they're artists and I think I gravitated towards acting because I'd always had a passion for doing accents as a kid and as a young adult, it was a party trick and I was fairly good at doing them. That made me think maybe I could act so I started training in New York and one thing led to another.

Was that when you realised that was the career path you wanted to go down?

Yeah, I reached a point where it was very early days of being an actor and I enjoyed the process of developing a character, understanding scripts, the project and most importantly doing scene work with other actors was immensely liberating and exciting to me as someone who's never done anything like that before. That really set the fire burning in me to do it again and luckily I got cast by somebody in a film and on from there so it was really a bizarre bit of luck that led to it all coming together really.

What was your first major project to work on as an actor, and what was that experience like for you at the time?

I'd done a number of independent projects which were really great films and I worked with some fantastic actors and directors, some of them were really small and some were mid tier so the first bigger project and the big turning point for me would arguably be a cool part I got in Kick Ass 2 which was the most high profile film I'd been in at that time. I think being in that project definitely got me taken more seriously as an actor, ie; if I was good enough to get a job in Kick Ass 2, I might be good enough for other jobs so that was definitely the turning point.

What was it like to work alongside two growing in stature and popularity actors in Aaron Taylor-Johnson & ChloĂŤ Moretz?

It was an absolute education, it was wonderful and a real pleasure, they're both really cool, so down to earth and approachable, very easy to work with. The scene I was doing with them was quite intense, we were using weapons, my arm got chopped off, I got stabbed in the foot and had to have a big punch up with Aaron so that took a few days to film. When you film a sequence where it's not all actual dialogue and all physical action where people can get hurt you form a slightly different kind of bond with the other actor as opposed to a dialogue scene where it's more driven by about what we're feeling. In an action you’re talking to each other as well as trying to make the performance spot on. You're also trying to consider each other and not whacking each other or something like that, you develop a bond with people in that way and it was great to work with them.

Talking of that scene, it must of been pretty interesting to shoot and I assume you'll have needed to do choreograph training, had you done anything like that before?

Yeah, I had a background with doing several types of martial arts since my early 20's so I understood the kind of mechanics of the fighting aspects of it and there's been a few films that I've done where it has been a necessity so it's been very helpful. One thing I had to do was re-train about keep the distance because obviously if you're having a boxing match the idea is to be just close enough to hit them but not so close that you keep getting hit so there's that delicate, thin line where as in screen acting you have to make sure that you are away from that delicate line so you don't hit them but at the same time it has to look convincing to a camera. So I had to re-train, I guess it's almost like being a bad driver and having to re-train for your driving licence.

You're working on Breaking Down as an actor & producer, for those that haven't seen it just yet, then can you tell us a bit about what to expect from it?

Well it's still in post production at the moment, it's a really interesting, character driven piece. Something that we've been working on together for the best part of 18 months but the project itself follows the internal and spiralling downfall of one of America's third world cities which is Detroit. It might be a bit of a harsh description but it has borne the brunt of the economic down turn in the States and has several inner cities but it's Detroit specifically. We wanted to create a character driven piece about one families experience of relocating to that city and how they become victimised by a cooked cop and his accomplices. The story behind the story is the journey that family goes through in Detroit.

You also produced and acted on Underbelly recently, so what was this action thriller like to work on compared to a character driven piece?

I did a lot of action in that project and we're still in production but one of the other films that I did that was way more of an action was He Who Dares from January 2013 and that was really interesting for me. It was a typical sort of good guys versus bad guys movie so I had to do two or three weeks of endless action sequences with actors and stuntmen, that was actually in many ways, and I'll say this carefully, slightly easier than being involved in just a character driven piece. A character driven piece involves a lot more internal energy and involvement to create a really interesting or truthful situation within any given story whereas an action movie you can express a lot of the intent of that given character through their actions. Whether it be the fight sequence which tells a lot of the story which obviously people tend to watch an action movie for but it can certainly be easier for certain people to do it that way. I certainly find it great fun.

As we mentioned you are involved with producing, what's that job role like to be a part of?

It is very interesting. For me, I guess because I spent a large part of my adult life in business, the business of producing is fairly similar in the fact that the same kind of things drive the reason to do business in that area.

So if you're selling properties or sports cars or movies your ultimately selling a product so it hasn't been an alien experience for me, I've been fairly comfortable in that arena and I've enjoyed it a lot. It's also very much in alignment with being an actor as well. You have to be very careful not to get distracted by being a producer.

I imagine it would be tough to be a producer and an actor on all of your films, maybe one or two here and there but doing it all the time would certainly be a real challenge.

So can you tell us a bit about how you got involved with the current TV show Houdini?

Houdini is an absolute gift of a role for a fairly new actor like myself with an incredible cast and about an incredible man. When you have an extremely talented actor playing an extremely talented and very interesting character and person I think the results are inevitable. To say that Adrien Brody's portrayal of Houdini is anything less than fantastic would be really unfair, it was incredible to work on a project like that. I just had the good fortune to see one of the episodes and I was very impressed, it was brilliant. They did such a good show, the director Uli Edel, I'm a big fan of one of his German films called The Badder-Meinhof Complex, I liked it long before I ever thought about becoming an actor so to work with this director who directed one of these interesting foreign films was pretty cool. He's done a great job with Houdini and Adrien Brody has done it a lot of justice.

What's it been like to work alongside Adrien Brody?

It's an honour, to work with somebody that has done so many interesting projects and has worked at such a high level. One thing I picked up on was how effortless an actor like that finds it to find a natural sense with a character. I guess, maybe, some actors have to work harder than others but certainly watching and working with Adrien Brody was an eye opener of the talent of some people to relax in to the role.

As an upcoming actor, what was it like to work alongside established/huge actors on a daily basis?

Just to have a quick chat with someone who has worked at that level and had that much experience in this field, like with any field, you pick up so much as a new student or any career. I still consider myself a student with a lot to learn. To have a quick chat is one thing, to actually work with them over a period of days or even longer to watch their skills and pick up new skills for yourself is an absolute blessing. I'm very fortunate to be in that position and I feel as though I take so much away from it.

One film you have out fairly soon is Dracula Untold, how good was that, and what's it like to work on a fantasy set?

It was mind blowing! The film itself was the biggest film that I've worked on (Kick Ass 2 which was a pretty big project as well) and they had literally hundreds of crew and dozens, if not hundreds of cast on certain days and supporting artists putting together these huge battle sequences across swathes of open expanse in the middle of the night in Northern Ireland with the wind blowing across and lights that would quite happily light up any football stadium in Europe. They were almost able to shoot day time when it was night time the lights were so big. To work on a set and a project of that size, I think they had 100 million budget on that, was incredible, amazing. Also, you got to see the level of detail and attention that is taken to recreate Transylvania and Persia a thousand years ago is pretty impressive right down to the spices and the incense in the tents of some of the armies generals so it was pretty cool.

What's the most rewarding part about what you do?

That's a great question. I think the ability for me to earn a living from something I find absolutely fulfilling, I guess I must be one of a minority of people who get to do that and it's a gift, I'm extremely grateful to be in that position so personally, doing something I find the most pleasure doing as a profession. It's almost like having a seven day weekend and I think professionally, getting to work with such talented and experienced actors, directors, producers and people in the industry at such an early point in my career is again, something to be very humble and grateful for. It's been amazing, I have one particular role that I did recently that was playing a person who is still alive today, an American guy called Micahel Franzese. He was a Capo in the Colombo crime family, I got to work with him and play him in a film, coming out in October called God the Father. That on a professional level was probably one of the coolest parts to get, to work with somebody and become them during the filming was certainly an incredible experience so it's been awesome.

What else can we expect to see from you as we enter 2015?

I've got a few things that are bubbling away there and coming out, I'm certainly very excited about all of those and the impact they're going to have on the 'market place' if you like. Hopefully I keep getting considered for such cool parts in the future, and hopefully the curve going in the right direction and keep doing a good job.

So when did you first get into art?

It came from watching cartoons and video games. As a very young kid I used to draw everything from what I was watching.

Also, when did you first realize that this was something you wanted to do as a career?

Very late actually, I just had no idea it was a viable option. I seriously targeted comic books as a job when I was in college.

Your first major comic to be a part of was Farscape, so what was it like to work with these iconic Sci-Fi characters?

It was cool. I was a fan of Farscape, and it was even better when I found out we were basically creating the fifth season. It was quite a variety too. From Pilot to Scorpious. There are some fantastic designs in that show.

You then got to work on the UK Titan Star Wars: The Clone Wars, so what was it like to work on some of the most well known characters in the fantasy world?

That was great, and I got to work on a lot of different eras as well as the Clone Wars. My favourite narrative was the one with Han and Chewie!

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You got to write and draw for Celtic Warrior: The Legend of Cú Chulainn, so what was this whole experience like for you, and how did it compare to what you've done in the past? For example is this the first time you've wrote and put together the art?

Cú Chulainn is a story that I loved being Irish, so I just wanted to put my stamp on it, to have control of the full story. It was the first time I wrote and coloured my work so it was a learning experience, but the myth it was based on was so strong that I couldn't go too wrong really.

So how did you end up joining the mighty Marvel?

C.B. Cebulski saw my portfolio at the DICE convention in Dublin. So I was pretty much hired right there, though he had been monitoring my work for a while.

What was it like to work with Marvel on Fearless Defenders, and for those that haven't checked this out just yet, can you tell us a bit about the story behind this unique comic book series?

The Fearless Defenders was an all female superhero team that had the vibe of an eighties action movie at times. It was a blast to work on and Cullen Bunn the writer really helped me get into the swing of things at Marvel.

How does working with Marvel compare to the ways you have worked in the past?

It’s obviously at a much more exposed level, the amount of people that see my work has vastly grown of course. They have been really good to me, especially putting me on my own Spider-Man book which they know was a dream for me.

As well as that, I've had the pleasure of being their guest at an artist retreat in the New York offices recently where I was attending a three day class with Howard Chaykin and Walt Simonson. It’s been a brilliant few years.

This year you relaunched Spider-Man 2099 with Peter David, so how did this idea come about, and what has this whole experience been like for you?

When Fearless Defenders ended, I got to work on both Superior and Amazing Spider-Man. Basically the fans really wanted a Peter David led Spidey 2099 book and thanks to timing and my obvious interest in the title I was given the nod.

Also, what's it like to draw this interesting character on paper, and could you maybe go through the process on how just one page would come together for Spider-Man 2099?

I love drawing him. It’s basically a lesson in powerful anatomy each time. The process is simular to any of my books. I get the script at the start of the month, then have it finished at the end, so I work at about a page a day at the slowest of times.

I am trying to bring a real sense of motion to the pages where we see Spidey mid flight and I also focus hard on the expressions when he is out of costume.

What's the hardest part about being an artist?

It’s important to get away from the desk for both fitness and social reasons. Hugely important.

Alternatively what's the most rewarding part about what you do?

It’s great to see a positive reaction to your books, especially in person at comic cons.

How excited are you to be a part of this years London Film & Comic Con? London is a great city so I am excited to visit and meet the people!

The seventh annual Rockstar Energy Drink Mayhem Festival brought its incredible lineup and festivities to the First Midwest Bank Amphitheatre in Tinley Park, Illinois on Sunday, July 20, 2014. The annual heavy metal festival was originally created by Kevin Lyman, the Vans Warped Tour founder, and John Reese, who is Lyman’s partner on the Taste of Chaos Tour. Since the festival’s inception it has been notorious for being one of the heaviest music festivals around that always consists of a stellar lineup with metal acts of a variety of sub-genres. This year’s fest was certainly one of the heaviest and most diverse Mayhem Festivals to date.

The lineup consisted of Erimha, Islander, Wretched, Ill Nino, Emmure, Upon A Burning Body, Darkest Hour, King 810, Texas Hippie Coalition, Mushroomhead, Miss May I, Veil of Maya, Body Count featuring Ice-T, Suicide Silence, and Cannibal Corpse at one the three side stages with Trivium, Asking Alexandria, Korn, and Avenged Sevenfold headlining on the main stage. On top of the all star lineup spread out amongst four stages, Mayhem Fest also has a wide variety of vendor booths, daily autograph sessions and meet and greets from different bands at each stop, freestyle motocross shows provided by the Metal Mulisha, and much more giving concert goers an experience like no other.

Upon A Burning Body had a huge crowd gather for their set early on in the day and the San Antonio, Texas natives certainly delivered. Their brutal set was perfect for setting the tone of day as many more bands were still to come. Ohio’s masked madmen Mushroomhead performed early on in the afternoon as well.

Mushroomhead have a stage show and presence that is truly unique and all their own. With each member donning their own outlandish horror inspired mask, color changing water drums, smoke, strobes, and more the stage transforms into a bit of a musical horror movie. The typical dark indoor venues add an extra element to their performance, but with the afternoon sun blazing down on the fest Mushroomhead’s performance still lived up to its expectations. Despite the lack of darkness the masks, water drums, fog and such were all still present and certainly looked great. Interestingly, the daytime experience that fans got to hear and see was a completely different performance from Mushroomhead’s typical concert. Add in the fact that a couple hundred feet to the left of the crowd and stage the Metal Mulisha crew could be seen hucking themselves through the air performing a variety of freestyle motocross maneuvers helped to keep the crowd’s adrenaline levels pumped up for Mushroomhead’s performance.

The multiple stage set up kept patrons entertained with nonstop music. Chicago locals Veil of Maya were up next and they dominated the stage with their performance. This being their hometown stop on Mayhem Fest, Veil of Maya without a doubt felt the need to deliver a great set for their fans, and their performance was one of the best of the day. It was quite obvious these guys were the hometown heroes as the crowd filled in deep from every angle. Lead vocalist Brandon Butler had the crowd going nuts as he screamed relentlessly and the mosh pit opened huge. Veil of Maya made sure that their hometown performance was one to remember. The band was quite social after their set as well, with the members meandering about the crowd happily speaking with any fans that happened to notice them.

Promptly after Veil of Maya wrapped up their set Miss May I jumped on stage and wasted no time getting things going. There was plenty of imagery supporting their recently released fourth studio album “Rise Of The Lion” via Rise Records. The album is a unique form of reaching out and giving back to their fans as frontman Levi Benton wrote the lyrics for each track based off of letters from fans the band has received over the years.

Definitely a different perspective to take for a record that has done excellent for them and created countless dedicated fans. Miss May I put on a high octane performance and the crowd was loving it. Be sure to check out Miss May I live as they will not disappoint.

After a brief intermission one of the most anticipated performances of the entire Mayhem Fest was soon set to take place. Suicide Silence were touring in the U.S. for the first time since the passing of their original frontman Mitch Lucker on Halloween 2012 in a tragic motorcycle accident. After almost a year of inactivity and an unforeseen future, Suicide Silence recruited All Shall Perish frontman, Eddie Hermida in October 2013 and soon began work on new material. Fast forward to July 2014, and just earlier in the week of the show, Suicide Silence released their fourth studio album “You Can’t Stop Me” via Nuclear Blast Records to critical acclaim.

It is never easy for band to regroup and carry on from the loss of any member, especially when it is the lead vocalist. Suicide Silence have managed to do so in an incredible way while honoring their late frontman using his last written song name as the album title. As throngs of fans piled up Suicide Silence took the stage and vocalist Eddie Hermida came through huge as the crowd erupted into a wild frenzy. Suicide Silence performed a variety of old and new material and it was great to see the band be able to carry on and begin a new chapter.

What had to have been one of the most talked about performances when the initial lineup for Mayhem Fest hit the web was Body Count featuring Ice-T. The younger generations more than likely had to Google who Body Count even was since it has been over twenty years since the band first achieved notoriety with their controversial hit “Cop Killer” in 1992. To the older generations there may have been some initial shock and some laughter, but in the end it just goes to showcase the diversity that encompasses Mayhem Fest. Body Count just recently released their fifth studio album “Manslaughter” on Sumerian Records earlier this June and it has helped expose their music and history to an entirely new generation of fans. Ice-T and the boys put on an intense set and the crowd loved it. It was chaos both on stage and in the crowd as Body Count bring a style and energy that is their own.

Soon afterward, the main stage pavilion and lawn area finally opened up for the night. Patrons flocked to their seats and shaded lawn area for some much needed relief from many hours out roasting in the sun earlier in the day. Starting off the main stage performances were thrash veterans Trivium. The Florida rockers put on a set consisting more so of their newer material leaving fans of that era thoroughly pleased. For the fans wanting to hear some older Trivium hits it just was not meant to be this time around. Regardless, Trivium put on a great set to kick off the main stage festivities for the evening.

England’s notorious metal heads Asking Alexandria were next up with two, massive “A’s” fully lit on the stage. Lead vocalist Danny Worsnop was extra fashionable with a lavish white suit coat, tattered jeans, and his signature boots. The crowd was going wild as the lads from across the pond were nonstop about the stage thrashing and flailing. The majority of their set consisted of newer material off of their third studio album “From Death To Destiny” on Sumerian Records late last summer, and they also played a few old favorites keeping all of their fans well pleased. Asking Alexandria put on a solid performance and the crowd was going wild every second that they were on stage.

Next up on the main stage was the heavy metal veterans of the tour, Korn with original guitarist Brian “Head” Welch back in the lineup. Korn’s reunion with Head seems to have worked wonders for the band as a whole.

As frontman Johnathan Davis‘ custom H.R. Giger microphone stand sat covered on the empty stage every die hard Korn fan in attendance was eager with anticipation. Korn came on the stage as the venue went absolutely insane. Korn played with an intensity that they have not had since back in their earlier days. A fantastic mix of older fan favorites with a few new tracks thrown in rounded out a solid set. To close out their performance Johnathan Davis acknowledged the twenty year anniversary of their debut album and performed the hit “Blind” in honor of that. Davis had his sons join him to get down and headbang as their dad rocked out on stage side by side with them. Korn certainly stole the show with their outstanding performance.

To wrap up the evenings festivities was the final headliner of the evening, Avenged Sevenfold. After Korn’s set was wrapped up the stage was shrouded in a massive curtain. Once the curtains were drawn back the stage now resembled a castle dungeon with a linear row of flames lining the back. Avenged Sevenfold soon made their way out and put on a great performance. The wall of flames at one point extinguished and massive fireballs could be seen at random flying up into the air. Lead vocalist M. Shadows took control of the stage from the moment he stepped out and had the crowd going nuts. Avenged Sevenfold offered a wide variety of songs both new and old with a set list that spanned well over an hour. Regardless of the fact that it was late on a Sunday night the entire venue remained jam packed as Avenged Sevenfold’s hellfire and brimstone stage performance closed out an amazing day of music. Terri and Michael Gonzales

Although they haven't put out any new material in a while, Capdown still like to do the occasional tour, so it's always a privilege to see these guys live as they play through the classics. Treating us to tracks like 'Cousin Cleotis' & 'Keeping Up Appearances' the band do an amazing job at keeping the crowd on their feet throughout their performance. 'Ska Wars' is a highlight for us as it sends the crowd into a frenzy and the perfect fusion of saxophone and guitar remind us why these guys are, and always will be one of the most unique Ska/punk bands there is. The atmosphere for 68' was absolutely electric. The crowd was packed, and to add to this the stage was half full of close friends of the band shouting along to every lyric. With every song they were pushing the boundaries of rock music, this two piece put on an incredible show we even got treated to a Nirvana cover of tourette's! Brilliant.

Anti-Flag have always been known for putting on an outstanding live performance, and today is no exception as the band share with us some of the biggest tracks of their back catologue including 'Turncoat' 'The Press Corpse' '1 Trillion Dollar$'! As they play 'Power to the Peaceful' we see both the drummer and bassist heading into to crowd to make sure that the crowd participation is the best it possibly can be. A great set that reminds you to always expect the unexpected (in a good way) from Anti-Flag.

Reel Big Fish have toured the world many times since their formation, so from this experience then you can pretty much always expect the band to put on an exceptional live performance, and tonight that's just what they do. Ska/Rock classics such as 'I Want Your Girlfriend to Be My Girlfriend Too' 'Where Have You Been' & 'Beer' all go down very well. New songs such as 'Everyone Else Is an Asshole' 'I Know You Too Well to Like You Anymore' already feel like RBF anthems which also give the set a nice & refreshing balance. The band finish their roller coaster set with their famous cover of 'Take On Me' which with no surprise receives an ecstatic response! The Vandals are another band on the Hevy Fest bill that this country just doesn't get to see enough, so this exclusive performance was simply awesome to witness. Sure one of the members may of stripped down to minimal clothing, but for the die hard fans in attendance this was just something that added to the wild live atmosphere the The Vandals are known for creating. 'My Girlfriend's Dead' & 'Oi to the World' are set highlights for us, and to close the set the band give us their awesome cover of 'Don't Stop Me Now' which creates a perfect ending to an epic Saturday at this years Hevy Fest.

It was clear to see that last years cancellation has had a negative effect on the attendance of the event, but like we said earlier these guys are just getting back on their feet, and if they can keep up the momentum then next year could well be its biggest year yet! AD

A Day To Remember - Cardiff Motorpoint Arena - 26/08/14 Recent chart toppers Lonely The Brave are first on stage tonight, and their perfect slice of alternative rock simply goes down a treat. Songs like 'Victory Line' & 'Backroads' are mesmerizing to watch live, and overall the band provide a perfect start to the evening.

From the first chord, the chaotic atmosphere that letlive. are known for creating on a live basis is in full motion. We get to hear songs such as 'The Sick, Sick, 6.8 Billion' & '27 Club' which are both just really awesome to watch being performed live. At about halfway through the set, their front-man Jason Butler jumps into the crowd to make sure that no one is missing out on the letlive. experience. The band hit us with 'Muther' & 'Renegade 86' next which both include mass singalongs. With two fantastic albums of material to pick from as well as the enthusiasm that these guys have displayed with their live show tonight, then we have no doubt that performing in arena sized venues will shortly be a daily occurrence for letlive.

It's fair to say that their latest release 'Lost Forever // Lost Together' has propelled the band name Architects even further on a global level, so to witness them playing a whole bunch of material from this brilliant release was nothing short of awesome. Songs like 'Naysayer' & 'Broken Cross' are huge and somewhat atmospheric songs which are absolutely incredible to watch live. The group closed with 'These Colours Don't Run' which provided a perfect mosh pit filled ending, to an outstanding set.

A Day To Remember are known for their perfect fusion of pop punk and metalcore music, and by doing this on such a high level with every album they put out, then it's really no surprise as to why they're headlining a venue of such size this evening. 'The Downfall of Us All' takes the crowd off their feet straight away, and provides a perfect opener for the set. As the show continues we get to witness tracks such as 'Right Back at It Again' & 'It's Complicated' which have most people in the room singing along to every note. Whilst performing this evening the band take it up a level by bring out a human sized hamster ball for Jeremy to run around on top of the audience in, as well as also bringing out t-shirt guns, both of which you can't deny are pretty cool ideas. More highlights for tonight would include 'All I Want' which saw circle pits opening up almost everywhere, plus the acoustic song 'If It Means a Lot to You' which has the crowd the crowd singing so loud, you can barely hear the vocals from Jeremy! We'd just like to conclude by saying that if A Day To Remember keep on putting on shows like this, then we have no doubt that they could be on their way to headlining festivals such as Reading/Leeds & Download Festival in just a couple of years time. AD

Manchester Orchestra - Bristol Anson Rooms - 27/09/14 Tonight we are in Bristol to check out the talented Manchester Orchestra who are in town to promote their new output 'COPE' as well as the alternative version to it 'HOPE'. After the exceptional warm up from Kevin Devin & joint MO/KD project Bad Books, the band take to the stage to kick straight into Pride, a hard hitting song that gets the crowds attention from the first note. Displaying a fair amount of material from all albums, the act continue their absorbing set by performing classic Manchester Orchestra tracks such as 'I've Got Friends' 'Every To Nothing' & 'Simple Math' which all have the crowd singing along to every lyric.

For those that have listened to 'COPE' then it's probably fair to say that the release takes the band in a slightly heavier direction, however this isn't a bad thing at all, as tracks like 'Cope' & 'Top Notch' add a perfect balance to the set, and judging from the response they are also songs that will stay in the bands set list for a long time to come. They didn't play one of my personal favorites 'The River' but overall it was a great night that simply reminded everyone in attendance just how powerful this band are in a live setting, bring on the next tour! AD

RX Bandits - Gemini Her Majesty "Gemini, Her Majesty" is the seventh album from American quartet and is their first album since 2009's, "Mandala"; after being on a break since 2011 it was feared perhaps the band were thinking of calling it a day after some anniversary shows, but luckily earlier in the year they announced the good news that a new album was coming and decided to crowd fund it this time round, adding an extra bit of excitement, by releasing via PledgeMusic. And so the finished product is complete and unleashed...

First official opening song, 'Ruby Cumulous' opens on strange far out effects and a nice bass riff, accompanied by ambient guitar work and brilliant vocals, which glue together brilliantly with the instrumentation, and makes for one seriously melodic and rhythmic first song which will quickly get you moving! This first song paves the way for what is to come and you will certainly want to keep listening!.."Stargazer" in keeping with their 'spacey' artwork - is very changeable in a superb way, whilst still flows effortlessly, with bouncy riffs which are ambient and intricate and compliment Matt Embree's flawless and pleasant vocals. Of course some effects are thrown in to help add to the space vibes! I Can see why it was picked as a single, as this certainly 'shines' bright!

Other highlights come from weirdly titled , "Meow! Meow! Space Tiger", which was also released as single, which goes back to their older roots with a reggae influence which works wonderfully well mixed with strange ethereal sounds combined! They keep things diverse and different by offering songs ranging from many spectrums, such as "Wide Open" which adds more of an edge, it also contains a powerful and memorable chorus as well as highly catchy melodies! Something they pull off time and time again..

Closing song, "Future, Buddy" again graces us with out of the world sounds before the elegant far away quiet sounds of the Matt's vocals come in, creating a great effect. It ends on almost pop 80s catchy backing vocals and clapping creating a memorable song to close on with the final not being isolated vocals from Matt - this makes for a strong ending in what has been a roller coaster ride of excitement and awe offered by RX Bandits latest experiment! After being on a hiatus this album could have marked a make or break situation for the band, luckily they have created what could be some of their most paramount material to date, showing great creativeness as always, musicianship and song writing abilities, and most importantly standing out with a unique and diverse sound that offers something for everyone and can help expand your musical tastes! CL

Forever It Shall Be - Destroyer Forever It Shall Be are back with their latest album Destroyer a homeage to their previous efforts of melodic metal mixed with death metal. The effort and energy seen in this album is nothing short of inspirational and the complex instrument use is incredible and if the vocals were just a bit different I'd even say this album is genre defining but sadly it's let down.

A great piano intro starts this album off with style and grace and the impending realisation that something big is coming your way and you have no way of stopping it and then it happens. The vocals kick in and although it is impressive to get the human voice to sing like this; on Monolith I can't help but feel underwhelmed from the output.

Thank the lord that the guitar and percussion work are horribly horribly addictive, I've listened this album a few times now just to appreciate the work that goes into every single song. While avoiding however the vocals.

We're In Hell has a very complex solo at the beginning and sounds something like Bullet for my Valentine and once the song kicks in it can be quite bearable but the vocals for me are just a bit too much.

This album is impressive from Savages all the way through to The Rapture it is a ridiculously intense experience of listening that any metal fan would love to hear but for me it's let down by the out of tone vocals. It also doesn't say a lot for a band when they have the same formula for each and every song. RO

The Color Morale - Hold on Pain Ends 'Hold On Pain Ends' marks the fourth studio album from Post Hardcore band hailing from the US and also the first album released through their new recently signed label, Fearless Records, following departure from Rise Records. Opening song, "Damnaged", features melodic clear strong vocals, which keep you drawn in immediately, and backed up with technical riffs and solid instrumentation, resulting in an enlightening and powerful first track!

Next up is the first single released from the album, "Outer Demons" which again has extremely catchy melodies and stand out clean vocals backed up with fierce vocals, fast guitar work and drums - in the clean sections just try to resist dancing along to this! A well balanced use of optimism and hopeful sounds mixed with a more aggressive side also which helps give more variety, depth and emphasis!

Their second single released, "Suicide;Stigma" which features guest vocals from We Came As Romans, David Stephens who helps add different vocals. This song is in keeping with the overall theme and is a very honest and tough subject to touch upon, with lyrics such as, "Suicide doesn't end the pain, it passes through the ones you love and remain" - it is very brave of the band to mention such topics and is quite refreshing and empowering, especially as topics such as suicide and mental illness usually are a 'stigma', but recently in media have been highlighted more, so perhaps this album has come at the exactly the right time!

Another guest appearance comes from Chiodos' Craig Owens on "Developing Negative", which is a fast affair with the usual brilliant clean vocals and strong melodies which have a postive vibe, helped through the ambient guitar riffs and effects. It goes from melodic to full throttle metalcore in a flawless and effortless manner and towards the end drawing to a close on sinister dramatic sounds, in this well constructed song!

Closing and title track, "Hold On Pain Ends", is a surprise in the form of a delicate acoustic, which is powerful, passionate and emotive; Garett really shows off his vocal capabilities, and towards the end the instruments kick in with effective gang vocals which again have a positive sound through the use of instruments.

Sometimes it doesn't work or you are left disappointed by ending on an acoustic track, but in line with the rest of the album and content, this sits perfectly!

As I said this album very much touches on the theme of mental illness and suicide in almost every song, and the title of "Hold On Pain Ends" asserts this and sums this up well. It's not often a band will bring these hard subjects to the forefront, but as it is getting to be a more prominent subject in media, the timing is right, and their delivery on such tough subjects feels genuine and emotive, as a result the positive and hopeful messages addressed which are usually shied away from so will reach out to people. This is aided moreso by Garett's vocals, which helps set them apart from other similiar acts and genres along with their distinct style of the genre which is quite radio friendly. Lyrical content aside, the band have created an exciting and stand out album which is quite refreshing! CL

Crashgate - Crude Joes, Death Notes and Unicorns Crude Jokes, Death Notes and Unicorns definitely wins the award for strangest album name before the music has even started. This band are making music they are 'proud of' according to their bio on the Crashgate website. This band's sound is like nothing I've ever heard. It's like a mix between Slipknot, System of a Down, AC/DC and some newer acts like Deaf Havana. All of these sounds have come together and bought guitar solos fused with energetic vocals and that makes this an album for anyone who enjoys rock music. All of the songs are go, go go! From the booming start with Tear It Down the music is incredible and catchy and it's only when the vocals kick in that it truly becomes a song that is demanded to be listened to.

As One the vocals change in terms of pitch and it starts to sound something reminiscent of a My Chemical Romance song. That uniqueness that a higher voice can create is incredible. Big build up created by incredible guitar and drum work, this is Whiskey Makes Me Frisky (Doesn't it just!). This is the typical sex song, but as the old saying goes, it sells. The lyrics are basically about being on a night out when you see that woman who has 'sex in your eyes'. The lyrics are catchy and addicctive. This is definitely the catchiest song on the album.

The rest of this album in a few words is just awesome! From the hard hitting Getaway all the way through to Deal With It that utilises the full extent of the more heavier vocals. The singing is captivating, the lyrics are mind blowing and if anyone is a fan of old rock/nu/metal/punk/emo/screamo/any other genre you can think of then you will enjoy this album! It's top notch! RO

Royal Blood - Self titled This British duo finally release their much anticipated self titled debut album, the band have been majorly hyped up thanks to the like's of Arctic Monkeys drummer, Matt Helders sporting their T-shirt during a 2013 Glastonbury headline slot while the Brighton two-piece still were starting out, numerous airplay from Radio 1 and of course big festival appearances at Glastonbury themselves and Reading and Leeds Festival!

It's rather hard to pinpoint favourite tracks as all have stand out parts and bass riffs particularly; Mike shows great bass work skills, which impressively sounds like a guitar, which is achieved through him applying various effects, but also just one slight criticism would be is that this slighly restricts them and some songs sound rather similair at times, but it does keep things coherent and consistent but some worthy mentions would be singles, "Come On Over", which has stomping riffs and rhythms which dig deep with an almost garage rock vibe and "Figure It Out" which opens on stand out riff and compelling vocals from the off from, Mike Kerr delivered in highly melodic manner, accompanied by all the right beats from Ben, which builds up in momentum as draws to an end.

"Little Monster" was also released as single and received much airplay from Radio 1 - upon listening it's no surprise as although very simple format they deliver with such power and intensity that its highly effective! This is a 'monster' that you will want to keep and you will struggle to get rid of it! Closing song, "Better Strangers" has a blues rock inspired feel, especially through use of bass guitar work and is powerful, particularly when Mike's vocals and the guitars compliment each other wonderfully, ending on a very catchy and memorable note!

This duo make an impressive volume of sound considering just two members and no guitars, just bass, but still achieve lots of driving melodic riffs on the bass that stand out, which are relatively heavy but still commercial.

It's not hard to see why has been received so positively, as easily accessible with their proper rock album with indie elements with more of a back bone, which is placing them high in the British rock scene! This is a sturdy, intense and impressive debut offering, making them ones to keep an eye on, especially considering they have been nominated for the 2014 Mercury Prize draw for best album! CL

Syren City - Escape Tired of all those bands that sound the same, you know the ones; you stick on the radio and it’s all angst this and woe is me. Syren City is your saviour in this bleak world of shit. Hailing from Bristol these guys blend the awesome guitar work of huge acts like Foo Fighters and the vocals of more heavy bands like Taking Back Sunday.

From the word go on the first song Bleed you can tell this is going to be one of those EPs that will just be whirling round your head for days. Carrying on to the awesome Our Disease which is just awesome, a great song with awesome drops all the way through. The vocals are astounding and keep this album going in style.

The third song Fire in your Name has a hint of Offspring about it which I personally think is awesome because no one imitates those great men these days. If you doubted this album before this song will convince you of the magnitude of awesome it really is. The catchy rhythm and awesome mould of instruments together just makes this a mini masterpiece.

Long Way Down almost has a Metallica riff to it at the beginning, obviously not quite as heavy but it’s close.

Just when you think it might be losing it’s uniqueness suddenly some screaming vocals come in and bring it back to the surface. The ending builds up and concludes heroically. I love that these guys went with so many genres and where many have fallen make it work and well. Asphodel slows it down a bit in terms of the rest of the album but still keeps it at that level of energy that has come to be expected.

Syren City are one of those bands that aren’t afraid to take chances and I think that’s what makes Escape so special. It’s one awesome song after another and it’s done with style and grace. RO

He Is Legend - Heavy Fruit He Is Legend have confused fans left, right and centre since the beginning of their success; moving from popular post hardcore to grimey rock to stoner metal, swapping and changing numerous band members and taking several hiatuses.. to finally announcing the release of their fourth album through slow burning single drops since the beginning of the year, slowly trying to introduce us to what they might have become this time round.

It’s hard to say anything bad about the album, because as far as He Is Legend’s new found sound goes, it’s really flipping good, consisting of an excellent amount of heavy riffs, deep vocals, and sludgy guitars.

It’s well recorded and after the anticipation fans must have felt towards this release after the past few years of confusion – this album being the first in 5 years! - I don’t believe that it disappoints, it may just merely confuse after the varying sounds which the band have previously created. I hope this means that the band have found their final line up and can move forward with a sound which they are ultimately great at making, even if it does vary quite drastically from the post-hardcore He Is Legend sound which gained an originally huge fan base.

I believe that the album may take a few listens, as it’s not going to be everyone’s cup of tea from the offset, because it’s damn hard to place what this band ARE. But I really believe this works in their favour, and there are numerous tracks which show potential, giving us some bluesy, southern rock vibes, incredibly heavy riffs and breakdowns, harmonised vocals and traditionally including the odd female vocalist also. ‘Something Something Something, Witchy’, the first single to be released from the album, is catchy as hell and ‘Be Easy’ is bound to be an album favourite demonstrating the bands obvious ability to vary between numerous genres and keep us on our toes, moving from the heavier side of the album to a dirty, jazzy, upbeat track which bares likeness to early Every Time I Die, and the jazzy likes of LetLive’s first album.

Overall, a bit of a confusing one. It would appear that band are seeing where their current line up and new sound can take them; and damn, maybe they’re pretty unsure of that themselves. Heavy Fruit is definitely worth a listen, especially if you’re a die-hard He Is Legend fan, as I believe that their growth is without a doubt apparent and on the whole it’s a pretty resfreshing album nonetheless. EH

Resist The Ocean - Weather The Storm Resist the Ocean a hardcore metal band outfit from Germany pull out all the stops on their album Weather the Storm (great name!).

This album is for anyone who loves metal or anyone who can really appreciate the music behind the incredible vocals that are produced.

Fading Horizons is that typical metal intro, the one that's all quite leading up to the inevitable avalanche of noise that is approaching on the next song and in comes Semper Fi. A song that really sets a tone for the album and gives the listener the idea of what they are getting into.

Following on with the energetic Blindfolded all the way through to the simply awesome The Raft of Medusa. This album only slows down when it reaches the beautiful Lighthouse which is just a great piece of music to make you really appreciate how talented these guys really are. It brings a level of clarity to the album also in the sense that the band aren't just heavy heavy heavy.

That feeling however is ripped away instantly as the vocals start up the next song The Arsonist which sounds rather similar to their other efforts on this album.

This album is a 27 minute wild ride of rock and metal that would have any old school metal head banging their head with love and respect. While I think many people would love it, for me it just didn't have enough differentiation between one song from the next.

Weather the Storm has more solos than a a Star Wars speed dating night and more drops than the biggest rides at Alton Towers. RO

Alone With Wolves - The End of Nothing If people were to ask me what I love about the times we live in. It would be the way that music has evolved, I love that bands like Alexisonfire and A Day to Remember were pioneers in their respective genres and opened the way for bands to do what they want. This is exactly the tone I get from Alone with Wolves. Melodic singing along with hardcore screaming that would impress any metal fan.

Coming straight out of Hertfordshire this impressive rock act are here to bring metal and harmony to the masses and are already have the momentum of a runaway train screaming all the way. Alone with Wolves bring together the vocal side of Architects and merge it with the soft voices in Deaf Havana while maintaining the rhythm that is executed by such bands as Muse or Mallory Knox.

From the Earthquake of a start with Cutting Ties it’s clear straight away that this is a band that take their music seriously. The timing is excellent and the way the vocals blend with each other is beautiful.

Fading into The End of Nothing which just has a spell on you straight away to shake your head to the beat.

The passion of the screaming vocal from Lewis Watson together with the harmonic singing by Danilo Fannico is the perfect combination and makes this song in a word special. My Life in Your Hands can be described using one word, emotion. Emotion in the singing, emotion in the lyrics and emotion in the melody that is being played. There is a lot of attention on the singers but the real work is being done by the guitarists and drummer.

They are truly talented and they prove it by the awesome solo work.

A quiet start with some high hat hitting starts us off on this next song which always gives the impression of a love song. The guitars are softer, the drumming eases up and the spotlight is given to Fannico to prove what he can really do with his awesome chords. Sure the screaming slowly creeps in but it’s so far in the background that it’s barely noticeable or so I thought. They begin to get slowly more infested in the song and before you know it it’s a full on rock anthem. Slow and steady wins the race I guess.

With You in Mind starts off with an awesome guitar solo that will make you air guitar without realising and then the screaming kicks in. This song is a great way to finish this awesome EP. It also begins with some of my favourite words of 2014 ‘This ain’t a lullaby bitch!”. RO

Animals As Leaders - The Joy Of Motion Nothing has been heard much from this instrumental progressive metal group, Animals As Leaders since their last album in 2011 which didn't receive a favourably acclaim from most fans so the release of the third album - which has been available since March - The Joy of Motion, comes appreciated after a long wait.

Opening with 'Kascade', a track swamped with killer tempo and thrusts of guitar shredding, complex and powerful drum loops from Matt Garstka followed by a horde of melodic lead guitars that carries this track to a new direction.

It is with tracks such as 'Para Mexer' and 'Another Year' that indicate the infused attributes of jazz that have influenced the bands development. Guitarists Javier Reyes and Tosin Abasi have taken their guitar wizardry to the next level with this album and have managed to combine elements of a genre from the opposite end of the metal spectrum.

Some have suggested that this album is what their 2011 album 'Weightless' should have been but in terms of appreciation that's a dismissive attitude to attain, especially with a band such as Animals As Leaders who are incredible musicians, it's more effective say that the underwhelming response to the second album has pushed these guys to follow a truer path of understanding of their musical flair.

Unlike their previous albums, this perplexing collection of unique creations is exceedingly more intricate in a sense and only adds a touch of heavy where it compliments rather than swallowing up the attention, yet they still manage to shell out mind blowing complex combinations that cultivate the boundaries of progressive metal. MH

The American Scene - Haze This band all the way from over the pond have made ripples in California that are making their way across the world. The energetic rhythms of indie music have burrowed deep in this bands heart and now it’s burst out to bring an album of hit after hit.

From the starting song Haze which has a very Reverend and the Makers feel to it with it’s tone of accented vocals, slow but poppy music and the odd lyrics.

Continuing through to the huge single Royal Blue which cement this bands sound completely.

This album continues with awesome songs in the form of Nails of Love which has some of the best lyrics on the album. The drumming in this song is nothing short of spectacular and the guitar work is something to be admired.

Dark Creek and What I Could Gather really show off the voice talents within this band and give that appreciation for who they are and what they do. While most bands in America are breaking the metal scene this band are sticking to their guns and doing what they want.

This band have definitely taken tips from the big indie bands of the modern age, there’s hints of Interpol while also having the catchy rhythm of Arctic Monkeys in their Favourite Worst Nightmare days. This album is a great find for any indie music lovers.

Drone is at the very end of this album but it’s one of the best songs on it. It’s catchy, addictive and will have you whistling the tune for days afterwards.

It isn’t long until the end of this album is reached in the form of Brume and it’s a great way to end this album. A slow paced anthem for the masses to enjoy. This band will be a big success if they keep going the way they are going! RO

The Gaslight Anthem - Get Hurt This is the fifth album from American Rock band, The Gaslight Anthem, and the follow up to 2012's, "Handwritten", which represents their first release through Island Records. The album also is inspired by Brian Fallon's divorce from his wife ten years ago and the band was influenced by artists whose albums represented "career shifts", so how does this 'shift' in sound unfold?..

Opening song, 'Stay Vicious' is more on the rough and heavy side showing their slight shift immediately, with somber and negative lyrics and Brain Fallon's low deep vocals to accompany, making this a strong and memorable start to the album, and also one of the best featured..

Title song, "Get Hurt" is a lovelorn emotive song which harbours well written personal lyrics which is most likely about Brian's divorce from his wife, the lyrics reflect this throughout in this synth rock sorrowful track. "Rollin' and Tumblin" is a more aggressive edgy sound compared to previous songs, making it a stand out one that has an old rock feel.

"Break Your Heart" offers a more bleak sound in contrast to others and reasserts the theme of his divorce inspiring this album, with touching yet sad lyrics, but should offer a relatable song that others can understand.

Ending on, "Dark Places", the vocals and lyrics seem bleak but the instruments kick in with an air of optimism which ends things on a powerful note and tie things up nicely.

Yes, this album definitely doesn't contain the bands usual Punk tones, it leads more towards synth old style rock, which is mainly to do with the lyrical theme driving the album and the desire to shift the sound. Although it works relatively well with the content and concept, and is done so with some highlights and anthemic moments, it certainly won't appease fans of their former sound and seems a bit under whelming for what it is..but hats off the them for trying something different, and for this they will most likely gain a new audience of fans!..Well let's just see what the next album brings! CL

Basement - Further Sky In 2012 the rock outfit Basement gave the word that they were going on an indefinite hiatus. Having had a pretty good three years since their inception in 2009 they'd toured the states and even Australia but all good things come to an end. But like a phoenix raising from the ashes they're back with a three song EP. As soon as I'd listened to their latest effort I felt compelled to put it on again. Not because there's only three songs and it kills ten minutes but because it's awesome, it's easy, simple listening and the three songs really gives you a feel for this band.

It's clear that they still wish to go along and create the late 90s early naughties rock vibe that a lot of bands had and lost. Not to say this band are behind in the times, it's fresh to see bands that don't change their roots to please their fans.

Animal Nitrate gives me the impression of a lost man who successfully escaped the nineties in tact, travelled through the naughties and has arrived here, dazed and confused that the world has changed around him. Not that that's a bad thing, in fact as soon as it was finished I was compelled to hit replay. It's nice for a bit of nostalgia, it's got that kind of soft rock of Manic Street Preachers and slower Jimmy Eat World songs feel about it.

The next track Jet feels completely different to it's predecessor, however again I compare it to another successful band. Parts of the song are so similar to how a Green Day song would be, familiar riffs, even the same tone of voice. A good build up towards the end of the song followed by a cheeky solo and then all inhibitions in instruments seem to disappear.

Summers Colour has an awesome memorable riff all the way through. It really creates a great beginning to the end of this quite frankly short EP. Once the rest of the song kicks in it could be even be classed as an anthem if played in the right places.

The only issue with this EP is that [insert meme here] It's too damn short! RO

Nathan Detroit - Piece of Mind EP I guess no one's bored of Pop Punk yet? Good! I still find it one of those really awesome genres that really captivate people, bring them together and the best thing there's still bands making music because of Blink 182 who are a good twenty years old. Pop Punk will never die and this is what Nathan Detroit are definitely about.

Hailing from Trowbridge these crazy kids are ready to uneash their new EP Peace of Mind. A mixture of catchy lyrics awesome guitar work and great singing to get to the masses of fans who love the emo genre.

If I could describe this EP and this band in one word it would be awesome.

Nathan Detroit have successfully captured that Pop Punk essence and fused it successfully with the emo genre that is so popular today.

Kicking off with The Way Down a catchy song to really get you in the mood for this album, it gives you a feel for it straight away. By the end of this song I was dying to hear more. Never Enough carries on in the same way as the song before and keeps the pace at an all time high.

I Will Always Be Part Of This World starts off with an awesome acoustic piece before becoming an electric rock song. Part of me wanted this song to just be a slower acoustic performance but all good things come to an end and this end was greeted by an awesome beginning of the rest of this song.

Every Heart has no intros or slow starts it just dives into the music headfirst and doesn't stop until the two minutes is up. A great finale to an awesome but short EP. Hopefully there's more from this rock outfit coming soon. RO

Crown The Empire - The Resistance: Rise Of The Runaways Dallas' favourite pop punk/metalcore outfit are back and bigger and better than ever. They've come back after their previous effort The Fallout and are now ready to show the world The Resistance: Rise of the Runaways.

This new album is a rollercoaster ride of awesome riffs, compelling lyrics and more than anything incredible vocal work from two of the best in the business.

Starting with the awesome Call To Arms (Act II) which is actually more of a speech about revolting against the power this theme continues onto the next song Initiation where the real vocal talents shine through and together they combine amazingly.

The next two songs on the album are probably the lovey dovey songs for all the teenage girls out there. With lyrics like 'I've missed you for Millenia' and 'Let's be more than just machines' this is definitely one for fourteen year olds to scrawl on their hand when they've been going out for a boy during one lunch time at school.

Lyrically these songs are brilliant though and give you a feel that this band aren't just interested in making as much noise as they can.

And so we move onto The Wolves Of Paris (Act II) and again it begins with a beautiful melodic piano intro followed by a prophecy. Very nice break from the love songs of the album. MNSTR is a complete polar opposite of the past few songs and they get back to the heavy element of their music that makes them amazing. The best thing about this song is that the lyrics are so simple but incredible at the same time and the rhythm that goes along with it is nothing less than infectious.

Second Thoughts and Maniacal Me are in total worlds apart, while the first focuses on more of the softer vocal the second is very much in full view of the heavier vocals behind this awesome band. It's a good point to say that the vocals aren't the only reason this band are awesome. This band are genuinely talented in every aspect of their music and it's shown.

And so we come to Satelites (Act III) and dare I say it, I can hear violins. Suddenly the tone of the album is bought back down. Violins frantickly working in the foreground while the echoes of 'way oh way oh' are in the background. The vocals slowly seep in and the song builds and builds into an awesome anthem.

The heavy elements are in full force again as the album reaches it's climax with Phoenix Reborn. For anyone who's a fan of A Day to Remember or Alexisonfire then I would seriously recommend this album. Every moment through it is fantastic and I've definitely found a new favourite. RO

Within The Ruins - Phenomena A year has passed since Massachusetts quartet, Within The Ruins released Elite - which contained some of their most diverse work since - and now they are back with another full length album, Phenomena.

Opening tracks, 'Gods Amongst Men' and 'The Other' both weigh heavy of pulsating riffs with pulping drumbeats driving over them. Carrying this ferocious attitude throughout the album compels enough to make this Within The Ruin's most tightly produced album, although arguably it does become a little too repetitive which lets it down.

They've included a third sequel to the instrumental paragon that first appeared on Invade and then again on Elite. This is Ataxia III and it without a doubt slams it over the other two - killing it to shreds with the riffs, concluding the album with a melodic outro to finish off a storm of instrumental slaughter.

The thing with this metalcore band is it's the instrumental talent that takes the lead stealing the show away from the vocals. Despite vocalist Tim Goergen being at his fierce best on this album it becomes a petty annoyance over the guitars.

Enigma is a ferocious beast to be reckoned with, the stormy pace of meteoric double bass riffs clearly validate a potential move towards becoming instrumental hardcore virtuosos. MH

Famous Last Words - Council of the Dead It's been over a year since we saw the release of Famous Last Words' debut feature length 'Two Faced Charade', in which time the Michigan based quartet have matured in their sound, increased the quality of their recordings and grown massively in popularity.

I do feel that the band have slightly conformed to the lighter side of post-hardcore on the scene today; with a more obvious likening to bands such as I See Stars and Falling In Reverse.

Whilst I believe that JT Tollas vocals have consistently improved over time, on first listen of this album I was surprised to still hear as much electronic tuning on his voice as recorded on the earlier releases. This album definitely conveys his vocal range and talent, and I believe it almost a shame to hear so much auto tuning - despite it being such a distinct sound for which Famous Last Words are known for. I wouldn't see it as a bad change.

The album is dramatic, cinematic and gothic in ways which may surprise you after hearing the first album, and I believe this will work in their favour - hearing influences from the likes of Avenged Sevenfold and The Used throughout the tracks.

The title track, 'Council of the Dead' provides a dramatic beginning, and 'Hell In The Headlights' is bound to be an album favourite with a ridiculously catchy chorus, yet I believe that it is 'The Killing Zone' which absolutely steals the show. The track demonstrates what the band are truly made of with a consistent, solid heavy metal sound which works terrifically half way through the album as a refresher, allowing it to steer away from being a particularly generic post hardcore album.

The album is well produced and a clear sign of the ever growing success of Famous Last Words, and the guitars and bass (although not at the forefront of the album, particularly in volume) are strong throughout.

Craig Simmons' drumming skills are second to none, and keep the whole album moving swiftly and energetically.

Overall, not a massively surprising album for those really into post-hardcore bands on the scene today, yet it is a solid, well made album which is bound to be popular.

The band can be found on tour in the US with Hawthorne Heights and Red Jumpsuit Apparatus. EH

Darko - Sea of Trees Well friends, it seems the age-old formula of writing catchy riffs and shouting over the top of them has come up trumps once again. Seas of Trees is an excellent lesson in how to write infectious punk rock, without being too much of a nob and being so rock and roll you forget the punk, or being so punk you lose the melody.

The guitars are melodic when they need to be, heavy when they need to be, and never feel like they're trying to subvert the vocals when both are active at the same time. As is to be expected, the drums are fast and stompy, with plenty of snare and double-kick action.

The vocals fall in the perfect balance of punk and rock; shouty (and occasionally screamy) enough to give the EP plenty of power and aggression, but don't fall too far into the hardcore punk realms to the point that you can't understand what vocalist Dan Smith is saying.

On first listen this EP is good. Listen more and the passion and melodies begin to burrow into your brain until you become fully immersed in them. If you're looking for a short, sharp blast of stellar riffs and bang-yourhead-until-your-neck-snaps punk songwriting then Darko have sewn it all up very nicely. AL

Zeus – Classic Zeus Toronto based Zeus are back with another sweet and peaceful album to sooth your earbuds. The indie rockers stem from a background of serving as a backing band for fellow Canadian, Broken Social Scene member, Jason Collett. With sounds not unlike some golden oldies such as Eric Clapton, Neil Young and The Beatles, with a modern day twist of bluesy psychedelic harmonising, this album is perfect for these nights where we’re grasping at the last moments of summer before the winter cold sets in.

“You Could Have A Lover” brought about comparisons to the likes of The Black Keys, where as “Everyone’s Got One” oozed ounces of MGMT space cadet vibes. One of the most chilled out, yet still uplifting albums I’ve heard for a while, serving beautiful harmonies, and guitar picking that keeps your spirits lifted.

Whilst this album has not received the warmest of welcomes from some fellow reviewers, particularly in reference to Zeus’s previous album “Busting Visions” which bared a slightly more upbeat sound, I believe that it’s still an easy, and enjoyable listen. Zeus have not made any dramatic changes to their sound since forming in 2009, and thus this could provide for an unexciting listen for those wishing for an ever so slight growth or something new from the band. This said, they do their 70s southern rock, smooth vibe really quite well, with slow and classic sounding guitars and echoed vocals that serve their purpose in this mellow, comfortable album.

“Throw It On The Fire” ends the album on a sweet high, with gorgeous acoustics and Fleet Foxes-esque group vocals, leaving you content with an easy listening, charming album.

All I can say is that it truly is a mellow listen, don’t go near it if you want some oomph. But if you’re a fan of the Zeus in general, Neil Young, The Black Keys or maybe a little change from your regular acoustics, get your ears wrapped around it for some spacey vibes. EH

Frnkiero AndThe Cellabration - Stomachaches What do you do when your old band, arguably one of the most successful emo/rock bands ever, breaks up? Well, if you're Frank Iero, apparently you write a fairly middle-of-the-road punk rock album.

Don't get me wrong, this album is fine. The melodies are nice and infectious, and in true punk fashion the riffs are suitably back-line so as to not really be noticeable but do their job of providing an adequate foundation for the vocals.

But that's pretty much as far as you can go with it. There's nothing that immediately stands out about the album, save for the name plastered across the top of it. It feels like this album could have been written by a bunch of college kids, and some of the production values on the album seem to suggest it might have been recorded by them too.

That being said, this album is not bad. It's just not great. The main issue is that it feels like every second of it has already been done before. The fact that these days most things have already been done before aside, plenty of bands still find great ways to write melodic, rocky, emotional punk music and make it sound fresh and new and exciting, things that this album just doesn't seem to sound.

However, there is still hope. It is entirely possible that this could just be a bit of a flop effort from a man still trying to find his feet after a major setback, and that in future Frank Iero can bring out the writing talent we all know he's capable of and smash one out of the park. AL

Emarosa - Versus Following a four year absence, the band have undergone some changes, in terms of genres, tastes and even members, and their new album, "Versus" marks the first album to feature vocalist Bradley Walden and the last to feature guitarist Jonas Ladekjaer and drummer Lukas Koszewski. So how have these changes effected their sound?!..

Opening song and latest single, "People Like Me, We Don't Just Play" is strong and highly melodic, with impressive vocals, and overall offers a refreshing sound!

This first track grabs you and keeps you intrigued for rest of album, and new vocalist, Bradley Walden shows he is the right man for the job, giving a wonderful vocal performance!..

"American DĂŠjĂ vu" hits even harder than the opener track, as it has big anthemic feel again, especially evident in chorus, with impressive and emotive vocals and all the right instrumentation to make this a stand out one! "A Hundred Crowds" keeps the standards high, with a particular stand out striking chorus. "I'll Just Wait" offers a more subtle personal touch, which shows of Bradley's impressive vocals in this slower melodic tune, offering something a bit different and proves they can pull it off wonderfully! Getting the balance of quiet and loud moments 100% right, something they achieve throughout album!

First single released, "Mad" feels like a plea with strong changeable vocals and instruments and a lot of emotion and honest lyrics, again adding a relatable heartfelt moment from the band.

Closing song, "1996 On Bevard" has a lot passionate and heartfelt parts, and instantly gets your attention with its great melody, and again like, "Mad" it is a very personal topic, which adds more depth to the music. They have the combination down to a tee with this album and its eclectic range!

This could just be their most varied and exciting album yet, being highly compelling and enjoyable throughout, with a nice balance of quiet moments and heavier bursts of power, both equally effective and memorable! The album is creative, refreshing and diverse, but still in keeping with rest of album and their sound. This is a great fresh start and comeback with new member, Bradley, showing change can be extremely good! CL

Incite - Up In Hell When you're the offspring of a heavy metal idol trying to get your own music out there a lot of people are going to question the credibility and the input of hard work, with Incite's third album Up In Hell, there is not a doubt in hell that this band have sweated their bollocks off for it.

There's been a change in the band line-up with a new drummer and bassist in Lennon and Christopher, which have only improved the bands potential. And unlike their last two albums the work of producer Matt Hyde really helps trim the edges on this album to produce their most focused record yet.

The only downfall is the disappointing adolescent lyrics, supposing these guys are in their late 20's lyrics such as: "I hate you so much," and "Fuck everyone's opinion, we'll carry on." Sound like a skid mark of teenage angst.

Reflecting over losses of loved ones; 'Fallen' is not the typical commemorative you'd play for your dead granny. Don't expect a brooding ballad of soppiness because this one tosses more punch than a Punch and Judy show.

Musically the album carry's itself royally with onslaught of thrashing riffs, beastly drums, grinding grooves and Cavalera's vocal rasps all mesh in together to create a brilliant album. That being said, it's nothing of extraordinary but worth the listen. MH

Hands Like Houses - Reimagine Australian alt rock band revisit their 2013 sophomore album, "Unimagine" with new EP, "Reimagine" which is parallel to their previous album, and offers a different take on existing songs, also showing a different and more personal side to the band...

Opening song, "Recollect" (Shapeshifters) gets your attention with catchy clapping at the start, and continues this with its great strong guitars and superb melodies from start to finish, in this upbeat and fun sound helped through the arrangement of instruments.

"Revive" (Introduced Species) continues on with the delicate soft acoustic tones, which works well in this acoustic stripped down version. It also contains very catchy rhythms and effective gang vocals, that and the gentle moments show more of personal side and Trenton flawless vocals aid this.

"Rediscover" (No Parallels) stands out as it offers something a bit different, with a very memorable soft whistle that crops up in the chorus. Along with intricate beautiful guitars and beats, placed with the perfect vocal tones, this is a definite highlight, and probably is the most suited acoustic version, which works wonderfully!

"Release" (A Tale Of Outer Suburbia) starts with a more somber feel, which shows some diversity and a different vocal side from Trenton, making for perhaps his best vocal display in terms of range, passion and emotion. The use of the quietness between vocals and the placement of instruments is highly powerful and well structured.

"Reflect" (Developments) offers ambient sounds, creating an atmospheric vibe with quiet vocals and effects, which gently and slowly progresses throughout, making an interesting and pleasant song, which is perfect particularly if in a 'reflective' mood!

These reworked renditions are easy to listen to and get lost in, and flow wonderfully well together as a whole, making a very nice collection of revisited versions of their best well known songs from their album, "Unimagine". If you a fan of the band this is a must hear, as shows a different more soft and personal side to them. Even if you're not familiar with the band, I would recommend listening to these delicate acoustic songs that are varied and show some experimentalism also. CL

Opeth - Pale Communion It has been long awaited since Opeth announced they had begun writing an eleventh album in 2012, and like everyone had expected they didn't know what to expect from 'Pale Communion', but it's the band's ability to shed skin like a snake to form a new level of themselves and become more advanced.

'Eternal Rains Will Come' jumps in with a funky chord and swiftly changes tone throughout. It's difficult to tell if Ă…kerfeldt has doubled over his voice or if there's backup from the band, either way his voice is somewhat monotonic and without a little post-production it may have killed this melodic intro.

Of course, by now it's almost impossible to believe that Opeth once was a death metal band but believe they haven't lost their edge with tracks such as, 'Voice of Treason' that hints an aggressive nod towards their heavier days.

In retrospect there are going to be a lot of upset Watershed fans who will wish that Ă…kerfeldt would stick to the metal roots but those roots, at least for now, have long been planted and the main purpose of roots - if given the space - is to grow and evolve. Which is exactly what Opeth are doing, and if one thing is clear is that Ă…kerfeldt is no man for peer pressure and a man of his own creative stimulation. Plus, it should be recognised from this day that with their unlimited creativity Opeth have earned their right to be whatever they want and create whatever they want, because they're damn well good at what they do whether it's tearing up vocal chords or producing melodic harmonies.

For this album you hadn't need be a fan let alone have heard of Opeth to dig this - it's like nothing they've produced before, it is as if the metal prodigies made sweet love to psychedelic and gave birth to this album.

Get this in your life. MH

Darkest Hour - Self-titled Released on the American independent label, Sumerian Records, Darkest Hour are back after three years with their self-titled eighth studio album. With a change in the line-up this album sees Darkest Hour approach an entire different sound.

Diving in to it head first with a positive start is 'Wasteland', a track packed full of influences of Darkest Hour's older work. Thrashing high-pitched guitar solos and dirty vocals. But don't be fooled - the rest of the album swiftly changes its tune to something slightly lighter.

'Misery We Make' hits all the right notes to make it a clear shot towards making it in the mainstream, with the untypical use of cleaner vocals and anguished lyrics from John Henry but it actually works for them, unlike 'Futurist' which just seems too far from the sound of a melodic metal group and stands out for all the wrong reasons however the pummeling instrumental solos two thirds of the way in is well worth the listen.

There's a surprise in the form of softly focused track 'By The Starlight' which features a guest appearance from doom-pop - Dræmings female vocalist, and together they create this beautiful rock ballad but don't be put off because this track is a meaty number with throaty vocals working in unison along the harmonies of softer vocals which are harmonised by wailing guitars. Then there's an attack of obliteration from the instrumental section, shredding guitars and thumping drums.

It's an obvious bid from Darkest Hour to get more modern rock radio play with this album containing some of their most diverse work yet but that necessarily is not a bad thing, there are some awesome attempts on the album and although they may have made themselves appear more mainstream friendly they have managed to keep their edge about them. MH

Motionless In White - Reincarnate Motionless In White stand out thick in a scene littered with identity crisis and duplicates. MIW hit incredibly hard with their first album. Unleashing “Creatures” with morbid stories of society, a ferocious art direction and musically one of the heaviest records to hit the genre. The follow-up to their debut, “Infamous”, was critically received but saw a shift in musicality, with an industrial tinge given to the music, evidently seen in how lead singer Chris Motionless wanted the band to progress. Although “Infamous” had everything that MIW needed to push forward into new territories, it was lacking in areas which the band we’re known for.

Now as Motionless In White push forward with time Chris Motionless and crew have lifted the lid on their next effort aptly titled, “Reincarnate”. “Infamous” solidified the direction MIW we’re looking to go forward with and now with “Reincarnate”, this reaffirms that they are doing nothing but re-creating a genre.

“Black March” is the perfect style of MIW pushing forward with more musical substance. With an industrialsynth-riff opener that’s bound to get any metalhead stomping and any industrial riveters moshing.

“Puppets 3 (The Grand Finale)” features Dani Filth from Cradle of Filth, an obvious influence for the latter, interestingly it’s probably the heaviest track on the album. Guitars and synth dominate the track, with hugely powerful breakdowns, it’s clear that they are trying to cover some lost ground from “Infamous”. Another element of the track to note is the name, a clear homage back to their “Creatures” record, and a assurement that their crushing side isn’t dissipating anytime soon.

“Reincarnate” is a solid third effort, with every element that the band have crafted across their inception included into this record, Motionless in White show an incredible range, clear in tracks “Unstoppable” and “Everybody Sells Cocaine”. A range which is evident within Chris Motionless’ vocals and the creativity pooled together by the band to create something which is unique, ultimately, art. GD

Manumit - Digital & Hostile There is a lot of electronic music around today and as with any style that takes off, there is a danger of over saturation. Since The Prodigy first began the shift in to acceptability with in metal circles there have been many that followed but far more who failed.

Manumit hails from the town that spawned Bullet For My Valentine and Funeral For A Friend, that is though, the only thing they have in common. Far more in keeping for Manumit is the likes of Chase & Status and Pendulum.

This is ten tracks of the sort of electronic disco sound that will always get people bouncing and dancing whatever their musical persuasion but it is far too by the number for me. Too often from the opener 'Sacrifice' right through to the albums end it follows the same basic pattern, a slow piano led start with clean vocals before kicking in to a barrage of high pitched, trippy electronic leads and big riffs carried by a shift to growling vocals with tempo changes and slick transition.

It is very polished as you would expect but that takes away any natural feel, this is regimented music built in a lab and something that I just can't get my head around.

Having said that, it is encouraging to see a full band take to stages and again, this music is always a winner in a live setting so if this style is your bag then it would be well worth giving Manumit a listen. AN

Greyhaven - Cult America The opening screams of angst and anger give this an instant attention grab, the fact that it's by the throat along with a head butt makes it even more appealing.

'Workhorse' is an absolute slammer of an opening setting out the fact that there will be nothing soft about this album and is reminiscent of when Gallows first burst on the scene and provided a kick in the ass for everyone involved in the genre.

They are taking punk and crushing it, none of the pussy footing of some so called punk which is essentially pop with electric guitars. Greyhaven don't fuck around and really seem as though they want to smash skulls with huge aggression and no mercy With 'Gran Torino' there is a funk feel introduced with the vocals almost taking on a rap but is in no way out of place and shows they are no a one dimensional band especially with a very rock n roll solo being busted out on 'Hollywood Catholic'.

The vocals are interesting, despite the hard hitting screams on the majority of the record they are also able to take on a lot of character that is sometimes posted missing with vocals like that but by changing tact slightly it changes the tone of the songs and creates extra layers especially when as song like '59' throws in a gutsy skull shaking cover of Leadbelly's '(or possibly Nirvana version)'Where Did You Sleep Last night'.

Greyhaven are doing something different in a crowded genre and this debut sets this Louisville band out as one well worth checking out. AN

One thing I'm impressed most about Destiny is how it looks.

I've never really been a fan of people who go on about graphics, Avatar looked amazing but it was awful.

However Destiny is just beautiful. From the destroyed earth to the ruins of Venus, the scenery just screams perfection.

What would a co-operative online shooting game be if you couldn't cut loose and shoot each other once in a while?

Enter the Crucibal, all out warfare in teams of random players from all over the world.

Thrown onto any planet to do any kind of battle. Being part of a winning team on this can definitely take up a large chunk of your day.

I took Destiny for what it is, a first person shooter. It feels different to Call of Duty or Battlefield though, probably because it's not shoot, shoot, shoot but it's strategy in what you do and how you do it. It's completing missions and probably coolest of all, it's killing huge monsters. RO