Issue 29 of Stencil Mag

36 CRAZYFISTS monster magnet WEDNESDAY 13 KOJI TYLER CARTER LIGHT YOU UP STORM THE SKY ALIVE LIKE ME as it is ROAM

TEAM Ash Dex Carina Lawrence Aymer Nelson Zach Redrup Richard Ounsworth Andy Leddington George Dimmock Midgepop Sean Reid James Price James Payne Brad McRoberts Jasmine Charman Awesome Jimmie Mikaela James Jacqueline Ferrer Jérémie LeBlond-Fontaine 27k photography Morgan Legars Marion ms. photography Jedediah Lind James Williams Emily Bent Sandra Thulin KW-Photography Ricardo Augusto Mike Schwarz Kae Wrenn YAOF Design Hendrix photography Andrew Wendowski Kayla Elliott Photography

Editors Note...

Andrew Andrew Dex

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After hinting at the possibility of coming to the UK since reforming late last year, The Movielife have confirmed they will play 2 UK shows in June.

June 18th Electric Ballroom, London 20th Academy II, Manchester

Fall Out Boy will be returning to the UK in October for a headline tour.

October 3 First Direct Arena, Leeds 4 AECC GE Oil & Gas Arena, Aberdeen 6 Barclaycard Arena, Birmingham 7 Motorpoint Arena, Cardiff 9 Manchester Arena, Manchester 10 International Centre, Bournemouth 11 SSE Arena Wembley, London 12 SEE Arena Wembley, London The first set of bands for this years Hit The Deck Festival have finally been announced.

The festival will once again take place in Bristol and Nottingham on Saturday 25th April and Sunday 26th April respectively. The likes of Skindred, While She Sleeps, Cancer Bats and FrnkIero AndThe Cellabration are amongst the first names to be announced.

Joining them will be: A Great Big Pile Of Leaves, Allusondrugs, Ashes, As It Is, Beasts, City Of Ships, Dead!, Dead Harts, Decade, Devil Sold His Soul, The Early November, Idiom, Junius, Rolo Tomassi, The Swellers, Thomas Nicholas Band, Tim Vantol, When We Were Wolves, You Blew It and Zoax.

At the time of going to press, news of the uncertain future of Blink-182 was emerging.

On Monday 26th January news broke that guitarist/vocalist Tom DeLonge would not be appearing with the band at the Musink festival in March, with Matt Skiba from Alkaline Trio taking DeLonge’s place.

Bassist Mark Hoppus and drummer Travis Barker later discussed the situation in an interview with Rolling Stone. Hoppus explained that DeLonge's manager had informed the duo that he would not be taking part in any Blink-182 related activity. Barker went on to call DeLonge "disrespectful and ungrateful" and even questions why the band got back together in 2009.

Hundredth and Oathbreaker have been announced as support for While She Sleeps and Cancer Bats' forthcoming co-headline UK tour.

April 22nd Institute, Birmingham 23rd The Ritz, Manchester 24th UEA, Norwich 28th University, Newcastle 29th O2 ABC, Glasgow 30th Forum, London With the likes of Mallory Knox, Charlie Simpson, Moose Blood, Baby Godzilla and Devil Sold His Soul being just some of the names already announced for Southampton’s Takedown Fest. The organisers have announced Arcane Roots, Heart of a Coward, Creeper, Black Peaks, and Circle of Reason will be joining the line-up for the one day event on March 7th 2015.

Moose Blood and Creeper will play a run of UK shows together in March.

March 3rd Arts Centre, Colchester 4th The Horn, St Albans 5th Scholar Bar, Leicester 6th Roadmender Underground, Northampton 7th Takedown Festival, Southampton Corby Alt-metal band ACODA are set to release their new album, 'Truth Seeker' on 30th March via Best Before Records.

Swingin’ Utters will be heading to the UK in March for a run of shows. Support comes from Toy Guitar.

March 09 Owl Sanctuary, Norwich 10 Hairy Dog, Derby 11 Audio, Glasgow 12 Fleece, Bristol 13 Pipeline, London New Forest rockers Natives have cancelled their February UK headline tour. The quintet have been working on the follow up to last years 'Indoor War' LP and were aiming to debut new material next month. However they have stated they "won’t be ready to play the songs" and did not want to give fans the same set as the previous tour.

Chicago, Illinois’ Real Friends are set to play 3 UK shows in March, and it has been revealed that Brawlers and Trash Boat will be supporting on all 3 dates. Whilst Jet Pack and Six Time Champion will be opening on select dates.

March 19th Sound Control Manchester* 21st Asylum Birmingham* 22nd Underworld, London^ * with Jet Pack East London ska punks The Skints have signed to New York City-based reggae label Easy Star Records.

Their currently untitled third album is set to be released on March 9th.

Although Funeral For A Friend are just wrapping up their current UK tour, it seems they are eager to get back out on the road. They’ve announced a March UK tour that will feature support from Grader and Svalbard for the first set of dates with Vales and Employed To Serve filling in for the second half of the tour.

March w/ Grader & Svalbard Fri 6 Waterfront, Norwich Sat 7 Chinnerys, Southend Sun 8 The Portland Arms, Cambridge Thurs 12 Pavillions, Falmouth Fri 13 Sound Circus, Bournemouth Sat 14 Cavern, Exeter w/ Vales & Employed To Serve Thurs 19 New Slang, Kingston Fri 20 The Haunt, Brighton Sat 21 The Forum, Hertfordshire Thurs 26 The Live Rooms, Chester Fri 27 Rescue Rooms, Nottingham Sat 28 Roadmender, Northampton Last June Flint, Michigan punk rockers The Swellers announced they would be going their separate ways and were planning farewell shows. Now they’ve revealed their final UK tour dates, which will take place in April.

April 21st Rainbow, Birmingham 22nd Sound Control, Manchester 23rd Audio, Glasgow 24th Key Club, Leeds 27th Dome Tufnell Park, London 28th Hope, Brighton Having released a string of EP’s and songs since forming in 2012, March 2nd will see London dance punks Bleach Blood release their debut album ‘All The Sides Of A Circle’ via Transmission Recordings.

In a statement released on Friday January 16th 2015, Sonisphere Festival organisers explained they have been unable to put together a line-up that would be good enough and announced it wouldn't be taking place this year. They hope to see the festival return in 2016.

Wrexham pop-punks Neck Deep have announced they will follow their forthcoming UK headline tour by supporting All Time Low at London’s SSE Wembley Arena on Friday March 20th. As previously announced, Real Friends will also be supporting on the same night.

Decade and Landscapes have been announced as support for The Used's February UK tour.

February 5th Mo Club, Southampton 7th Rock City, Nottingham 8th O2 Academy, Newcastle 10th Garage, Glasgow 11th Lemon Tree, Aberdeen 13th Uni Stylus, Leeds 14th Academy 2, Manchester 15th O2 Academy 2, Birmingham 17th O2 Academy, Oxford 19th Koko, London 20th O2 Academy, Bristol

London four piece Swim Good will be heading out on the road in February when they support Max Raptor on their headline run. Yearbook will also be supporting.

February 23rd Green Door Store, Brighton 24th The Boileroom, Guildford 25th The Owl Sanctuary, Norwich 26th Joiners, Southampton 27th Buffalo Bar, Cardiff 28th The Soundhouse, Leicester

Title Fight with follow up the release of 'Hyperview' with a run of UK shows in May. Support comes from Milk Teeth.

May 2nd Thekla, Bristol 3rd Outbreak Fest, Leeds 4th Classic Grand, Glasgow 6th The Dome, London (with Great Sale Day) Last November Bournemouth melodic hardcore group Heart In Hand made their return with 'A Beautiful White’ an album that showcased a step in the right direction. Now to follow up its release, they’ve announced a headline tour which will include support from Hand of Mercy, Liferuiner, and Create To Inspire.

March 20 Barfly, London 21 The Underground, Stoke On Trent 22 Corporation, Sheffield 23 Ivory Blacks, Glasgow 24 Key Club, Leeds 25 The Scene, Swansea 26 Epic Studio, Norwich 27 The Asylum, Birmingham

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

Interview with Matt

“By signing to Hopeless Records and unleashing their latest EP ‘Viewpoint’ the guys in ROAM have created an impressive start to their career. If that’s not enough, the band are also already working on their debut album to make sure that 2015 is their most treasured year yet!”

How did you end up signing to Hopeless Records, and what have they been like to work with so far?

Well they first of all got in contact with us about a year ago, not long after we released our 'Head Down’ EP. It took a little while to get to signing and we kept it under wraps for a bit. It was good to finally get it all out there!

So far it's been great. We have written and recorded our 'Viewpoint ' EP with their support and that's out now.

We are also in the process of writing a full length which we are all very excited about!

How did you get to the EP title ‘Viewpoint’, and what does it mean to you?

'Viewpoint' is a word we felt described most of the main themes of the EP - basically taking a different spin on things, and realising stuff isn't so bad in relation to the bigger picture. Sometimes you just need to take a step back and reaccess the reality of things.

Can you elaborate on some of the main themes & influences that run throughout the EP? Most of the themes in the songs are based around taking a step back and looking at things differently, getting a new perspective on things. Trying not to get weighed down by issues and keeping a more positive mindset.

How would you say ‘Viewpoint’ compares to anything you've done before?

I think we all personally feel that we have taken a big step up with this EP. It feels a lot more mature and developed songwriting wise for us and we are definitely very excited to release it. It still has a similar formula to our previous work, but we took far longer than we have done to write these tracks, giving us time to grow with them, tweak them and make them as strong as possible.

How did you end up working with Drew Lawson & Seb Barlow, and what were they like to work with?

Well we had previously heard a few things that Drew had produced at Steel City and we thought it sounded great so we decided to book in with him. He's super passionate and has been a great asset to our team. And we actually met Seb when we were on tour with Neck Deep back in January (2014). He recorded their Wishful Thinking album and their previous two EPs, and we dig his work, so we decided to combine the two. They are both great to work with, and definitely pushed us to get the best results we could.

What was the hardest part about putting together ‘Viewpoint’ for you guys, and why?

Probably naming the songs! Sounds funny, but we got so used to calling them by their production names that we are still confused when we call them by their actual names.

What would you like 'Viewpoint' to do for the 'status' and representation of ROAM? Obviously would love for it to push us further in our band’s career, 'Head Down' did a lot for us this year so we are hoping that Viewpoint is just as successful! We want it to lay down the perfect foundation for us to release our debut album on.

We've read that there will be an album following this EP, so is there anything you can tell us about that just yet?

Well we've been working hard to get it finished over the last couple of months and we are really enthusiastic about how the songs are coming out. We feel like these are the strongest songs we have written as a band, and we can't wait to show everyone! We are about to record Drew again. It feels a bit weird recording an album when the previous release has only just come out, but our touring schedule is looking pretty nuts so we need to do it now.

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

We are all very excited for this tour. We were gutted when it got postponed in November but it gives us something to look forward to this year. By the time it comes around, it'll have been almost one year since we first went out to that part of Europe, so hopefully fans will come back and have a great time at the shows. We always try to make the shows as energetic as possible, and I'm sure Man Overboard will kill it every night.

Pop Punk is one of the biggest alternative genres out there at the moment, so what has it been like to be a part of this 'scene' since your formation?

It's been a really cool couple of years for pop punk. It's exciting being part of the UK pop punk scene as it's never been as popular over here, so it's cool that it has finally happened. There's a real sense of community now over here within the scene too, and loads more great new bands popping up all over the place.

What else can we expect to see from you in 2015?

Well first of all we will have an album to release later in 2015, and we also are going to be trying to tour to as many places all over the world. We have our debut US tour as part of the Glamour Kills Spring Break with Set It Off, Against The Current and As It Is from February till April, so that's going to be great. It's going to be an exciting year for us hopefully!

Interview with Andy

“With their highly anticipated debut album ‘Never Happy, Ever After’ coming out very soon, as well as a hectic touring schedule planned that will even see them take on the US for the first time, then it’s clear to note that this year is going to be HUGE for As It Is!” Can you tell us about the formation of As It Is? Sure! Patty and myself met after I replied to a musicians ad he had posted online about forming a pop punk band. It didn’t come together at first but we kept in touch and about a year later Patty recruited Ben from his uni course and we started writing. We found Foley online too but knew he was the one straightaway and didn’t audition anyone else. I knew Ali from uni and so when we were down a bass player we asked him to fill in and he was perfect.

How did you get to the band name As It Is, and what does it mean to you guys?

The name As It Is comes from the last line of a Have Heart song called ‘Life Is Hard Enough’. We were all drawn to this band via their final ever show live DVD. It shows fans connecting so emotionally with their music and we wanted people to have that same sort of connection with us.

How did you end up signing to Fearless Records, and what have they been like to work with so far?

We sat down ages ago with our manager and he asked us if there were any labels we would consider signing to if we got the offer and we all said Fearless straight away. We thought nothing of it, as it seemed like a distant pipe dream at the time but a few months later he sent us a message saying they really liked our EP and were interested. A few months after that and after some talking we decided to sign with them.

They have just been fantastic to work with! Everyone there has been so helpful and just so amazingly nice. It’s really reassuring that you have a team of dedicated people, who are just as committed as you on putting out the best record.

How did you end up working with James Paul Wisner on your debut album, and what was he like to work with?

The five us all sat down and discussed some of our favourite albums and created a super long list. Then we just searched Wikipedia and saw which names kept popping up. James was one of those names. We sent a shortlist to Fearless and they found out who was available and most importantly wanted to be a part of the project most. James came out on top and we started emailing and skyping back and fourth about how we wanted the album to sound. He was such a professional to work with. He pushed us hard. He knew better than us what we were cable of and made sure we delivered.

So how did you get to the album title 'Never Happy, Ever After', and what does it mean to you?

The title of the album is a lyric from one of the songs. For me personally it sums up our writing process. We locked ourselves in Patty’s parents house all summer to write this album and put we all our lives on hold. It was hard work and tough at times but it all helped us create something we’re really proud of.

Can you elaborate on some of the main themes and influences that we can expect to hear on 'Never Happy, Ever After'?

The albums reoccurring themes are of unhappiness, loneliness and distance from loved ones. We all felt guilty leaving family and loved ones for such a long time and I feel the lyrics and music really reflect this. This album is as much for them as it is for us.

Can you tell us a bit about the narrative behind your latest single 'Dial Tones'?

Dial Tones was written about being away from the person you love for such a long time. We all have people we miss everyday and that we only get to speak on the phone to and this song was about expressing the guilt we felt about leaving them to pursue our own dreams.

When heading into the studio to put together your debut album, what were your main goals & targets?

Our main goals in the studio were to treat every take as if it was the first time playing it and remember that excitement we all felt when the song was written. It’s easy to lose that energy and enthusiasm in the studio when you’re on take 30. But that was something we felt important not to lose.

You guys are locked in for the Vans Warped Tour this year, so how excited are you for that, and what are you expecting from this tour overall?

We are unbelievably excited. I only ever wanted to go as a fan to Warped Tour growing up in rainy East Sussex and now I get to spend my first ever time at Warped playing the entire tour all summer. It was something I never even dreamt of because it seemed to unrealistic.

What's it like to be a part of the UK pop punk 'scene' at the moment then?

It’s really phenomenal. For years and years US bands have dominated the genre and now the UK finally seems to be getting some recognition. Bands like Neck Deep and Roam are really helping fly the flag for UK pop punk and we’re proud to be a part of this scene.

What else can we expect to see from As It Is in 2015?

Tour, tours, tours. We currently have more shows booked for this year than we have ever played. We’re not afraid of the hard work that bands need to put in and we’re thrilled to be getting the chance to play places we never thought we’d get anywhere near.

Interview with Tom

"In this interview the band talk about how at one point they were uncertain they’d be able to release their debut album due to finding the right label. However, thanks to their undying passion for getting their music heard they finally managed to overcome this hurdle and deliver ‘All We've Ever Known’, which is an absolute must listen!"

So how did you get to the album title 'All We've Ever Known' and what does it mean to you?

It came from the title track of the record. The song “All We've Ever Known” was written about a meeting I had with a guy I went to school with whilst I was busking. The song is a testament to our love, passion and drive for music. Whilst the album title began as just an extension of this idea, as the rest of the record came together it took on a much grander meaning. It is ultimately about the last six years of our lives.

Can you tell us about the main themes and influences that run throughout 'All We've Ever Known'?

The entire album, lyrically, is about that the growth from a teenager into an adult, and the trials and tribulations one goes through at this time in their life. We never set out to write anything conceptual, but as Drew (guitar) and I wrote the lyrics for the songs it became clear that every song was a direct commentary on our journey from late teen into our mid 20's. With this said though, there is one track on the record that has nothing to do with that journey. I was hugely inspired by the movie Inception, particularly by DiCaprio's character, Dom Cobb, and his relationship with his wife. It's from Cobb's perspective, talking to his wife in the final scenes.

As this is your debut album, then what were your main goals and targets when you put together this record?

When I joined the band, most of the Broken Jaw EP had already been written so it was a massive change of pace for everyone when it came to writing for the new record. We wanted to create something that we, as music fans, would love to listen to again and again. Rob (guitar), Drew and I spent the best part of a year writing songs and ideas, combining and merging some ideas to create new songs. We learned a lot about writing with one another. Previously, songs had been solely written by certain individuals with little input from others. There are some songs on the record that started off this way but when we got into the studio the songs were torn apart, rearranged and everyone had an input this time around. This album was definitely a lot more of a team effort.

How would you say the material on this record compares to what Light You Up have done in the past?

I think it's a quintessentially Light You Up sound at the core of it. We're older now and our music tastes have changed with time. Our own styles of playing and writing have evolved with our influences. Most of the “Broken Jaw” EP was written by Drew and Rob, I brought the song “Lifebox” to the table and had a little dabble in the lyrics and melodies to other songs but, as I said before, “All We've Ever Known” was way more of a team effort. I'd say this album totally sums up what we are as a band. This is the most Light You Up we've ever sounded. We had a very pop-punk sound with the “Broken Jaw” EP. I think that now, whilst there are pop-punk feels to the songs, we're way more of a straight up radio rock band. I think that has come from us all working together.

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

We really wanted to go abroad to record the album. The main reason for this was to be away from any home life distractions and to be able to completely immerse ourselves in the songs. After some research into portfolios and studios, we decided upon Sam Pura and The Panda Studios, CA. It wasn't by accident or anything like that! Working with Sam was hella fun. He's such an extreme presence and is always hyped up.

The studio was lived-in, he would come running into our room at stupid o'clock in the morning singing at the top of his lungs to get us out of bed. He's definitely a perfectionist, it was a pretty gruelling process at times but he always wanted to have fun with us. The whole experience was wicked, it definitely helped shaped the record into what it is now.

How did you end up working with Alan Day & Matty Arsenault, and what were they like to work with in a studio environment?

We've known Matty for years. Drew booked A Loss For Words first UK tour! All those dudes are like our big bros. It seemed like a no brainer to work with him at some point. I can't remember who suggested it but we were throwing around the idea of putting “Foxfire” on the album, it was at that point that someone suggested we fill the middle-8 section with some vocals from Matty. BOOM! He was on the song. As for Alan, we had this melody for “Always Wanting More” that was just too high for me to sing with a lot of power and I was really against changing the part, so we thought about who we could realistically get on the track that would do the part justice. Though I'm yet to meet the guys, the rest of Light You Up have done various bits and bobs with Four Year Strong in the past so the link with them was already there to pursue. I'm really happy with how those guest vocal parts turned out!

What was the hardest part about putting together 'All We've Ever Known' for you guys, and why?

Regarding the entire album process, the hardest part was actually releasing it. We didn't know how we were going to be able to put the record out without some backing. We shopped it around some labels but nothing stuck. There was a period of time where we didn't know if we were ever going to be able to release it. The overriding factor for us all though, was our love for what we do and our love for the people that also love what we do. We had come so far and to not put it out seemed stupid. We made a lot of sacrifices to get this album out to the world, but I wouldn't change that now. We're unbelievably proud of this record

Can you tell us about how the front cover idea came together for 'All We've Ever Known' as well as what it means to you?

We wanted something simple, that would allow the music to speak for itself. The title "All We've Ever Known" suggests a long period of time, which was the reasoning for the old fashioned radio. The front cover composition came together through the mind of Tom Windslade, who also did Decade's "Good Luck" artwork.

“We made a lot of sacrifices to get this album out to the world, but I wouldn't change that�

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

Beyond belief! It feels like ages since we've been on the road, and to be hitting the road with FYS and Hit The Lights is incredibly exciting. We're going to be playing a lot more material from the new album, which I'm really excited about. A lot of these songs we haven't played live yet, so it'll be great to unleash them in a live environment.

What else can we expect to see from Light You Up in 2015?

As well as putting out a couple of new singles and music videos, we're going to be touring as much as possible to promote the new record as well as visiting a bunch of places we've never been to before. Most of all, expect to see a lot from us. "Broken Jaw" was released at the end of 2012, we feel as if we've been away for ages, so now that we're back we don't plan on going anywhere anytime soon!

Interview with Will

"Hailing from Melbourne, Australia with their dual vocal approach, the guys from Storm The Sky are here to discuss ‘Permanence’ which sees the band take on themes such as seclusion & inadequacy in a genius way!"

How did you end up signing to 'UNFD' and what have they been like to work with so far?

UNFD have always done amazing things for Australian bands and it was basically a ‘no-brainer’ for us when deciding what label would best suit us. The whole team there have been an absolute breeze to work with and have already done a lot for us in the short time we’ve been working together.

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

For us it was always going to be the first single. The song best represents the sound and path we have chosen musically for this album. We’ve been absolutely over the moon with the amount of attention it has received and can’t wait to see how crowds react to it at future shows!

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

It came to me after we’d pretty much written the whole album. I think I wanted everyone to know that we want to be a ‘career band’. That we’re not here for one or two releases and to then fade into the generic wash that some bands unfortunately do. We really wanted to put our own take on the scene and bring in something a little bit different with this album, and really create our own sound and effectively achieve “Permanence” as a band to be remembered.

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

When writing ‘Permanence’ the question, “What is the point of my existence if there’s seven billion people in the world and, how am I supposed to believe that my life can or will do something more than theirs?” was plaguing my mind. A lot of the songs have that feeling of inadequacy or seclusion. As you continue listening a lot more hope shines through especially in the last song, ‘Red Letter’. The last song on the album is the manifestation of me deciding that we don’t individually matter but if the easy way out was the right one, we all would have chosen it by now. In a more ‘Disney’ way of saying it; with every negative thought or reaction that we overcome, we make an immense impact on our strength, character, soul and mindset. That in turn, will reflect brilliantly on everything around you… Your friends, family, lovers, children and life in general. So I guess the main influence I had whilst writing this album was my own self-reflection and facing my own insignificance and accepting it as beautiful.

As this was your debut album, then what were your main targets and goals when heading into the Studio to put together this record?

We always set goals that seem impossible to us because we feel that’s the best way to progress haha. But realistically we just wanted to break into the international scene and start travelling with our music, meeting fans all over the world as well as writing the best album we could.

What was the hardest part about putting together this album for you guys, and why?

Definitely funding the whole thing 100% ourselves. We quickly found out when we got to ‘Chango Studios’ that bands never really do that these days and usually wait until they’re signed to fund an expensive album. We worked ridiculously long and hard hours at horrible jobs for over a year and almost completely threw our lives away to fund ‘Permanence’ but I couldn’t be more proud of how it turned out.

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

With Cam Mizell being the producer that he is, then he was also a ‘no brainer’ for us. We love his work and have always been fans of what he can do with an album. It was an awesome experience working with him!

Vocally he pushed my limits more than I ever have. He made me a better singer as well as well as becoming a close friend.

How did you end up bringing in Jake Taylor, Matty Mullins, Trenton Woodley to record on the album, and what were they all like to work with?

Matty Mullins heard the album whilst recording his solo album with Cam. He liked it and agreed to have a cheeky guest spot on it so I guess we were just really lucky with that one and have Cam to thank for showing him the record! Trenton has always been a vocalist that I’ve looked up to and I had a part in ‘Dead Giveaway’ that I really wanted him to be on and luckily he was keen. He had a massive impact on writing the part as well and was a gem to work with. Jake was a late addition that we’re stoked with and it mostly came about after signing to UNFD.

The artwork for 'Permanence' is very unique. So can you tell us about how it came together, as well as maybe what it means to you?

The inlay and design was done by Apollo Collective (Pat Fox) and our good friend Neal Walters took the photo. It features a boy alone on a swing on the cover and on the back an image of an old man, which can be interpreted as either his future self or a father figure showing him guidance. This album is really about the mark we leave behind through the relationships we form with our families, lovers and everyone we meet. So the inlay features things he has collected in his life and culminates in his young and future selves looking back at the life they’ve created through the mementos they’ve collected. The items represent lasting reminders of his experiences that he will in turn pass on to leave behind a part of himself and create a permanent footstep of himself on this earth for his friends and family.

What else can we expect to see from Storm The Sky in 2015?

Playing everywhere we possibly can, meeting as many fans as possible and writing some new songs!

Carbonine Carbonine is an emerging modern rock band from Los Angeles, CA. Rebirth, their 9-song debut release, blends a sound similar to that of Deep Purple, Pantera, Black Sabbath, and vocals similar to Layne Staley (Alice in Chains) and Brandon Boyd (Incubus), all while showcasing a modern rock sound they can call their own.

Together now for over a year, the band has quickly catapulted onto the Southern California rock scene, sharing the stage with Dokken, Uli Jon Roth (Scorpions), Dishwalla, and Stroke 9 . at popular venues such as The Whisky a Go-Go, House of Blues, Viper Room, and Saint Rocke, Los Angeles CA.

CONTACT: carboninemusic@gmail.com

Vital Silence formed in 2013 when Dan Zeid and Chris Heater moved to Nashville, TN to unite with Shane Stewart and Shane Bauman. Vital Silence has a sound that will captivate an audience: both intense and moving. Their massive guitar tone, soaring vocal melodies and driving drums produce an innovative musical synthesis....

A breath of fresh air.

Our debut album ‘What’s Left for Mystery’ is OUT NOW, and you can get it right here: https://vitalsilence.bandcamp.com/album/wh ats-left-for-mystery CONTACT: facebook.com/VitalSilence

Interview with Jairus

“Sometimes you have to sacrifice a lot to commit to a band, and this is no different for Alive Like Me, who dropped everything in their lives to give their band one last push.

This kind of pledge has been extremely rewarding, as the last year has seen them sign to Rise Records while dropping their stunning debut album ‘Only Forever’!"

Can you tell us about the formation of Alive Like Me? Alive like me started about a year and a half ago. David and I have been writing music together since the freshman year of high school. We wanted this to be our last "big push" so we dropped everything we had going and focused on finding band members and writing the best music we could.

How did you get to the band name Alive Like Me, and what does it mean to you guys?

We wanted it to inspire other people to pursue their dreams. The name is saying " Live everyday for your passion and you can feel alive" (like us).

So how did you end up signing to Rise Records, and what have they been like to work with so far?

We had our friend Ryan Furlott send our demos in to rise. We ended up playing a showcase for Craig Ericson in his basement. They have been nothing but helpful and they are the best. We couldn't have accomplished what we have so far without them.

So for those that might of not picked it up just yet, can you tell us about the main themes and influences that run throughout Only Forever?

Only Forever has a very central theme of living your life to its fullest because you only have a certain amount of time. Don't waste the time that you have on things that don't matter, follow your dreams. Always choose love and always keep learning.

How did you guys get to the album title Only Forever, and what does it mean to you?

It came after the record was completely written. We looked through all of the lyrics and came up with "Only Forever" because it fits with the concept of the record. For us it's just driving in the fact that life is short, so live it the right way.

What songs are you enjoying performing the most of your debut album at the moment, and why?

"What did you expect" is all of our favorite to play. It gives the audience a change to jump up and down, mosh, sing along. The energy is just there.

“Don't waste the time that you have on things that don't matter�

Can you give us a couple of your personal touring highlights since starting out, as well as maybe why those moments mean so much to you?

The moment I heard people half a world away, singing back the lyrics I wrote while I was at home alone in my room... That will always be a distinct feeling that very few people will get to feel. So amazing.

Also making new friendships and fans that wouldn't be possible without making music. It's so unreal.

What's it like to be an upcoming band in the alternative rock world at the moment then?

I learned that everyone is so supportive. They all respect and know that to even get to this point we are at it took a lot of blood sweat and tears. Other bands always appreciate it more because they can relate.

How excited are you for your upcoming UK tour with Crown The Empire, and what can attending fans expect?

Wow, this is a dream come true. Going to Europe all because of the music that we created... It's unreal. All the bands playing this tour are so talented and we can't wait to meet them! Fans out there should expect high energy and a very personal and passionate show.

What else can we expect to see from you in 2015?

You'll be seeing a lot of us this year. We've already started making new tunes, covers and videos. We definitely will be out on the road and hope to make some new fans!

Interview with James

“Make Do And Mend have stated before that they are not in this for the monetary gain, they just want to share with the world music that’s nothing short of honest, and well, their upcoming album ‘Don’t Be Long’ is just that!”

Can you tell us about how Stay Close Records came together, as well as what it has been like to run this while putting together an album?

Stay Close was an idea that we came up with a while ago. The idea was to start to take a little bit more control of how our records were put out while still working with a label that we love and trust. Rise gave us the perfect platform to make that happen. We've built our band on the idea that no one can work harder and smarter for your band than you can, so we wanted to bring that philosphy back to the forefront. It's been unbelievably rewarding.

So how did you get to the album title ‘Don't Be Long’, and what does it mean to you?

I liked the name right off the bat, just because the obvious play on words. The title addresses something that I tackle a lot on the record, the concept of something or someone that you love making itself far away from you. All you can really do is ask them to ‘don't be long’.

Can you tell us about the main themes & influences that run throughout ‘Don't Be Long’?

The real over-arching theme lies in the feeling far away from someone or something that you love. And recognizing the frustration that comes from trying so hard to keep something that's evidently struggling together.

With you guys living pretty far away from each other, then what was the recording and writing process like overall for this release?

It was pretty interesting. Certainly different than it ever has been. We did a lot of sending ideas back and forth via the computer. That made things interesting for me, as I am technologically challenged.

How would you say this release compares overall to 'Everything You Ever Loved'?

To be honest I don't know. I've never really thought about it. I guess if I really had to break it down, I would say that DBL is a more elemental Make Do and Mend record.

What do you like so much about working with Nick Bellmore?

Nick has easily the deepest musical understanding and repetoir of anyone I've ever met. He's opened us up as musicians and songwriters over the years.

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

The idea of the neon sign came up a while back. How we were going to apply it was the real challenge. Mike and our friend Rob really took the reins in making it all happen.

Looking back on the release of 'Everything You Ever Loved', then how happy are you with this record, and what songs do you still enjoy performing from it?

I love EYEL. I think it probably has the most songs that I love to play out of all of our records. Dissassemble, Blur, St. Anne, Desert Lilly, Lucky. Those are the big ones.

You've stated before that you are not worried about making a living out of music, so for you personally, what do you want 'Don't Be Long' to do for the representation of Make Do And Mend?

I just want it to stand the test of time as a confident and meaningful Make Do and Mend Record. I'm big on Legacy. I can look back proudly on everything we've done to date. DBL fits well in there.

In Plastic

A German band, named after a note from the band "Aqua" ("Barbie Girl") seems suspect.

Yet, the boys from In Plastic are not squeamish - the guitars, drums and the voice are claimed off everything.

Soon after the first note, possible connections to the song line "I'm a Barbie girl in a Barbie world. Life in plastic, it's fantastic" are cut off. Put your dolls away and bang your heads!

Melodic, aggressive guitar sounds, shattering drums, the violent voice and the breakneck stage performance show that In Plastic won't play with dolls. They stand for hard metal core and post hardcore.

Since 2012 the band have made their way from stage to stage in a DIY-Spirit. In Plastic are: Thomas B., Thomas M., Pasqual E., Tiemo B.and Dominik D..

They released their first album "Between Humanity and Corruption" in October 2014.

It's filled with catchy songs like "Falling Curtains", "Seek the Sun" and "Silver Lining on the Horizon". The songs dwell on socio critical themes in our society.

CONTACT:

inplastic.de soundcloud.com/in-plastic-official facebook.com/weareinplastic

Interview with Nick

“Hit The Lights are not afraid of making a record that slightly challenges what the listener might expect from them. By doing this, they have managed to put out three studio albums that have their own unique feel while still displaying the bands iconic imprint. So read on, as we discuss their upcoming output 'Summer Bones'!"

So looking back on Invicta, then how happy are you guys with this record still, and what do you think it has done for Hit The Lights?

I will always be proud of Invicta, as that record took everything that we had to finally release it. I think fans of HTL were split as far as accepting a record like that, but we knew that was a probability when we were making it. It's a crazy record because it has two distinct vibes as well as two producers who have their own distinct styles. There are fans who are quick to judge and say that's it's too slow, and there are fans that liked it more than anything else we've done. We pushed ourselves to try new things and without that record under our belt, I don't think this new one would be nearly as good. There's no right or wrong, only opinions but I will say that I think people will appreciate Invicta more after the new record is released.

So as you have now finished your new album ‘Summer Bones’ can you tell us about what to expect from the album overall?

We've always had different sounding albums through our career as a band, so when people ask me what the new record sounds like, I honestly have to say that it stands on its own stylistically, as all of our other ones have. I will tell you that it's the heaviest, poppiest, riffiest material we've done to date.

Can you also elaborate on some of the main themes and influences that run throughout ‘Summer Bones’?

We touched on a lot of things on this record. The issue of rejection, whether it be in the music/fan scene or in our personal lives is one. Addiction, self doubt and just dealing with the fact that our views on music, politics and the world around us are changing. A big thing on this record for me was trying to bring more optimism to our music. We've always had these pop songs that we felt were too cheesy, so we bring dark lyrics in. This time around, it was a real struggle for me personally to actually write positive, inspiring words while fighting with my every growing cynicism with things. That was a kind of self-realization that I had while writing, was that I was so scared to be positive because I was always hiding it behind anger. Finding a positive message I wanted to convey in a song, then finding the right way to say it was a challenge for me, but I think we pulled it off quite well.

We've seen that Colin Ross worked on the track 'Old Friend', so how did that idea come about, and what was it like to work with him once more on that song?

I had an idea for a song called "Old Friend" that I wanted to write as a kind of "Thank You" to all of our friends around the world that have stood by us for the better part of 10 years. People that are in and out of our lives so fast due to touring and the stories and memories we've collected through all of this craziness is without a doubt the most beautiful thing about being in this band. I've always wanted to include Colin on a track, whether it be through HTL or my Thief Club project, and this just seemed so right. I told Colin about it, he was down and he and Omar recorded all his parts in Omar's studio a few weeks after we got home from recording. It's a very fun, very positive song with a lot of old Saves the Day, Stryder, NFG influences in it and it came together beautifully.

What can you tell us about the recording process for this record?

We did the record with producer Kyle Black in North Hollywood, CA. All in all I think the process lasted a little over a month. This is actually one of the first records where most of the material was written in the studio, which was a very new concept for HTL, but it's something I feel we all wanted to try for the sake of shaking things up and taking us out of our comfort zone. Omar, Kevin and I all had skeletons of song ideas that we brought in and basically we just picked them apart and built them back up again.

Kyle Black is still a young producer but I think he's one of the best in the game right now. His mixing is unreal and he's one of the most meticulous producers we've ever worked with. There were times when we would go for over an hour just trying new parts until we would just eventually settle on the original idea, which for a person like me, was complete musical waterboarding. I HATED it. But the thing is, there were just as many times when we would come up with something even better, so I couldn't argue with the results. Kyle pushed me vocally more than I've ever been pushed. I lost my mind in the vocal booth a couple times, but the results will speak for themselves. I'm excited to finally get this thing out.

What made you want to tour ‘Skip School, Start Fights’, and what was it like to re-visit all of the tracks on this album?

Glamour Kills asked HTL to do one of their Holiday Shows and play SSSF in its entirety and we said yes because we love GK and it sounded like fun. There was such a strong response to it that we decided it would be a fun thing to do before we go in and record a new record. We aren't banking on a 10 year SSSF tour in 2018, so we figured now or never. I'm glad we did because a lot of the songs we've never played like "Statues" and "Wide Awake" were some of the funnest songs to play! It was also nice to get a chance to talk with fans who would mention how important that record was to them, which I think is always important for an artist to hear. It's hard to tell you’re making a difference sometimes, a little validity goes a long way.

How excited are you for your upcoming UK tour with Four Year Strong, and what can attending fans expect?

We've never gotten a chance to tour with FYS so the fact we can do it over in the UK is honestly just the icing on the cake! Add to that Forever Came Calling and Light You Up, it's one of those tours that we just know will be a blast. We now have 4 albums under our belts, so the real challenge is deciding what songs will go into the set. I just need to pace myself on the drinking, the UK always gets me by the end. Be strong, Nick. Be strong.

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

Our first overseas experience ever was with NFG in 2006 and we shared a bus with The Early November. I got wasted and ended up getting lost and almost mugged in Birmingham. Eventually I found a police station and my troops found me, but that was a huge wake up call for me, personally. We played "Give it a Name" and I got to hear an arena of people singing "Hear You Me" with Jimmy Eat World, which was unreal. We also had a time where Kevin slipped on a dance floor at an afterparty and busted his head open, so while driving to the ER we had to keep him from passing out while singing the entire Guns Up "Outlive!" record. We have so many more stories, honestly, the only thing we can do in the UK is drink, so I have a feeling they'll keep coming as long as we keep coming over.

“It's the heaviest, poppiest, riffiest material we've done to date�

As a key part of the pop punk scene, then how would you say it has changed or progressed since you guys first started out?

It's the same shit, different bands. Everything goes in cycles. Nowadays Green Day and Blink 182 are viewed as Screeching Weasel and NOFX were in my generation, which is a very interesting transition to watch. I've said this before, but I think the whole celebration of 90's grunge that is so prominent in the scene now is the funniest for me, because when I was growing up, all my friends listened to was grunge and a copy of Blink's "Dude Ranch" saved me from all of that stuff. I listened to pop punk to get away from the sound that people like now. I'm always like "If you actually had to choke that down like I did, you certainly wouldn't appreciate it as much as you do now!".

What else can we expect to see from Hit The Lights in 2015?

New music and cool tours. We're all set.

The Scandinavian four piece Pop punk band, Daycare For Jedi from Denmark formed in the summer of 2013. 5 months later they dropped a demo which gave them their first show at the well known street festival, Distortion in Copenhagen, but barely! 'Worst Things First' which is the name of their upcoming EP could easily have been the slogan for that particular day.

The chaotic events, with their former bass player who was hospitalized for epilepsy and almost didn’t make it to the show, the power source that failed multiple times during the concert and the heavy rain that almost canceled their gig, all along with some electronic failures with gear caused by the rain, the four guys were thrown out of their rehearsal space, and out on the scenes, with worst things first, at a festival which have around 300.000 participants in 3 days.

In a country where the genre is almost non-existing, they manage to gain attention, with their mix of the early 00 and todays pop punk sound.

EP release: February 13th 2015 Be sure to check out the single from their upcoming EP - Worst Things First through their band camp or Facebook www.facebook.com/DayCareForJedis?ref=hl https://daycareforjedi.bandcamp.com

Interview with Justin

“At this point in their career Man Overboard have simply proved that they are one of the most important pop punk bands out there.

Their new EP Passing Ends is a scorcher from the first to last note, and we strongly recommend that you get involved when they tour the UK (finally!) very soon!”

What can you tell us about your latest EP 'Passing Ends', as well as how it compares to the rest of the Man Overboard material?

Passing Ends is sort of a stop gap between Heart Attack and the new LP that we will have out this year. I think it is very Man Overboard, in the sense that we wrote and recorded it in Niks studio, Small Hill where we did all of our early material and the fact that the song "Passing Ends" is really old, it was an original MO demo that never got used. I think in comparison to our earlier work, Passing Ends is most similar to Before We Met and the Noise From Upstairs EP.

Can you tell us about the main themes and influences that run throughout the EP? There’s a lot of loss and sadness on this EP. Nik lost his father earlier this year and that is extremely evident on the track For Vince.

Can you tell us about the recording process for this release?

One of our co-lead vocalists, Nik Bruzzese recorded this EP in his studio, Small Hill - the same place we recorded our split with Transit, Love Your Friends Die Laughing, Noise From Upstairs and loads and loads of demos. It’s a great place to be and get creative.

What was the hardest part about putting together this EP for you guys, and why?

Time, that’s always the hardest part, we tour so much that it’s always difficult to get designated time to sit down and write/record.

It's been just over a year since 'Heart Attack' was released, so for you looking back now, how happy are you with this record still, and what do you think it has done for the representation of Man Overboard?

I think I speak for everyone when I say we love that record, people can criticize our band for evolving or not evolving - there’s always two people screaming contradictory things - so with that being said, we tune them out and just do our own thing, and I think that is what Heart Attack is. It’s Man Overboard.

As one of the key bands in the Pop Punk genre, then how would you say this scene has grown or progressed since you first started out?

There’s way more bands, when we first started there was pretty much NO bands. Us, Transit, Balance & Composure, Title Fight, The Wonder Years, etc were all starting or were at least young bands and now there’s LOADS AND LOADS of bands, so that’s great!

How is Lost Tape Collective going, and who have you been working with recently?

Good! We released Passing Ends and that was pretty big for us, apart from that 2015 will see a bunch of cassette re-releases, we keep it casual.

“We tour so much that it’s always difficult to get designated time to sit down and write/record” How excited are you for your upcoming UK tour, and what can attending fans expect?

I love touring Europe and I am really excited for this tour despite the fact that literally everything that could have gone wrong, has. Nik tore his ACL and we had to reschedule the tour from November to April/May, Hostage Calm broke up, Front Porch Step cancelled their touring, but I am optimistic that everything will turn out fine.

You guys have toured the UK a bunch of times now, so can you give us a couple of your personal highlights from your time on the road here?

Oh my, Warped 2012 in London was awesome. Our first tour ever was full of CRAZY really small shows, we played Glasgow and people were tearing holes in the ceiling. One time our driver got drunk, tried to drive, got arrested and taken away by the police. Last year we took the ferry from Liverpool to Dublin and there was a crazy storm - imagine 100 people running around a ferry puking all over the floor, sliding around in puke, gross... but yeah, we love the UK, it always treats us well so we continue to come back.

What else can we expect to see from Man Overboard in 2015?

We are going to record an album early on and then we'll be hitting the road in the USA with Bayside, Senses Fail and Seaway. Then Europe/UK with Roam and a few more bands TBA... then more US touring! Busy busy busy. OH!!!! and we're going to put out the new album... back into the way of things in 2015, so it should be a good one!

Oppressed Affliction

We are Oppressed Affliction, a Chicago based hard rock band. Our main influances are Avenged Sevenfold, Bullet for my Valentine, Disturbed, and Metallica. We have played shows all across the Chicagoland area, and we are planning a midwest tour with other local bands this summer.

We have 2 new tracks that are going to be released very shortly ("Escape" and "Bloodthirsty"). We will be giving out free downloads of the tracks as soon as they are ready. If you want to keep up with us for information about the relese of the songs and upcoming shows, Facebook is the best way to do that. You can do so at: facebook.com/oppressedaffliction

Interview with Paul

“The last year has been incredible for Captain Chunk! They’ve toured all across the world with bands such as New Found Glory & Tonight Alive in promotion of their highly successful album ‘Pardon My French’! The band are currently hard at work on a follow up, while also getting ready to take on the UK with Yellowcard & Less Than Jake!”

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

It was an awesome tour and a great experience, I think it was the first time we had the chance to play such big venues in the UK and we got to share the stage every night with some really good friends! We've toured with "Tonight Alive" a couple of times in the US these past three years so it was great to finally play with them on "our" side of the world and they're the nicest people ever (I think it's an Australian thing) so the atmosphere was really great between everyone, they took good care of us.

Every band on the tour was on Fearless Records too, which made everything easier and it was great to finally meet our new friends in "The Summer Set". We didn't know what to expect from the crowd at first because we were the heavier band on the tour and Tonight Alive's crowd is way younger than ours with a lot more girls, but we had the pleasant surprise to see that people loved our music and performance every night.

Pretty much every show on the tour was sold out and most of the rooms were huge so it was a really good opportunity for us to bring our music to a lot of people who never heard of us before and hit a new market.

We also played two nights in a row at Koko in London which is probably the most beautiful venue we've ever played in one of our favorite cities in the world so this was a lot of fun, both shows were awesome and we got to learn how to drink like real english men! The best part was definitely not the British weather but just being able to do what you love with a bunch of real nice and humble people, which made this tour awesome. It's not really usual in the scene these days...

You also hit the road with New Found Glory recently, so what was it like to tour with the Pop Punk pioneers, and also how annoying was it to have an issue with your vehicle?

We all grew up listening to this band so everyone in the band was really stoked to be on this run. We jumped on their Euro tour one day after the end of the Tonight Alive tour, the shows were a bit smaller but we love to get close to the crowd so this was perfect for us. We never really toured that much in Mainland Europe so once again it was a good opportunity for us to gain some new fans and play in front of a new audience.

Unfortunately we had to cancel the last three shows of the tour due to some problems with our van and the German customs... This wasn't an easy decision and we were all really bummed out about it especially for the people who paid for tickets to see us. We always try our best to make it to the next show when things like this happen on tour but sometimes it's just out of our hands... It's always hard for a band when this kind of stuff happens, financially and morally but you need to stay positive.

In a kind of reference to the last question, what would you say is the hardest part about touring for you guys?

Being in a band is not always easy, you get to stay 24/7 with 8 other stinky dudes during a month or so and trust me this is not as funny as you think it is some days... You have to deal with a lot of long drives especially in the USA where you can drive for up to 30 hours between two shows, it's very exhausting. We're lucky enough to own a small bus in the US so we all have beds and a shower in it but we don't have that in Europe and the hardest part is finding places to stay at night, it's always a pain in the ass when you have a small budget and need to sneak 8 people into a 3 bedroom hotel room... Other than that I would say the hangovers are the worst part about touring, ha!

So looking back on the release of 'Pardon My French' how happy are you guys with this record still, and what do you think it has done for the representation of your band on a global level?

We're still really happy about it and what we achieved thanks to this. We've been lucky enough to travel all around the world to promote this album, show our music to so many people and tour with some of the best bands out there. This was definitely a step up for us, this album gave us an identity, more credibility as a band and helped us in defining our own sound.

What songs are you guys enjoying performing the most of this record, and why?

I would say "Taking Chances" because it's the most popular from the album and we get the best reactions from the crowd when playing this song, the lyrics are really positive and kids always love this one. At the opposite, my other favorite is "I Am Nothing Like You" because I'm into heavier music, I like to move a lot and show my dark side on stage. This song is perfect for that, it's super heavy, fast and agressive.

So you guys are currently writing for your new album, can you tell us a bit about how that's coming along, as well as maybe what we can expect from the record?

Yeah we're currently in the studio recording it in California with Kyle Black (New Found Glory, Comeback Kid, Paramore,...) and we're super excited about it. For this album we decided to try new things and change a little bit of the recording process to do something more natural, spontaneous and a bit less "overproduced".

Don't get me wrong, we're still going to have that special "Chunk" sound, very djenty, clean and heavy but it's just going to be an evolution of our sound.

We learned a lot while writting this album and we realized that the most important part about the music is the melody, that's what will stay with time. In the past we used to focus more on the instrumental and especially guitars, putting the vocals/lyrics a little bit on the side and we realized this was a mistake we didn't want to do on this album. We're always going to have all these crazy riffs and breakdowns but it's just going to be incorporated into the music in a smarter way. We all listen to so many different kinds of music and we try to bring a lot of different elements from each genre into these songs, we want to keep the same vibe that we had on "Pardon My French" but at the same time we don't want to do the exact same thing we did before, that's where the real challenge is. This record is not going to be softer or heavier from what we did before, it's just a continuity of "Pardon My French" like a good french wine that gets better with time and I hope everyone is going to taste it!

Have you decided who will replace Jonathan Donnaes just yet? Also, what's it been like to work without him for the first time on the recording process for your next record?

Yes we do but we're still waiting before announcing it officialy, we'll probably do it just before the album gets released. The first time we worked without him was on the Tonight Alive UK tour, it felt kind of weird at first because he was the first real member to leave the band since we started and we never played with another drummer before so you get used to playing the songs a certain way but after a few days we realized it was just bringing some fresh air to the band. Playing with someone else gives you a different approach to the songs because everyone has to re-learn it and every drummer has different skills and a different way of hitting his drums. For this new album we hired a session drummer, we did it a couple of times in the past for recordings when Jon couldn't make it to the studio and it was always a great experience, it's not going to effect the recording process at all and I think it's just going to open new possibilities for us.

How excited are you for your upcoming tour with Less Than Jake/Yellowcard?

Really excited, once again we've been listening to them for ages and it's awesome being able to finally go on tour with bands who gave you the motivation to start playing music. We met both bands on Warped Tour last year and they're super nice people too so I'm sure this tour will be sick. When the atmosphere on a tour is great people can feel it and it just makes a better show for everyone. I know every band on this tour puts on a great show with a lot of energy so people can expect to have a good time and a lot of fun at these shows!

Can you give us a couple of your personal highlights from touring in the UK? I love when crazy things happen on tour and a lot of them have happened in the UK... On the last night of our first ever tour in the UK, 6 or 7 years ago, we got attacked by a gang who had guns and wanted to steal our van, by chance our driver at that time had real balls and didn't let them do it... This was really scary!

The last time we were in the UK we got involved in a huge gang fight with 15 drunk Hooligans in the middle of the street at 4am after a club night, there was only 5 of us... We had a few broken teeth and black eyes but noone got hurt too bad and we were all laughing about it 5 minutes later. We looked like rubbish for a few days and the show the day after was pretty intense and painful for us! Other than that "Slam Dunk" fest was amazing, we got drunk for three days straight with friends from all around the world while making a lot of new ones. You guys also have the best club nights in Europe which is my favorite part, it's always so much fun and it gets really wild!

What can we expect to see from Chunk! No, Captain Chunk in 2015?

A great new album, a lot of touring all around the world (we won't forget anyone)!

“This album gave us an identity, more credibility as a band and helped us in defining our own sound�

TAKEN BY TIDES

Upcoming texas based metalcore band “Debut EP “Sic parvis Magna” coming soon!”

For bookings contact rubi at: contact@takenbytidesband.com

Interview with Brock

“It’s crazy to think that it’s been twenty years since 36 Crazyfists started to take on the music scene with their incredible metalcore sound. With their new album ‘Time & Trauma’ as well as a UK tour on the horizon, then it’s also great to see that these guys have absolutely no intentions of slowing down anytime soon!”

So how did you end up joining Spinefarm Records, and what have they been like to work with so far?

I knew a couple of the folks over at SF and as we completed the demos we sent them around a bit and after talking to a couple other labels it just felt different with the SF crew, and ultimately it was a great decision to go with them. A great group of people who are hungry for their bands.

Overall it's taken you a bit longer to put out your new record 'Time and Trauma' compared to the rest of your releases, so was that intentional, or was it something else?

We just needed to get back to our lives outside of the band, Mick and I lost our mothers to illness's and we are both fathers so it was important for us to be there for our families in that sense, Thomas, our longtime brother and drummer decided he was going to retire from the band and we in turn got up with Kyle Baltus which breathed new life into the bands lungs. Holt and the boys began writing the new album which over the course of all these years is finally coming to fruition.

So how did you guys get to the album title ‘Time and Trauma’, and what does it mean to you?

Well the first lyrics I wrote for the album are the first two lines of this song and it really encompass's the entire theme of the songs.

Can you tell us about the main themes & influences that run throughout ‘Time and Trauma’?

Mostly it’s about the fragility of life and how through the process of loss you can find a way to carry on and find peace and closure.

What was the hardest part about putting together ‘Time and Trauma’ for you guys, and why?

I think the ideas behind the album themselves were a pretty heavy subject matter so that created a dark vibe for me personally. As the writing got rolling the words just fell out and it was a much needed release for me to address one of my life's most difficult chapters.

How would you say this release compares musically to anything 36 Crazyfists have done before?

I just believe that it’s another chapter in the bands long history. Comparing wise, it feels fresh but has that old school vibe to it somehow which I feel grateful to listen too. It sounds like we got back to our roots a bit with the moody rock sound.

Also, with it being 20 years since the formation of 36 Crazyfists, then as a band how do you go about making sure that the writing/recording process stays fresh for you?

Push ups...lots of 12 oz curls etc...!

Can you tell us about how the album artwork for this record came together?

Well I hit up my brother Mike D from Killswitch Engage and asked him to do the artwork as we are all big fans of his stuff, and we couldn't be more happier about what he created for us.

Looking back on 'Collisions And Castaways', then how happy are you guys with this record still, and what do you think it has done for the 'status' and representation of 36 Crazyfists?

The album reflected where we were at the time. I think we were a bit burnt out at that point of our career and maybe a little less creative on my part so it's got some great songs on it but it’s not my favorite album of ours by any means.

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

Soooooo excited...we can't wait to kick off the touring cycle in the UK and Europe...is it time to go yet?

What's been your craziest memory from touring the UK over the years, and why?

So many great memories, from playing Download a few times to selling out the Brixton Academy etc...I love the UK and can't wait to make more memories next month.

How would you say the metalcore scene has grown/progressed since you first started out?

There are a lot of talented young bands who are pushing the musical envelopes out there. Unearth and KSE really are the champs in my opinion when it comes to that genre, Love those guys.

What else can we expect to see from 36 Crazyfists in 2015?

Lots of touring and lots of hangovers......

A Greater Danger is a heavy, yet melodic metal band from Central New York. Pulling influence from bands such as The Color Morale, The Word Alive and ERRA,we strive to bring an energetic and emotional performance to our listeners.

"Music can be used to spread a message, and we have something to say."

Our single, "Abstract Endurance" is out now!

Contact Us At WeAreAGD@Gmail.com or www.facebook.com/AGreaterDanger

“From Murderdolls to his own solo work, Wednesday 13 has simply shown since day one that music means everything to him. So take a read as we talk about his brand new album 'Monsters Of The Universe: Come Out and Plague’, which features themes such as UFOs, Aliens and even Star Wars...AWESOME!” So how did you get to the album title 'Monsters Of The Universe: Come Out & Plague'?

The title is fun and doesn't really spell out what the album is about right away. The title is a play on the toys from the 80's "He-Man and The Masters Of The Universe." I have these action figures set up in my house and I was looking at them one day and came up with the title as a laugh, and then it went from there. The "Come Out And Plague" part came later when I decided to turn this into a concept story.

This is your first concept album, so how did this idea originally come about?

It was inspired by a lot of the things that I've been reading about recently like UFO's, forbidden history books and random conspiracy theories ranging from government cover-ups, to reptilian aliens running the earth. All these things I'd been reading about whether they were true or not, they were pretty mind blowing and just flat out weird and interesting.

We've read that the record will be about 'intergalactic forces, UFOs and aliens', so with this in mind can you elaborate on what we can expect to hear from the themes and influences within the album?

This story, much like the music, is all over the place. The story is about Aliens, Government Cover-Ups, a zombie plague, and Crop Circle Ritual Sacrifices to name just a few. I thought it would be interesting to write about some of the things that I had read up about and turn it into a concept tale. A story as in a "What If...?" scenario, as in, "What If all these things became true, and everything you thought was 'fact' was a lie?" How would society react to it? All these questions became the songs and the lyrics tell the story. The music is a whole other beast on this album. We took time off and revamped everything for this new release and it's one of the heaviest, most planned and thought out records I've made so far in my career.

How hard or easy is it to produce your own work, and what was it like to do this once more on the recording process for 'Monsters Of The Universe: Come Out & Plague'?

I feel it's very easy to produce my own stuff. I've been doing it for so long now, that it's just a natural process. I usually know what I want done and if I can't figure it out, someone else in the band can. This time around, the recording/producing process was a little different, as we moved locations from Texas to LA over a two month period, but I feel that helped, having a little change of scenery.

Although this is a concept album, how would you say the sound of Wednesday 13 compares on this new release to anything you've done before?

As I mentioned before, it's a whole new beast. I didn't try to re-create any of my previous records or any of the sounds on them. I looked at this album as a new era, or, if you will, a new level for the band. Without a doubt, this album is really heavy in comparison to my other solo records, and that was intentional. 2015 marks ten years since my 1st solo album was released, so I felt it was time to revamp what it is that I do, and 'Monsters of The Universe...' will showcase that.

Also, looking back on the release of 'The Dixie Dead' then how happy are you with this record still, and what do you think it has done for the overall representation of Wednesday 13?

I'm still very happy and proud of 'The Dixie Dead' release. It's one of my favorites and I think it was a strong record. I liked it because of the fact you could hear that we flowed as a band more than on a solo release. By that I mean that it was the first time my band played all of their parts in the studio and I stepped back from the individual instruments. It showcased a new heavier sound for us and it was just paving the way for what was to come with this new album.

How did the idea for 'Undead Unplugged' come about and what was it like to record alternative versions of your own tracks?

'Undead Unplugged' was an idea I had for years, but never previously had the courage to try. I write most of these songs on acoustic guitar and I really like the acoustic vibe that some of the songs have. When I decided to take 2014 off from touring with the whole band, I felt it was the time to try the unplugged route with an acoustic record and UK tour. The response was overwhelming. We had so much fun doing it and the fans loved the personal vibe that the CD and accompanying tour had. It's something I didn't expect and it's also something that I will continue to do periodically in the future, with shows and recordings.

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

I'm genuinely so excited to be going back on tour and the UK has always been my home away from home.

We've been preparing for this tour so much, and we have a whole new show in store for the audience. It's going to be a heavy and weird visual show! We've also added a keyboardist/percussionist to our line up to enhance our new live set.

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

There's SO many to tell! I've been lucky enough to have so many great memories in the UK, it’s like where do I even start? The Murderdolls in-stores back in 2002 were just insane, Download '03 and '05, Halloween night with Hanoi Rocks in 2008, Ozzfest 2010, Halloween night at Koko 2012!! I could keep going and going... haha, but I've been very fortunate to have all of these great experiences there. I love the UK.

With 'Monsters Of The Universe: Come Out & Plague' being a concept album slightly influenced by aliens, then we must ask, what is your #1 Sci-Fi movie, and why?

'Alien' is my favourite, closely followed by 'The Empire Strikes Back'. 'Alien' is just creepy - it's dark, it was the 1st horror/sci-fi film I had ever seen and it's still my favorite to this day. 'The Empire Strikes Back' is just as dark and evil and to my mind is the best of that series.

Formed at the start of 2013, Saints Of Sin deliver an anthemic 80's hard rock sound, mixed with a modern twist to create what they call - 'Turbo Charged Pop.' The band features brothers Ash Jenkins on ground shaking bass, and Sparky Jenkins on scorching lead guitar. They are joined by the swagger of Matt Spencer on second lead guitar who shares riffs and solos with Sparky, adding depth and harmonisation to create a powerful twin guitar sound. Behind them sits the four limbed rhythm machine, Josh Rose on drums, who provides the chest-thumping foundations that every great rock band needs. Add the blistering vocal talents of Rui Brito, whose top notes make Justin Hawkins sound like a bass baritone, and you have the freshest, most original-sounding rock band on the south coast.

Their sound is defined by catchy, melodic choruses and vocal harmonies, backed by powerful guitar riffs, shredding solos and driving bass and drums. They proudly display a strong 80's hair metal style and image, effortlessly blended with a modern edge. To be at a Saints Of Sin show is to behold a powerful, adrenaline fuelled, live performance, full of attitude, stage moves and energetic showmanship. Their undying passion for music, blended with a fun, party mentality makes Saints Of Sin appeal to more than just the die-hard rock and metal fans. A Saints Of Sin show is guaranteed to leave you with a smile on your face and a desire for more.

Since their formation in 2013, they have amassed a wealth of gigging experience. In this short, but hugely successful time they have played at many venues around the UK such as; The Joiners - Southampton, Mr Kyps - Poole, The Wedgewood Rooms - Portsmouth, The Purple Turtle Camden, 12 Bar Club - Soho, The Chill Bar - Ilfracombe, The Patriot Crumlin, The Snooty Fox - Wakefield, and The Dove and Rainbow Sheffield.

They have also played some well renowned festivals such as The Great Dorset Steam Fair, where in the summer of 2014 they played the main stage on Saturday night, Multiplay's Insomnia Festival 49 and 50, as well as Bournemouth 7's and Tribfest.

CONTACT: facebook.com/saintsofsinUK

Interview with Liam "Cancer Bats always do an outstanding job when it comes to capturing the high energy that they are known for on a live basis on a record.

They recently shared with the world a taster of their new release ‘Searching For Zero’ entitled ‘Satellites’, and if that hard hitting anthem is anything to go by, then we are in for another addictive album!”

So how did you guys get to the album title 'Searching For Zero', and what does it mean to you?

The album title came while we were in the studio and really talking about all the songs and what the mood of the whole record was. The idea of finding your "zero" came when I was looking through different ideas on scale, measurement, time and things like that while I was writing the lyrics for True Zero. I came across the concept that once a Zero point is determined in something, be it temperature or whatever measurement, from that point there can no longer be a negative and everything from that point moves forward as a positive. I thought that was a great idea for the song and when I was explaining it to everyone, we all felt that this whole album was us trying to deal with that and find our own zero point so that we could move forward.

What made you want to release 'Satellites' first, and how happy have you been with the overall response to the track?

I've been super pumped on the feedback we've had for Satellites. When we were working on that song in the studio, we were all really excited about how different of a song it was becoming, and then being really excited to share that with everyone and to hear what they thought. I feel really fortunate that all of the people who enjoy our music are open to these ideas and different styles that we want to try.

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

The song itself is about two things: communication and technology and how that gives us the ability to be in greater contact with people, and well in constant contact, but at the same time so many things are lost and confused due to that medium and the type of communication it provides. The second idea is when you've believed in a certain model or code of conduct and you realize it’s no longer working or existent. The frustration then when both of those things come to a grinding halt at the same time.

We've read that you guys have been through a lot over the last couple of years, and you've literally reached the point where it's “No More Bullshit�, so with that can you tell us about some of the main themes and influences that we can expect to hear through this record?

This whole album deals with us over coming personal struggles in all aspects of our lives. Then also the positive things that came from those struggles and how it’s strengthened so many relationships as a result.

Our battle cry of "No More Bullshit" comes from us making the real conclusion with ourselves that being in a hardcore band at this point, we still have to be motivated by the same things that got us into making music and touring in the first place, which was to have an amazing time and to share that with amazing people. So that even though this is our "business" to still look at everything in those terms and that we always want to be connected to all of the people that we get to share this all with.

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

Ross was someone that we had talked about in the past when we would bring up different producers. We heard that he was free and looking to work on some new projects. So he and I spoke on the phone for about 15 minutes and I knew right from that conversation that he was the perfect person to help us get to where we wanted to be with this album.

Working with Ross was amazing! It was so incredible working everyday, where all 5 of us were so involved in every aspect of the recording and getting so stoked on each song we would finish. We only had 3 weeks to record so there was this awesome frantic energy where we had no time to second guess anything and we were all just throwing around ideas and trying to make each song better than the last. That was our vibe for 14hrs a day for 3 weeks. All this while we watched Trailer Park Boys on repeat, drank coffee and ate burritos. I can't think of a better situation to record in.

What was the hardest part about putting together this record for you guys, and why?

This record was actually one of the easiest times we've had writing. There was so much confidence and excitement coming from our new label, and we were given as much time as we needed to write these songs.

Nothing was rushed in the writing, so we were able to explore as many ideas and different styles that we could think of and really push ourselves to write something interesting and challenging. At the same time to spend enough time on those ideas, to make sure we got them right. I feel very lucky for all of that.

We've read that this record will be the most melodic yet for you guys, but for you how would you say the sound of Cancer Bats has progressed on 'Searching For Zero'?

I think it has for sure, but at the same time I think we all really love the type of band we've become and the style of music that we play. So I think we'll push ourselves to progress and expand what Cancer Bats can be, but we never want to move away from what we are as a band and those core ideas that we've always created music under.

We've read that Black Sabbath are a huge influence on the band, so with this in mind then how much did they influence the way you wrote on the new record?

I think that was more of an influence that worked its way into our playing as we became more well versed in the Sabbath catalogue. As it stands now we can play over an hour of Sabbath in our cover set and I feel more at home signing the slow songs as I would the fast ragers. All of that has just given us the confidence to really take hold of some of those ideas and not to be worried that just because people aren't circle pitting to a song doesn't mean they aren't having the best time.

How excited are you for your upcoming UK tour with While She Sleeps, and what can attending fans expect?

We are all way too excited for this tour! I think the whole thing is going to be an epic rage and I can't wait to really mix it up with those dudes and to have a giant bro down in the process!

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

For me personally the hugest thing from us touring in the UK, is how welcomed we are into so many scenes where I feel like when we come and play Leeds or Glasgow or Cardif or wherever, that we have so many friends at the show and we are always welcomed back with open arms. We really feel like a part of those communities, that's something I know will never change and is the reason I can't wait to go back on tour and return to all of these places.

“Two thousand and fifteen is going to be the year we crush the entire globe!”

What's been the craziest thing you guys have seen happen at a show since the formation of Cancer Bats?

When we get hurt it’s crazy and at gnarly shows I think that's bound to happen, what I do think is crazy is when the complete opposite happens. In Leeds one time we had a couple propose during our set. The groom to be asked me before we started if he could pop the question before Hail Destroyer, because that was their jam, so I told him when it would be so he could get phsyched up.

So right before we play the song I say there's a special announcement and toss him the mic down in the pit, he gets down on one knee and in the harshest metal voice he says "WILL YOU MARRY ME!?!?!" Which I didn’t expect at all haha and then the woman he was proposing to grabbed the mic from him and screamed, like Candice from Walls Of Jehrico "YESSSSSSS!!!!!" I dragged the mic chord back as everyone cheered and we kicked into Hail. I was so pumped up from all of that I ended up stage diving off the top of the speaker collum. I don't think I broke anyones nose at that one haha.

What else can we expect to see from Cancer Bats in 2015?

Two thousand and fifteen is going to be the year we crush the entire globe! We've had a whole year to prepare our bodies and minds for complete and utter destruction, and I can't waaaaaaaait !

Interview with Nic & Alex “Losing a lead singer is obviously not the best situation for any band to be in, however Northlane did not let this stop them from acheiving their goals.

After launching an online search for their next member they finally found exactly what they were looking for in the name of Marcus Bridge! The band then went on to release “Rot” which simply shows that the future of Northlane is looking very strong indeed!”

So for those that don't know, how did Adrian Fitipaldes end up parting ways with Northlane?

He approached us and told us that he could not be apart of Northlane anymore due to mental and physical health problems.

You recently found your new vocalist, Marcus Bridge, following the departure of founding vocalist Adrian Fitipaldes, this must have been hard times for the band, so at the time how much of an impact did this all have?

This was a big impact and shock to the band as we did not see it coming but it made for another obstacle to overcome.

Was there ever a point where you were worried about the future of the band, and how did the public auditions idea first come about?

Of course we were worried about the future of the band, as many other bands have been in the same situation and unable to recoup but we were determined to overcome the situation and to push forward with our career. Before we went to the public, we scoured our own resources to try and find a replacement privately. This didn't work in our favour and as a last resort we went public with the vocal auditions.

The auditions had nearly 2000 applicants, so it must have been quite a long and difficult process, what made Marcus stand out?

It was a crazy and long process but we had a lot of great vocalist try out. The stand out point for Marcus was his all round vocal ability, range and the new dynamic he could bring to Northlane for the future.

Along with the announcement of your new vocalist, you released the new single and video for, “Rot”, so what has the reaction been like from the fans regarding the new song and your new vocalist?

The reaction from the fans has been far greater the we expected, although the song is a little different to what we have put out in the past it has had a very positive reaction.

You said “Rot” was one of your heaviest tracks as a band, was this a conscious effort and is the whole new album in keeping with this?

We wanted to write a song that had the qualities of singularity as well as a new sparkle to Northlane. it wasn't a conscious effort, rather just the way the song came out but some of the other tracks we have written so far are very mature sounding and bigger then ever.

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

Rot is about the connection we have because of technology and the natural world, which intern allows us to create change.

Also, what was it like to write and record for the first time with Marcus Bridge on vocals?

It was very exciting to write and record with Marcus for the first time. His vocal range is amazing and we feel it really suits what we are aiming for in the future.

Would you say the new line-up has affected the dynamics and therefore the sound of the band much?

The line up change has definitely affected the dynamics of the band which was something we always wanted to progress with on album three.

Your upcoming third album is due to be released this year, how excited are you for the release, and what do you think fans can expect from it?

We are so excited to be writing new music as we feel it’s our best material yet! fans can expect a more mature Northlane sound but with the same dynamic qualities that make up Northlane!

You have decided to record with Will Putney again, so what is it you like about working with him?

Will pays a lot of attention to detail which is something that we really liked working with him the first time. This intern helps us get the best out of our songs and plus he has a wicked beard!

What can fans expect from your live shows this year?

A Northlane live show is a very energetic, dynamic.

What other plans have Northlane got for 2015?

With album 3 well under way, 2015 with see Northlane with a 3rd album to release and a whole bunch of worldwide touring!

Interview with Dave

“The alternative rock world is constantly progressing in interesting ways, and sometimes this sort of pressure can have a negetive effect on what a band decide to do next. We catch up with Dave who tells us how Monster Magnet have succeeded through these unneeded worries over the years, to where they are today with their latest release ‘Milking the Stars: A Re-Imagining of Last Patrol’!”

Milking the Stars has recently been released, firstly, can you tell me about how this album came to happen?

I just had a notion, I always have after I'm done with records to see what would happen if I pushed it one way or the other. Music is cool that way. You can have the structure of a song, it is that song but if you add different textures like different chords or a different instrument or even mix it differently, it has a different delivery. It's like a woman who wears make up a different way you know? Sometimes you put the make up on right, sometimes you put it on wrong and sometimes you put it on two different ways and you get a different vibe. I'm always like this, I can't leave anything alone. This time instead of just thinking about about it, I just did it.

I had a situation where we were going to be touring for a long time with Last Patrol, and be too long and too busy over the year or two years after Last Patrol to actually write and record a new album, but I knew we needed something out there. So I went in, under cover of the night, between tours and chopped some drums up digitally from Last Patrol to see if I could find something that would be a re-interpretation of the material, at first just for fun and then to fill up the gap, “the content gap”. The 21st century content gap that everyone keeps screaming about. I didn't want to just come up with rubbish content, I wasn't going to put out an all access “hey here's us backstage messing around” or a remix by some dance guy. I got into it and it was like, “this is really cool”. I got all the stuff I could get together like old melotrons and thought let’s do this like it was 1968 somewhat. I got into it and in between tours, a couple of weeks here and a couple of weeks there, what started out as an experiment with one or two songs became a whole album and I was like why don't I release it!

Would you class Milking the Stars as a different beast to Last Patrol or would you say it's a continuation?

It's a continuation. It's the kind of thing that would be the complete Last Patrol, if it was a comic book it would be.... In comic books they do this all the time, so it would be “I'm re-imagining it” and nobody bats an eye. So it's a compendium maybe? I'm trying to think of as many fancy words as I can! It belongs with Last Patrol, it'll be in the box set or whatever. I know it's kind of confusing but I get more questions like, why? Then I do, why not? But I'm the why not guy, people ask me why and I'm like why not! It's fun and it's cool.

Is there a danger that people may think you weren't happy with Last Patrol and this is how you actually wanted it to sound?

Ah, I did not think that but now that you mention it, of course. Yeah, when the chef goes back and keeps recooking the French toast obviously there's a problem. It's like what's the matter? Isn't that what you're supposed to give me? But no, no. There maybe a couple of cases where I think I might have done it better this time, 'I live Behind the Clouds' I think is a better version but that's just me. I wanted to make it as different as possible, in some cases on the record I made it different and some not so different. I always wanted it to be a continuation and I ran through these words a million times and re-imagination was the best word I could come up with. It belongs with it, it's there. If I had released this thing as one giant album I don't think people would have batted an eye except for “why did he release a two and a half hour album”.

You also expanded on certain songs from Last Patrol featuring new bass player Chris Kosnik.....

Yeah, well Chris is only on the live stuff on that album. Chris is awesome.

What has he brought to the band?

Chris has brought something to the band that we've needed for a long time which is an ability to play. It's talent really, dexterity and ability to play the parts almost literally as they were written, note by note. At the time of Mastermind I had assigned Phil Caivano, our guitarist to play the bass because he's a fantastic bass player and because our old bass players just couldn't cut some of the parts. Which was okay, you'd kind of punk rock your way through playing live but it became more evident to me, the more Monster Magnet goes on, the stuff I've got in mind to write, it's going to take a lot of old school, fine bass playing. It's a whole art in itself. It's not like that 8 string DUGGA DUGGA DUGGA, you know modern metal stuff, this is like Paul McCartney material!

Phil played bass on Mastermind and I said “okay, next record I'm writing all the bass parts with you, we're sitting down and we're going through every bass part”. But he plays guitar in Monster Magnet so I said “Phil, unless you can play two instruments at the same time I got to get a new bass player”. Chris came into the picture and was like “yeah I can do that” so we worked him out! The poor guy was with us for like three months and we were yelling at him like “NO NO NO! MORE LIKE LEMMY!!” and screaming out the names of old bass players like Dennis Dunaway (Alice Cooper), Mel Schacher (Grand Funk Railroad) Lemmy of course, Dave Anderson era Hawkwind which is quite different to Lemmy era Hawkwind. It's got to be that way and the bass on the record is fantastic, Phil killed it! When Chris came in I don't think he knew what he was getting into, he had us on about every single note, we were like “you can't play with your fingers, you got to use a pick, you got to do this and you've got the wrong fuzz box” but he did it and he can do it, I was so happy because now when we play those songs live, it really comes across the way it should.

I've been back and listened to Last Patrol and there are a lot more organ and keyboard sounds on this album, in fact 'Mindless Ones' had me thinking of The Doors, is that a period of time you were trying to portray?

Absolutely and it came really, really quick. The first song I started doing was 'Let the Circus Burn' and I pulled the organ and said “okay this is the way it's going to be, this thing is going to be as 60's as possible”. By nature the instruments sounded good and told me where to go. With 'Mindless Ones '68' it was perfect and that was the way it should sound

The organ sound was just great...

Man those instruments are so cool and it's so easy to get stupid with it. There's a danger when using organs, you could instantly sound like.... Well, let's just say you could really mess up if you use it the wrong way and I'm always right on that edge. It adds a vibe and an element that you just can't do on a guitar. There's a reason those records sound different, each instrument takes up its own personality. There's not much guitar in those old bands, there's sort of one guitar, a bass and an organ. Together they make for that sound, it's really fun working that way.

Are there any other Monster Magnet albums that you would like to go back and give the re-imagine treatment?

Yeah, now you mention it, there were a bunch of songs on past albums that if I'd treated that way, I'd have been a lot happier with. I've learned a lot more over the years and I think I got better, at expressing myself anyway. I just did a bunch of stuff off of Mastermind and finished that recently with some of the same tricks from Milking the Stars so you'll probably be seeing that stuff out around the middle of this year, it's very strange. It's getting stranger, Mastermind as it went on, I thought I was going to do the same things and it was just even weirder. I had to step back and think maybe I should not do this all the time but it was just so fun to do!

I suppose if you have the freedom, the equipment and the time then why shouldn't you experiment. Rather like how bands will do acoustic versions for an E.P or whatever, whereas you're doing a continuation that is also something completely new for people to listen to...

That's exactly right, it's the line between re-hash or re-imagine, that's where it comes down to. Is this just redoing stuff for its own sake or does it have a different enough vibe to say yes it's worth doing. There are some songs that just have it man, I don't know how, there's just the right chord combinations that tell you that they could be done three different ways and it would still be cool.

These days, from a strictly survival stand point for me, in the world of rock, unless you're doing something at all times you disappear. Completely, in a snow storm, in the internet snow storm of “NEW”, you're gone and no one can make a new, fantastic new album every year of your whole life, it just ain't going to happen but that's no reason for you not to be involved somewhat. So a lot of bands do this content for content thing you know, “we have new content!” which is just an insulting term. Oooo look 'new content' and most of the time it's rubbish, Bad live stuff, the DVD extra content stuff where it's like “we've got three hours of us picking our noses backstage”. If you want content, I'll give you content but it's going to be re-imagined, weirdness and in the end I think it'll just add to the canon.

The kind of thing you'd never have gotten away with back then?

No, no way you'd have not got anywhere. You had to stand up and look people in the eye in the old days, it was like a physical showdown. You had to fool people, people would come round, executives from companies, rock critics, select critical fans, the people that were respected that could look people in the eye and meet and talk. They would have to give you the thumbs up, now, sometimes they were paid off and sometimes they weren't but in most cases, if a band was good, at anything then they would make it to a certain level of exposure because of their presence and their ability for creating really cool records, and be for lack of a better term, real.

Now, it's so easy to bullshit. It's amazing and I never thought I'd say this but there are just millions and millions of people who like to be bullshitted to, it's enough for them, yeah that's good. The same goes for news, read the headline but don't read the paragraph. That's the problem with modern music for me. I'm lucky because as a person I got to see which way both things work and the old way was really hilarious and scary and very Hollywood but kind of cool because there was a chance to bust through. Every once in a while the airwaves would get cool for a few seconds. Now though everything is getting put in its place, the mainstream is the mainstream and forever will be. The underground is a series of niches that don't get any larger or smaller and just kind of exist. People think the next big thing is coming because a lot of people wrote about it but actually it's turning out to be, at least as far as I can see, everything is the next big thing and nothing is the next big thing. Flat-line!

And many people don't know any different way They don't no, there's no brass ring. What settles for a pat on the back today is amazing, A couple of likes?

Friending? It's such nonsense and it's really disturbing because could you imagine going through your whole life going “I got all these likes”, it's like dude!?

A Facebook generation?

Yeah. I mean, I guess Facebook has its place if you want to have a garage sale it's cool, but I don't see it really galvanising any revolution, artistic revolution. Which is unfortunate because you'd think that would be the first thing that would happen. You can talk a lot but unless you physically congregate then it ain't real, not in any real sense so all these webcasts and all this rubbish between chat rooms and everybody tweeting, it doesn't mean anything unless you're in the same room. That's the biggest difference, you can never see it physically manifest itself and I think it bums a lot of bands out to think that they’re not going to change the world. The world is not going to be better because of your music.

It's terrible but there was a time and I think we still revolve around that time whether people want to admit it or not. When rock n roll was defined as a poetic expression, not just the dance thing after the 50's and the 60's all the way through to you too as something that would somehow capture the Zeitgeist and express it in a way that was impossible to express through images or words. A feeling, that song represents a feeling of that time.

The only songs I see to do it now would have to be massive to do it. If you looked at a Zeitgeist today, I guess it would have to be a mainstream generic pop song or something and what does that tell us? It's like people don't want to think that hard. If this was 68, there'd be a song about the Charlie Hebdo incident by Crosby Stills and Nash by next week! On the radio, they'd record it on the Tuesday and by the next Tuesday it would be out and you'd be like, wow, this is what's going on in the world. Now it's like the world doesn't exist from the mainstream.

“

“Artists are responsible for their own hype now, which is never a good idea.”

None of the danger they used to speak off?

I doubt it was ever as dangerous as they put it out to be, just another scam in a long line of American scams you know? The same old rock n roll! I don't know where I'm heading with this but I guess the way to look at music now is to look at it, not with that brass ring to change the world but to engage people in the same way that music always does. to really circle the wagon in terms of where quality is concerned.

Artists are responsible for their own hype now, which is never a good idea. It's really up to the support by the modern journalist, whatever that means, be it a blog or whatever, almost like a band of journalists, a cabal of people who can step outside the urge to grab a headline and really kind of think. What do they think would be let into the ring of quality and why? It's got to be a wide circle of quality, it can't just be about one thing or another. I'd love to see the niche thing dissolve a little, like metal on one side and indie on the other and for the love of god stop making up names for new music! But my thing today is to try and go out and convince people of what we do by how we do it, the music and then the presentation, I don't expect anything else. I know that when we get into a room with someone, they're going to know what we're about because I'm going to look right at them and tell them. That's all I can ask for.

You're back in the U.K soon, how has the U.K been for you over the years?

The U.K's awesome, I'm always happy to be in the U.K because it's the country responsible for like 75% of my record collection. When you think about how many great bands came from there, it's unbelievable and there'd be hardly anything without them. I love the U.K, the people are great, the press is great, they're smarmy, they do each other favours it's like a whole work out and it's awesome.

TRIPOD

The Norwegian rockers, Tripod, find themselves in between the two worlds of stoner metal and grunge rock, making them twice as soothing to take in. Groovy and catchy riffs, with amazing vocals. With killer live performances, heavy drums and a rumbling bass, the quintet is trying to take back the raw purity that once existed.

Since the release of their debut album "Nevermind This Black Album" in 2008, including hits like "Another Monday" and "Tomorrow", the band has been delivering their massive sound to the masses. After touring Norway, they started working on their second album.

The album "Four Coins" (2012) was released in China, as well as Norway. Mixed by legendary producer Beau Hill (Alice Cooper, Ratt, Warrant and more). "Catchy tunes that rocks your balls off!" ("Four Coins": 7/10) - Icon Music Mag "With the song "Jack and Blood" Tripod manages to bring back Kurt Cobain from the grave!" "Efficient and well played" -Firdaposten "Amazing songs, which they exploit to the max in their live performances." -IMM. After touring Norway and China with "Four Coins" they started once again to work on songs for their next album. In the summer of 2013 Tripod recorded a new album at the legendary Sono Records, outside of Prague, Czech Republic. This was the first album to include their new guitar player Jørgen Berg (ex-Torch). The album also featured Apollon Quartet (members from Prague Philharmonic Orchestra) and Norwegian solo artist Martine Rygvold. The album was released in 2014. Tripod's sound is now even more massive than before. Heavier! Rougher! Keeping the purity of 90's grunge and metal intact.

CONTACT: tripodbooking@gmail.com

“Although Tyler has an extremely busy schedule with Issues, he has still somehow managed to start up a solo career at the same time! This hard work has instantly paid off as his debut solo release ‘Leave Your Love’ is an interesting listen that shows a promising start to this new journey!”

So when did you first decide that you'd like to do a solo release?

I was working on solo music back in my previous rock band. When things kind of went downhill in that project I started working on actual singles and such. I actually did a small solo tour with a band called Go Radio. I did it to kind of visit my fans and let them know I was still alive and making music. I've always had solo music by my side.

How did you get to the EP title 'Leave Your Love' and what does it mean to you?

When I was taking time to develop myself as an artist, my long time friend Mat "Blackbear" Musto and I started writing and producing stuff together. He started writing this song called Leave Your Love, and at the time he thought it would be perfect to start me off with something like that. As we kept writing more together, more and more great music came out like Georgia, and Sophisticated. Leave your love is just about putting all cares and stress to the side for a night and getting lost in the moment. Leave your love at the front door, and don't bring your baggage, you deserve to feel good even if you only allow yourself a little at a time. You could call it the positive side to a one night stand. It's kind of dark in a way, but we are humans and this is what humans feel.

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

I wanted to drop Georgia first because out of all my songs it's probably the most alternative. I wanted it to bridge over not only for my fans but for the fact that my best friend Scout produced the beat and people know we've been itching to drop another song together. I think it was a banger of a first drop. My songs aren't exactly what I consider "hits" or "singles" but they are organic, and that's what I want for now, for people to just kind of feel what I'm feeling, and know what I'm on.

Also, can you tell us a bit about the narrative behind the track?

The song is kind of fictional. I tend to write a lot of my songs about myself in a way, not really even noticing when I do. The only difference is I always dramatize things and make the story more of a story. This was just about falling in love during a time in my life when love wasn't possible. There was no time and still arguably isn't enough time to focus on being in love when the fast life is only getting faster. But the way I wrote it lyrically was meant to show a lot of what happens to relationships when the music industry is your career, and partying and networking takes a lot more of your time than having a relationship. But the root is that I took this girl along for the ride and she just couldn't live the life, she needed to escape back to Georgia to settle down the way she always dreamed, normal.

How did you end up working with Nylo on the track Tears On The Runway, Pt. 1 and what was she like to work with?

Nylo and I are really close friends, and we've known each other since I started working on solo music. We met in the studio, and when I was visiting the concept of Tears On The Runway, she instantly fell in love with the song. She locked herself in the studio one night and when I came back in the morning she had basically almost written the whole song. So I rewrote my parts because she totally blew me away, and the song just came out magically.

Can you tell us a bit about what it was like to link this into Pt. 2 which is of course an Issues track?

Well, originally I had a demo called Tears On The Runway ages ago. The one I did with Nylo (pt1) was actually just a spin off the original concept I had created years ago. But when we were diving into the Issues album, Ty found the very first demo I cut in my catalog and he really wanted to use the chorus. So I decided based off what I knew about my version I created with Nylo, that I could use this to play off a part 2. It was obvious that Nylo had to be on the sequel and that we would make it a continuation of the relationship in the story.

What's been the hardest part about putting together this release for you, and why?

The hardest part has always just been timing. Which also has been the key to my career and what success I have growing. Timing is everything. When is the right time to drop new music? When is it going to interfere or not interfere with Issues music? What is hot right now, am I really doing this right, will people understand what I'm feeling and how I'm feeling it, or will this be a huge failure?

I am proud of the whole rollout of everything, it's honestly all timed out perfectly and I'm super thankful for that.

But being a self aware and self managed artist for now has been my best move. No one will ever understand my art the way I do, no matter how much I explain it, or how much I pay them, I'm the artist and my music will only truly ever be in my control. Otherwise it means nothing.

“My songs aren't exactly what I consider "hits" or "singles" but they are organic, and that's what I want for now�

How did you end up working with your band mate Ty "DJ Scout" Acord, and what was he like to work with him on this new output?

Working with Scout is always a blessing. He's been with me through all of this. My transition into my solo career, and the buildup of our band Issues, was only possible because he was by my side, and just as determined and innovative as me. He hates when I micro manage him, but he knows the incredible things we get done when I do, and at the end of the day, he makes the perfect music partner.

Can we expect a solo album to follow the EP, or do you have something else planned?

I have a single up my sleeve that I really want to focus on called Forget You, that I wrote with the amazing Nick "Ras" Furlong. I hope to put out an album in the next year or so but I really want to have the time to create something magical. For now, I'm just going to see where the road takes me.

What else can we expect to see from the solo side of your career in 2015?

Hopefully a solo tour in the works for the end of summer. I really want to get over to the UK and do some secret shows.

ABREACT are 4 piece Hardcore/Metal band from Victoria, formed in 2008. Lee and Tim were high school jamming bro’s and they met Chris at an after school fight. Mat enlisted his considerable services and the rest as they say, is history.

Fast-forward a couple of years. The lads had been working hard, touring their backsides off playing anywhere and everywhere. Trading off the back of their great live show reputation was working well, but they needed a studio product and in 2012 they bunkered down to record their debut album ‘Entities’ Most of the tracks that ended up on ‘Entities’ were written whilst on tour or in the minimal downtime they had between shows. Not shy of playing a gig, they even continued to play whilst the album was being recorded which helped to mould some of the songs in a slightly different shape. The first single from the album was released in September 2012.

‘Bomber’ made an impact straight away and spent 4 weeks in the #1 position on Triple J’s Unearthed Metal Chart.

‘Bomber’ was getting airplay on the Triple J and Triple J Unearthed radio stations, as well as a number of local and community radio stations around Australia. In April 2013 the lads were made Triple J Unearthed Feature Artist. Second single ‘Remnants’ received a lot of support whilst third single 'Weight Of Disturbance' made it to #2 on Triple J Unearthed's Metal Charts.

In mid 2014 Tim had to part ways with the band due to the time constraints of his new career as a policeman. The band then enlisted the services of Aaron Grey (Artilah) and are enjoying the chemistry and skill he is bringing to the new material. ABREACT have supported The Amity Affliction, Northlane, Texas In July (USA), In Hearts Wake, For All Eternity, Hellions, Hand of Mercy and many more!!

The single 'From Here' is out now, and it is available for exclusive FREE download on the following link: https://abreact.bandcamp.com/track/from-here-2 "ABREACT's 'Entities' is straight up amazing and easily one of the best Australian releases I’ve ever heard, the world needs to hear ABREACT and they need to hear it now. Overall: 9/10" - J Ewings, Australian Musicians Network.

"ABREACT makes a brutal debut, which will develop its qualities especially in concerts" (AK) Legacy Magazine Germany "On 'Entities' ABREACT combine the old school hardcore attitude with a modern metal sound. What you’re left with after that is something insanely heavy and yet is enjoyable and has mass appeal, a perfect combination. The passion and power behind it just sticks with you" Regan Boyce SF Media.

Facebook: https://www.facebook.com/ABREACT1 Soundcloud: https://soundcloud.com/abreact-hxc Instagram: http://instagram.com/abreact_hc/ Twitter: https://twitter.com/ABREACT_hc iTunes: http://itunes.apple.com/album/id956126431

Formed in 2014, Ivory Veins are a dynamic acoustic duo from Workington. Leaving the success and UK acclaim of "things that hang from trees" when they disbanded, Emily and Matt wanted to play music even though the band didn't.

Lead singer Emily, who was classically trained and Matt on guitar left the punk/grunge world behind for a dabble in indie music with elements of folk and blues.

Doing both originals and covers like anberlin, circa survive and the neighbourhood, and after finding a band mentor, these talented twosome have their new EP "new skin" out now and are also planning a tour. Recently, we have been featured on BBC introducing Cumbria as "band of the month" and "track of the week". We have played countless shows around the north hitting cities and playing festivals from Newcastle to Liverpool.

Influences - Ben Howard, Eisley, Iron and Wine, Conor Oberst, City and Colour Artists we like - Furian, Osaka Punch, Things That Hang From Trees, Eyes Set To Kill, WeCaughtTheCastle, Ben Howard, Eisley

"When Koji released Spring Song Vol. 1 he displayed to his fans that all good music must start somewhere, whether it be a house show or in a tiny pub. After building up a strong foundation with his organic approach to music he then went on to release his most recent album ‘Crooked In My Mind’ which is a triumph from start to finish!”

So what made you want to re-release your Matters EP on vinyl 7'', and looking back on this release, then what does it still mean to you?

Matters EP is a collection of songs I did with Will Yip in 2011. They were songs that didn't have a place on Crooked, which I was working on at the time. The session was our first time working together and I knew right away that I'd be recording the full length with him. The EP captured a very pivotal moment in song craft and record making. I'm so stoked it's finally getting the vinyl treatment.

How did you end up working with Struggletown Records for this release, and what have they been like to work with?

Stephen from Struggletown did a show in Glasgow right after I recorded Matters. I was on tour with Into It. Over It. The show was incredible and since then I've always wanted to do more with the Glasgow music community. It's been awesome to work with Struggletown on this project.

Looking back on the release of your debut album 'Crooked In My Mind', how happy are you with this record still, and what do you think it has done for the 'status' and representation of Koji?

Crooked was a painful record to make and I'm glad for the experience of writing and recording it. The process of making a recording is always so illuminating and fortunately I wasn't alone in crafting the album. Having Will Yip produce it and collaborating with Brad Vander Lugt from La Dispute, Matt Warner from Balance and Composure, Ned Russin from Title Fight, and Colin Gorman from Gypsy was a once in a lifetime sort of opportunity. Crooked will always have a special place in my heart. And as for status or representation, I can't say what people think of me but I hope if they could see anything, they saw vision, depth, and integrity.

What songs are you still enjoying performing the most of 'Crooked In My Mind' and why?

Playing songs like "Pang and Flash" or "Chasing a Ghost" have been set highlights for me over the last half of 2014. Hearing people lend their voices to those songs is so chilling. I still feel those songs in a very real way.

Have you started writing any new material for a follow up just yet? If so, can you tell us a bit about what to expect?

I'm constantly writing and I have been writing a lot. My new material is a departure from the creative space I was living in with Crooked. That's all I can say about it for now.

“The process of making a recording is always so illuminating�

How did the idea originally come about for the 'Spring Song live series', and will the second one be coming out soon!?

Spring Song Vol. 1 was born out of a distrust for the music industry. I wanted to do a live record as my first official release to clearly state where I came from. People forget that so many of the bands everyone listens to today were born out of house shows and other DIY art spaces. I've got a new one recorded and I just need to figure out how to release it.

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

Wow, I don't even know how to articulate that. I mean, I'm touring with The City On Film aka Bob Nanna from Braid and Hey Mercedes. It's a huge honor. I'm going to be revisiting older material on this tour! Being in between records, it's been fun to get to play stuff of my Into It. Over It. and La Dispute splits as well as my first EP, Some Small Way, which was just reissued on vinyl by the Native Sound.

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

I'll never forget the house shows I've played or the cramped sing alongs in tiny punk bars. People in the UK have always brought so much heart to my shows. Playing an after show in a living room in Nottingham (the house felt like it would collapse) or playing with Man Overboard for the first time in Dublin or singing with my friend Andrew Fisher from Basement in London at Borderline rank among some of my favorite moments.

People who aren't exposed to music have no idea how special shows are. It's such a precious and fleeting thing. To have been a part of the UK music community at all is something I'll treasure forever.

What else can we expect to see from Koji in 2015?

Same mission as always, get people engaged with art making and positive social change. I'm doing work in '15.

Interview with Ned

“With every release Title Fight have showed a fascinating progression that has always kept their listeners wanting more. With their latest instalment ‘Hyperview’ they have evolved once again to give us their most adventurous and rewarding record yet!”

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

We met with the staff and got along, and we liked the label. Pretty simple as far as that goes. Our label courting this time was pragmatic I'd say, and Anti- fit our needs and brought a nice aesthetic to the table. Our time so far with them has been mutually exciting I'd say. They have very good staff and are excited about the music they are releasing.

What made you want to release Chlorine first?

"Chlorine" was a good indicator of what the record is going to be like. It has elements that are expanded upon throughout the record, but still is unique to itself.

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

My attempt was to create a term that can exist outside of just a record title and be able to be used in different contexts and make sense. The idea behind Hyperview is a state of awareness that is unparalleled, both physically and emotionally.

You chose to work with Will Yip once more, so can you tell us what it's like to work with him, as well as what you guys like so much about working with him?

We chose to work with Will because he is a great engineer and producer, but first off he is our friend who truly understands the band. Working with him is very laid back but also serious at the same time. I like working with Will because I feel like he understands what we are capable of and he pushes for the best performance possible.

There was only a one year gap between Shed & Floral Green, so what made you guys want to wait a couple more years in comparison to what you've done before to put out Hyperview?

We put out a 7" after Floral Green called "Spring Songs" that came out on Revelation Records in November 2013, so we weren't entirely not working! We just wanted some more time to write and experiment so we took some time off and focused on that.

We've read that the energy of Dinosaur Jr. and the Beach Boys was an influence on this record, so with that in mind how would you say the sound or just Title Fight overall has grown/progressed on Hyperview?

We try to just push ourselves and whatever happens happens. Dinosaur and the Beach Boys are bands that were able to do that successfully I think, so I was interested in that energy more than sounding like those bands of course.

“The idea behind Hyperview is a state of awareness that is unparalleled, both physically and emotionally.�

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

The hardest part was having so much time. While it offered us the opportunity to play with ideas, I am an antiperfectionist which is different than the rest of the personalities in the band. I want to get an idea and move onto the next one, but when we had months to sit on ideas, we ended up just thinking about other possibilities. That is very stressful to me.

The artwork for Hyperview is very cool & unique! Can you tell us about how it came together, and maybe what it means to you?

We knew that we wanted to do something different for the artwork but were unsure how at the beginning of the process. The idea of doing a photo of a physical mural was thrown around and we started to talk to the artist, John Slaby, about some sort of abstract, simple logo-type-thing that we could paint. The mural is in downtown Wilkes-Barre and is hopefully going to be something that people care to see.

How excited are you to be a part of this years Outbreak Fest, and what can attending fans expect?

I'm excited to be a part of the fest and to especially play with our friends in Cold World and Justice. Attending fans can expect to hear some new songs.

What else can we expect to see from Title Fight in 2015?

After our record comes out, we are just going to play shows. That's really all we do.

Interview with Vinnie

“Less Than Jake, Yellowcard, Chunk! No Captain Chunk! all on the same tour!? YES this IS happening! So read on as we discuss what we can expect from this epic line-up as well as what the touring cycle for their awesome new album ‘See the Light’ has been like overall!”

After spending 2014 touring like crazy to promote 'See the Light' then how happy have you been with the response to the record?

Anytime you can do anything for 20 years and people still give it love and respect it feels great. I think that pushing ourslves during the writing and recording process paid off and the fact we still have passion for what we do fans pick up on. It’s not going through the motions but more so having the drive to create together.

What songs are you guys really enjoying performing live of this record at the moment, and why?

"Good Enough" and "John the Baptist Bones" are my favorites. Really "Good Enough" takes all the things musically LTJ and wraps it up together so I just love that, and with "John" it really has a fun and up live vibe.

Touring wise, what did Less Than Jake do in 2014, and can you give us a couple of personal highlights from your time on the road?

Playing Russia for the first time really is the main thing to mention. It was and still is a very tense time for that region of the world and going there and feeling the energy and having people be welcoming really made the trip worth the amount of time and miles it took to get there. Also the Warped Tour in the US was an absolute blast to do and we actually celebrated our 365th Warped Tour show on that tour.

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

Well anyone that knows us also knows that we have an immense love for the UK so to say we are excited seems like an understatement. Fans can expect what we do but most likely a bit more sober most nights and much drunker on a few nights. Seems like a good balance that way.

We recently spoke to Yellowcard and they told us how when you first went on tour together you guys showed them the ropes, and gave them a lot of advice. So for you guys what bands influenced you, or maybe directly helped you when you first started touring?

The guys in the Descendents really showed us what we needed to do to survive while touring on a larger scale.

We kind of joke about young bands on tour with us going through "less than jake touring school".

With both of your bands coming from Florida, then can you tell us about what it was like to be an upcoming band in that area when you first started out?

Florida is off the beaten track for touring bands and back then very few clubs and promoters catered to punk rock, you had to fight for everything you wanted. There were no hand outs and that really brought out the best in bands. Scenes in Florida were very tight and that helped out when other out of town bands showed up on tour.

What other bands from Florida should our readers be listening to more?

On the subject of old school Florida let me mention - Quit and Against All Authority. For newer bands You Blew It, You Vandal, Teenagers, and Frameworks.

“The guys in the Descendents really showed us what we needed to do to survive while touring on a larger scale” Can you give us a couple of your personal highlights from performing in the UK since you first started coming over here?

Playing the first time in the UK at the Warped Tour tent at Reading/Leeds.

Touring with Snuff Playing consecutive nights for our Full Album Shows in London Headlinging the Lock up tent Playing Main Stage at Reading/Leeds Festivals Playing Download Festival Headlining Slam Dunk

Since the formation of Less Than Jake, what has been the craziest thing you've ever seen happen on stage?

I can't really put my finger on one thing. There's way too many. I mean you've seen our shows right? There's always something weird and wonderful happening!

How would you guys say the ska/punk scene has progressed/changed since you first started out?

Well I dont really have a pulse on either scene but I can tell you that it’s survived and will survive many "of the moment" genres.

What else can we expect to see from Less Than Jake in 2015?

We will be putting in a lot of touring time outside of the US, releasing a 7 inch, and doing some collector releases as well as our hometown shows Wake and Bake Weekend.

youtube.com/theawaygameband / facebook.com/theawaygame / Instagram.com/theawaygame

Do you remember hearing pop punk for the first time? Well with The Away Game, that's the feeling you'll immediately get.

Releasing two music videos so far with "Worth The Risk" and "Homesick", the trio have also captured a worldwide audience with their circulating addictive sound and entertaining humor.

Hailing from Adelaide South Australia, The Away Game bring The Away Game's freshman release their unique late 90's sound into the titled "The Away Game" is available for current millennium, with simple free download at distorted guitars and catchy chorus' theawaygame.bandcamp.com sing-a-longs.

The band have begun writing their debut EP, set for release mid 2015.

Supporting acts such as The Matches (US), Neck Deep (UK), State Champs (US) and Hands Like The Away Game are building up Houses (AUS) in a career spanning immense speed within the music less than a year, The Away Game are industry and 2015 will be the year that increasing their fan base rapidly proves, The Away Game are here to evident from their live shows. stay.

Echoes & Icons is a four piece Pop/Punk band hailing from Southern Illinois. The band has been playing shows and building momentum in the region since their start in early 2013. Though they have only been performing for a short amount of time, the band has found a loyal following with their positive attitudes and energetic live performances. Playing many local shows out of Southern Illinois has led to many of their successes, as well as their frequent shows in St. Louis opening for acts such as I, The Mighty and Set It Off. The band’s reach is continually growing due to their hard work and determination to compose and perform the music they love.

Echoes & Icons- which includes vocalist and guitarist Zach Stokes, guitarist Nick Lindsey, bassist George Kuhlman, and drummer David Brooks had one idea in mind when beginning their musical venture together; to make high energy music that gets the audience involved. Their musical style is influenced from bands such as Yellowcard, State Champs, Four Year Strong, and The Story So Far. The band traveled to Greenville, Illinois to record with Luke Schoenhals for their five track EP entitled “Right Before My Eyes” – released December 30th via iTunes: Googleplay: Spotify “Right Before My Eyes” is the band’s debut release, and the EP’s sound perfectly defines everything Echoes & Icons stands for. The tracks are fast paced, with the Pop/Punk roots staying true within all five tracks. This EP is a precursor to the expected full length album coming from the band in the fall of 2015. youtube.com/echoesandicons / twitter.com/echoesandicons / instagram.com/echoesandiconsband

Interview with Tay

“Since their formation in 2009 We Are The In Crowd have worked non-stop to constantly raise the bar on what they can achieve! As the touring cycle for their sophomore release ‘Weird Kids’ continues we catch up with Tay to reflect on the bands massive success plus what we can expect to see from them in 2015!”

“Weird Kids" was released at the start of last year, so how happy have you been with

the response to it so far, and what do you think it has done for We Are The In Crowd?

I've been very happy with the response to Weird Kids. I believe it's helped us identify ourselves as a band.

On this record, how would you say the sound of We Are The In Crowd compares overall to anything you've done before?

It was the first time we had written in a way where everyone knew what to contribute and when without there being limits. Every song was different but I think because we were so eager to get new music out of our systems it all felt really natural

What songs are you really enjoying performing live of this record at the moment?

Dreaming out loud, and come back home seem to be my favorite. Singing come back home live I just really like doing. And with dreaming out loud I love the high energy it has live.

Also, looking back on the music videos for this album, then what video has been the most exciting for you to work on, and why?

"The best thing" was my favorite because we got to shoot in a beautiful desert and drive a car!

How excited are you for your upcoming UK tour with Don Broco, and what can attending fans expect from your performance?

I'm very excited! Fans can expect a show full of songs they want to hear. We have tweeted to them and are creating a set list just for them.

Can you give us a couple of your personal highlights from touring in the UK? I've always enjoyed driving through the countryside out there!

Speaking of live shows, you recently did a few small full-band-acoustic performances, which you called "A Very Non-Denominational Holiday Get Together" where you did your first full band acoustic performances ever! So how did this idea come about, and what's it been like to work on these alternative versions of your own tracks?

That was the most fun! We want to do it again. And we'd love for our UK fans to experience it too. I think we just wanted to strip things down a bit. Sometimes with full band performances, a lot goes unnoticed because I think it's easy to be distracted by the movement. So this was a great experience.

Touring wise, what did We Are The In Crowd get up to in 2014, and can you give us a couple of personal highlights from your time on the road?

Well in 2014 I felt like we were non-stop and it was great! One highlight was probably our last trip to the Philippines, Slam Dunk festival and our first ever US headliner.

How would you say the pop rock 'scene' has grown or progressed?

I think it's progressed in a more natural way, I think there is less fake sounds out there which makes me so excited. I also think it's become a bit more diverse all around which makes me think it's going to change up again soon!

What else can we expect from We Are In The Crowd in 2015?

In 2015 we will be writing and Recording a new record!

“With every record you can always see how Lights has grown as an overall musician, and with her latest release ‘Little Machines’ she pushes the limits of what she can accomplish once more, to provide the world with her most captivating record yet!”

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

The last sold out show at King Tut's in Glasgow was a sweaty blast, and we got a bottle of Tut's brand whiskey afterwards. Loved being able to hit that old arcade in Brighton on the pier before playing the Haunt and then getting white zinfandel on tap at Wetherspoons.

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

After we sent that track out when we finished it, there was a resounding "we have the first single!" from our team. I just make the music and let everyone else do the rest! I’ve been really pleased with the reception. The track is different for me vocally and it was nice to be able to show the strong side of my voice with a real energetic anthem like that. It really gets the vibe going at shows!

How did you get to the title 'Little Machines', and what does it mean to you?

Nostalgia was a big influence on the content of the record, getting back to the naivety we had before we knew too much about the world, or thought too logically. It was the perfect grounds for imagination and creativity. I always refer to little kids, little endless wells of energy, as little machines. It's also the second lyric in Running with the Boys, which is about exactly this topic.

Can you elaborate on some of the main themes and influences that run throughout 'Little Machines'?

I guess I kind of just answered this, but nostalgia is a big one. Another is the idea of just enjoying the moments, like the song Speeding. Just recognizing those moments that are great while they're happening, and live in it.

You've said that 'This record felt like a triumph after a hard dry spell' so with this in mind, what was the hardest part about putting together this record for you?

I faced a bit of writer's block, which is ultimately your loss of artistic vision for a time. You never lose your talent, just your ability to understand the bigger picture. I was conflicted with where I wanted to go and what I wanted to say in record three. You have the "hit song" angle and all the numbers that go with that, then you have the "cool" element where you want to make something you think sounds new and interesting, then you have the "earnest" element, where you want to make something meaningful for your fans. These all sometimes pull in different directions and you just need to figure out how to balance it all.

How would you say this record compares to anything you've done in the past?

It feels like a combination of my last two records. The unabashed pop element of The Listening, coupled with the live edge and electronic dynamic of Siberia.

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

We wrote a few songs for the record together, starting with Speeding. He had a really special way with synths, I would be able to just name a sound I had in my head and he would be able to bring it to life. I loved that about him and we all thought he'd be a great match for the record. He brought a lot of that to the record.

Looking back on Siberia, how happy are you with this record still, and what do you think it has done for the 'status' and representation of Lights?

It's pretty cool playing old records back to back with the new and seeing the growth. Each record marked an era in my life, and each time I put one on it reminds me of that time, and represents it so interestingly.

Interview with Shane

“This year is an extremely exciting time for Silverstein as it sees them celebrate the past with a ten year anniversary for their defining album ‘Discovering The Waterfront’, and it also sees them take on the future with their new release ‘I Am Alive In Everything I Touch’!"

2015 is shaping up to be the biggest year yet for you as a band! With the announcement of a world tour for the 10 year anniversary of your album, “Discovering The Waterfront” as well as releasing your new album "I Am Alive In Everything I Touch", so how excited are you for this, and what do you want this year to do for the band?

Yeah you’re right it really is looking like this could be the biggest year yet for us. It’s crazy you know after 15 years of being a band you’d think things would slow down, but we’re still going as hard and just as passionate as we ever were. I think what’s cool about what we’re doing is that we’re bringing the old and the new together. Yes, we’re celebrating our past with the 10 year anniversary, but we’re also going to be showcasing our new stuff, and really looking ahead to our future with this album and beyond.

Looking back on the release of “Discovering The Waterfront”, what can you remember from this time, and do you have a particular highlight from getting this record out there in 2005?

Discovering was the first time any of us had actually made an album where we sat down, wrote the whole thing, and then recorded it all together day after day. Before this, and even on our first album it was all stuff we had recorded in some fashion before, and just done in the studio whenever we could afford to book the time.

We also lived in Southern California when we recorded it, we recorded the bed tracks at the Capitol Records building, so it was all pretty surreal. I think we finally felt like we were a real band, not just a bunch of kids messing around. I mean, Bon Jovi was recording in the room next door at Capitol. I think that woke us up to what was happening.

Since its release, what do you think "Discovering The Waterfront" has done for Silverstein, or just for you personally?

It’s our most loved record and I think it's where we found ourselves and what we wanted to do. In the beginning with all of us having so many influences pushing and pulling us, we tried to get something uniform together and it didn’t work. Something clicked here, and we made a very special album. I go back and I listen and I really wouldn’t change a single thing. I think when you can honestly say that 10 years later, it says something.

What's it been like to rehearse this record for your live shows, have there maybe been songs that you just haven't played in a long time that were fun to re-visit?

Yeah, it’s been fun to go back and remember the little nuances and performances on the record that I sort of forgot about. Some of the guitar parts that I wrote and played I completely forgot and had to figure out again, and it was kind of a funny thing, almost like my old self teaching my new self something. What’s really cool is when you play an old song and go…. “oh, that one is pretty cool, no wonder people are always asking for it”.

Looking back over the last decade, then how would you say the sound of Silverstein has progressed/developed in this time?

I think we’ve gotten A LOT better. On the first album we didn’t know how to write songs, how they should go, and it was all about the feel. On Discovering we started to get it, but then as we’ve developed we’ve realized it’s a combination of that songwriting, feel and performance. There’s a certain balance that when you hit it is just magical, and I think we’ve found exactly where we want everything to exist around us. It’s been important for us to make natural progressions as well. I think bands that try to change too much or unnaturally evolve make mistakes.

So what can attending fans expect overall from this special tour?

I keep using the word “event” and I think that’s really what this is. It’s only going to happen once, and with all of us together under one roof remembering our youth and how this album played its role is just going to be so special. I want to tell old stories on stage about things that happened to us in whatever city we’re in when we were touring the album the first time. I want to talk about what happened during the recording process or writing process of these songs, and just have a real unscripted, honest performance where we take it all to heart.

As well as celebrating the past, you have also announced that your new studio album, titled, “I Am Alive In Everything I Touch” will be released Spring 2015 via Rise Records, so what can you tell us about the themes and influences that run throughout this record?

Yes literally as I’m doing this interview I see the final mix for the final song just came in, so I guess the album is officially done! It came out amazing. Honestly, with pretty much all of our records I’m not sure until they’re out and the fans or critics tell me they’re good, but this one I feel great about. In terms of themes etc, I think this record is a very sad album. It has a certain darkness about it I don’t think we’ve approached before. But it’s heavy and fast at times, slow and melodic at times, and really everything in between. I think there’s a great vibe and lyrically I think it’s going to be very relatable for people.

How did you get to the album title “I Am Alive In Everything I Touch”, and what does it mean to you?

There’s a big theme involved in the album about different places, and one of them we talk about is Toronto (our hometown). It’s an important part of the concept, and the quote is from an author Timothy Findley. And he was born in Toronto, so it all kind of comes full circle in some way.

You chose to work with Jordan Valeriote again, so what is it you like so much about working with him?

He’s just the best. He’s never wrong. He is this kind, quiet, gentle person, who just understands what buttons to push to get the best performances out of us, and to make these songs have the life they need. It is funny whenever any of us have a disagreement about something and we ask Jordan’s opinion, he’s always 6 steps ahead of us in the thought process. He’s a genius.

After 15 years of writing, do you find it harder to write new material, and where do you draw your creativity and influences from?

It gets harder in some ways because you don’t want to repeat yourself either musically or lyrically. There was a couple times on this album where I wrote a line down and had to think to myself, “Is that something I’ve written before?” And I literally googled it to make sure I hadn't. But I think we’ve always strived for improvement from record to record and a lot of that comes through spending more time and working even harder on each record.

This time there is no doubt it’s the hardest we’ve ever worked. Poring over the details of every song, every melody, every word. It’s something that’s so important to us, and we know our fans notice and appreciate it.

“It really is looking like this could be the biggest year yet for us” How would you say the post-hardcore scene has changed or progressed since you first started out?

It’s constantly changing and progressing. The trends come and go. A lot of bands come and go. What I’ve found is the stuff that sticks around is the stuff that isn’t gimmicky. Bands that write great songs regardless of the genre are the ones that will do the 10 year album anniversaries and be able to do this for a long time. I always tell new bands, it’s substance over style, and songwriting over everything else. It’s always crazy to me how much importance bands, even our band, puts into social media and all that. Because when we started it wasn’t even a thing. Most bands didn’t even have websites when we started out.

As we know you have a busy schedule for 2015, but what else can we expect to see from Silverstein?

New album in the spring, Discovering the Waterfront tour just before, and a lot more touring afterwards.

Expect some new videos, some documentary stuff… We’re not taking a minute off this year, so it’s going to be crazy.

FACE FIRST, a rock band from Edmonton, AB Canada.

Grew up listening to great rock bands like Iron Maiden, Alice in Chains, and Metallica. Listening to such bands has really helped Face First to find their niche. Face First started as a 3 piece band with Johnny Demelo doing double duties drums and vocals, Rico Caeiro guitars, and Cory Blomquist playing Bass.

After looking at many drummers in Edmonton, they could not find the backbone that would glue together the Face First sound. In 2011 Face First released their 1st CD titled WAITING..... I think because it took almost 3 to 4 years to release. A long wait!

After 10 years plus together, Face First releases their 2nd CD titled RIGHTEOUS. This is a must listen and a must share CD, with very cool groove oriented riffs, and great melodic chorus'!

If you want gimmicks or fake, look else where. This band is the real deal. Foot tapping, head banging straight up rock that will make you want more. And when you see these guys live, you will see, no bullshit. Just pure energy and a passionate will, to suck fans into their driving / kickass music.

CONTACT: facefirst27@yahoo.ca www.facefirst.ca

Interview with Alex

"Their constant enthusiasm for what they do has seen them grow from performing at tiny venues to the main stages of festivals all across the world, and from this they have shown that they are not 'just another pop punk band'. Produced by the legendary John Feldmann, their upcoming release 'Future Hearts' will easily see the bands success skyrocket even more!�

What made you want to release "Something's Gotta Give" as the single first from your upcoming album "Future Hearts", and can you tell us a bit about the narrative behind the track?

Something's Gotta Give felt like a really good bridge between Don't Panic and Future Hearts. I think it speaks to where the band is going on this next record, without taking a hard left and throwing off our fans too much.

The song is about becoming your own motivator, and finding your own reason to dig out of a dark place.

Sometimes you've gotta help yourself.

So, how did you get to the album title "Future Hearts", and what does it mean to you guys?

Future Hearts is all about that, what I call, "first car feeling�. For me, my first car, a used x-terra, was a gateway to the world. Some of my fondest memories were made because of that car; blasting music, feeling like I was escaping with my friends. The record is all about capturing that feeling and holding onto it as you grow older -- It's about the experiences in my life, between starting All Time Low and now, that I've felt like I was absolutely on the right track.

Can you elaborate on some of the main themes and influences that run throughout "Future Hearts"?

Striving for more, wishing to be free, wanting to escape the monotony of an average life in a small town.

Mark Hoppus & Joel Madden both have guest appearances on the record, so can you tell us how these collaborations came about, as well as what they were like to work with in the studio?

Mark and Joel are both guys we grew up listening to and supporting in their respective bands, so featuring them on the record is a big accomplishment for us. They've both become really good friends, and I feel like I've learned a lot from them as artists. They're both the easiest dudes to work with in the studio, and we had a really good time chasing some new sounds on each song they contributed to.

How did you end up working with the legendary John Feldmann, and what was he like to work with on the recording process for "Future Hearts"?

John and I had worked together on various projects in the past, so having him produce Future Hearts fell into place really naturally. He's an incredible talent, and knows how to pull the best and most genuine material from people -- which is why he's made some of the coolest records out there, and has such a history of success.

He challenged us as writers and musicians, and helped us grow in a way that didn't feel forced, which is really important in the creative process.

What was the hardest part about putting together this record for you guys, and why?

I think the most difficult part was narrowing down the songs we had (30-40 ideas) and putting together a record that works. These days, I like to tell a story with our albums, so it's not only about picking the best songs for the album, but also the ones that create a uniform sound, and an experience for the listener, front to back. We really struggled at times to make it all make sense... It's like finding the one missing puzzle piece to complete the picture.

Looking back on "Don't Panic" how do you guys feel about this record still, and what do you think it has done for the representation of All Time Low? Don't Panic is still one of my favorite All Time Low records. I think it marked the beginning of a new chapter for our band, and its "return to form" quality helped us set up a lot of new paths we were able to go down with the new music.

How excited are you for your upcoming tour with You Me At Six, and what can attending fans expect?

It's going to be amazing! I love touring with the YMAS guys. I think the fact that both bands want to put on the best show they can, will act as motivation for the other to really bring their all. Fans are in for one hell of a night.

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

Every time we've played Reading and Leeds we've had a really insane time. One year it poured down with rain, and the crowd went absolutely nuts. The next year we had some technical issues, and ended up covering that by playing some songs in a slightly more stripped down way, which ended up being really special. Also, we opened up for Green Day at the Emirates stadium, which was just such a next level show to be a part of.

How would you say the pop punk 'scene' has changed or progressed since you guys first started out?

A lot of bands have come and gone, and the general perception of the "scene" has shifted... For a few years the "scene" became a bit more obscure, but now it appears to be making a bit of a resurgence. It's also become much more accepting and less competitive -- Everyone's helping each other grow and expand, and that's creating a really healthy environment for new bands and established acts.

What else can we expect to see from All Time Low in 2015?

Bigger and better shows, bigger and better videos, and probably a fair amount of male nudity.

Interview with Dan

“After achieving their first UK number one album with Cavalier Youth the band went on to achieve a high slot at Reading/Leeds festival, and even earn their first ever US headline tour! We discuss this incredible year with You Me At Six as well as their upcoming arena tour with All Time Low which sees the band end their current touring cycle in style!�

The U.K tour starts on February 9th but to warm up you just did a one off show as part of Independent Venue Week, how did this show come about?

We were approached and were actually thinking about it last year because it's where we came from. Not many bands these days come up through the whole local scene and local small venues, every one seems to get on YouTube or get signed straight away whereas we actually met each other from going to gigs at the Peel or the Boiler Room etc. That's genuinely how the band formed, that's how I met a lot of my friends so we just feel that's something that is really important to the U.K music scene. We feel like anything we can do to help out we're obviously going to do. The Boiler Room approached us as an independent venue to do something for it, being from Surrey and just down the road, growing up in that area, we thought what better way to get involved and do it.

The first time I had heard of You Me At Six was when you were booked for the independent Venue, Dumfries in 2008 with Twin Atlantic opening, two big names in British music now. How important are independent venues like this for a band trying to make their way in the music industry?

I feel like when we were coming through, us, Twin Atlantic and other bands that we're friends with, they were hugely important. If these venues weren't there or had shut down before we got a chance to make a name for ourselves then we wouldn't be where we are. Fans owe it to go down to these small shows but bands need to make sure they keep going back and playing these venues and bringing people to these venues to keep them alive. If all these venues shut down, we might be missing out on so many great bands that will never be discovered or won't even bother trying because they have nowhere to play, or just nowhere to be rubbish because that is what it's like at the start. You have to go out there and learn how to play live music and what better place to do that than the small local venues? I think they are so important to the music culture and the music scene all over Britain. Hugely important.

All too often we're hearing about a venue having to close its doors and a lot more are under threat, the short term impact is obvious but what effects do you believe this will have in the longer term if this trend continues?

I think the effect will be that there could be the biggest band in the world about to form but we will never hear about them because they didn't have any venues to play. People miss out on such an amazing experience, a chance to make friends, to inspire each other and be in a band. So many bands formed at these local shows watching another band. People can't go to the pubs before they're 18 so what do they do? For us we used to go down to the gigs and lose our minds there, what are they going to do without these venues? It's sad.

As we said the U.K tour kicks off shortly, it must be an exciting prospect looking at the size of the arenas on this tour?

Oh, hugely! We supported Paramore, Fall Out Boy, 30 Seconds to Mars on a similar style of tour, so to be going out there and being the ones closing the shows this time, putting on big production, video screens, fireworks, lighting and having a proper set to play in front of our own fans, is extremely exciting. We've already been talking about what songs we want to play, how we want the stage to look, everything. We just can't wait to be up there on the stage!

“2014 is a year we will look back on with fond memories. There's been a lot to shout about�

With four albums now behind you, then do you find yourselves spoiled for choice or does it make it harder to mix old and new to keep everyone happy when playing live?

We're always pretty conscious to play older songs, we don't want to be one of those bands that just plays their new album so we always make sure we throw in stuff from 'back in the day' You Me At Six and current You Me At Six. Not only to keep everyone happy, it's fun for us and we like to mix it up. We've decided to play a couple of songs that we haven't played for a while which should be fun for the audience and for us.

We go out there and we try to put together a set that flows and keeps the energy up the whole time, a song has to really earn its place in the set whether it's old or new. Even if it's the best song on the new album, if it doesn't fit or doesn't flow and keep the energy up then we probably won't play it. We've drafted a set that I feel is going to really work, it could be one of the best so far, it's always nice to play some older songs but it's great when people go off on the new songs. There'll definitely be a good mix in there, and I think the fans will be very happy.

It is a year nearly to the day that Cavalier Youth was released, how do you feel, a year on, looking back at the album?

We achieved a lot from it, we got our first number one. We're pretty much going to end this cycle by headlining the O2 Arena in London. We're going out to play the Isle of Wight Festival, obviously we've never done that before, we were third from the top at Reading Festival and that's just in the U.K alone! It's been such a success, and been such fun the whole time.

We went out and did festival season in the summer, toured America a few times, did Australia. We managed to release an album and go see the world, it's nice that we're still building and still on the up. Even in America, we're now getting on the radio for the first time, we had a number two rock song on American radio and we did our first U.S headline tour. There's been so many milestones that we've hit, I think when we get to the end of it and close out the cycle, we'll probably look back at all the pictures we've taken over the year/18 months that we've done it and that's when it'll probably hit us that we've achieved a lot with this album and it's been such fun doing it. The fact that we get to do it with our best friends as well, we're all such good mates, it's something we've always been really conscious about. We want to be a band for a long time, not an overnight success.

We want it to be a slow burner and make a career of this so we're just going to keep on enjoying what we do.

You mentioned playing Isle of Wight, going back to the independent venue question I guess, do you ever have to step back and pinch yourself when you think of how far you've come playing such an iconic festival?

Yeah, oh you definitely do! With the Isle of Wight especially, that's the first festival that we've played that I've turned around to my Auntie, family and friends who are a bit older and they were all like “I went to the Isle of Wight Festival when I was younger� you know, back in the 70's, 80's. It's the first time you're playing with this real nostalgia, for us to be playing with that line up as well as Fleetwood Mac is just absolutely incredible. We can't wait, we're talking about spending the entire weekend there, and we've never done it before. We've done Reading and some of the others quite a few times but it'll be nice to experience what the Isle of Wight is all about, so we're thinking about staying. We might even do a bit of camping if the weathers nice and get really into it.

With the success of the past year, does that bring extra pressure when the time comes to begin the process over again with a new record?

I think it does a little bit, it has been a very successful album for us and we've achieved a lot of great things but I wouldn't say that we've necessarily blown up out of the water. It's not like we've gone from zero to 100 overnight so I feel it's been a long and steady journey that we've been chipping away at. We'd done Ally Pally (Alexandra Palace) before we started this cycle so there is a bit of pressure when you start a new album but I think it's more excitement as well. We love writing and recording music, it's probably one of our favourite things about being in a band, so I think after 18 months to two years not doing that, I think it will be exciting. At the same time, pressure is good. If you didn't have pressure then what's the point of doing it really? You might as well put some pressure on yourself or you never know, you might come out with an awful fifth album. It's something we're not really thinking too much about at the moment, we don't try to force out new songs or new material or anything. We sort of let it happen when it's meant to happen, that kind of thing, and when we feel like writing again we'll start writing!

“We want to be a band for a long time, not an overnight success”

There was three years between Sinners never Sleep and Cavalier Youth, do you expect a smaller gap between albums this time?

There's always loads of new bands coming out there and you have to keep your audience and fanbase excited about your band, as you don't want them to forget about you. I heard Greg James on Radio 1 the other day saying “I can't wait to hear some new music from You Me At Six soon” and we were in the car thinking “oh god, we have to write some new music pretty soon!”.

Like I said though, we don't put any pressure on ourselves to do it and we wouldn't want to come out with anything that we're not proud of so once we get some downtime from all the touring from this album, we'll definitely do what we love doing and start writing. What we first write might be awful so we might have to take a while and just see how it comes out really. Once we have something we're really proud of and we're happy to let other people listen to it then we'll come out with it. It shouldn't be too long after though.

2015 is beginning in a big way for you in the next few weeks, do you have any memories from 2014 that stand out for you?

2014, there's been quite a few I think. Ally Pally was probably my favourite You Me At Six show of all time, third from headlining at Reading Festival was an absolutely incredible day and just blew us all away with the amount of people that came to watch and how well they reacted while we were playing. Both of those two shows are going to go down as two of the best shows You Me At Six have ever played and then obviously the fact that we got our first number 1 album. Those three are right up there and there's been so many milestones, I think 2014 is a year we will look back on with fond memories. There's been a lot to shout about.

Interview with Jeph

“Their latest album Imaginary Enemy has seen their hectic and yet very gratifying tour life continue in a tremendous fashion all across the planet! As the band head towards the UK to continue this run we catch up with Jeph to find out everything you need to know about The Used in 2015!�

You guys spent the most of 2014 touring, so how happy have you been with the response to Imaginary Enemy so far, and what do you think it has done overall for The Used!?

Our US tours have been pretty incredible, most of the shows were sold out and the rest were really close to selling out. Our lovely fans seem to be in love with the new record and of course they have been excited as ever to hear all of their old favourites as well.

I think this record has shown more of a grown up side of The Used, with themes about excluding the self and examining the world around us for what it really is, not what we're being told it is.

What songs are you really enjoying performing live of this record, and why?

Cry and Revolution have extremely fun bass lines!

Can you tell us about the narrative behind your latest release "Revolution" as well as maybe what it means to you?

It's about challenging and questioning everything. To me it's about not being a slave anymore. Slave to money, slave to oil, slave to fear, slave to evil corporations.

It's been just over ten years since the release of 'In Love and Death' so with a handful of bands doing ten year anniversary tours, then is something you guys have maybe thought about?

We're not as cool as those bands haha, so we decided to do something special during our 12th and 14th year for both the self-titled and In Love and Death. But I'm not going to say just yet. So keep an eye open for upcoming news by the end of 2015.

Also, looking back on the release of 'In Love and Death', what do you remember from this time, and is there a moment that still sticks in your memory from getting that record out there?

That was a wild time for The Used. These were great tours, I remember lots of alcohol and many, many broken things. This is when I think we received a lot of our die hard fans that we still have today. Also Taste of Chaos was a great tour, I hope it starts up again soon.

“Change is good and as an artist it's important so that things don't get stale.�

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

Our sound changes as we evolve as people and musicians. Change is good and as an artist it's important so that things don't get stale.

Also, in a kind of reference to the last question, and it might still be early days, but if you have started work on some new material, then can you tell us a bit about how it's coming along, and maybe what we can expect to hear?

We haven't started working on it yet, but we have talked about ideas. I personally would like to take a different direction then the last record. Hopefully something fun but a bit more extreme and aggressive.

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

I can't wait! We were just in the UK for only a couple quick shows and it felt like a tease to me. As always we try and play a mix of old and new songs so everyone can hear what they want.

Can you give us a couple of your personal highlights from performing in the UK since you first started touring here?

The curry mile. I love Indian food! Destroying the Kerrang awards. And of course playing Reading and Leeds is always great.

What else can we expect to see from The Used in 2015?

We are doing a US headline tour, some dates in South east Asia hopefully some UK/European Festivals.

Then preparation for our 12th and 14th year record release extravaganza.

Interview with Chris

“Enter Shikari have never been afraid to do what they want on a record, and by having this fearless approach then you can only ever expect to hear honest material from the band. The Mindsweep sees the band pushing the boundaries of what they can accomplish even further, and it also displays some extremely important subjects which everyone should 100% be more aware of!�

The European tour is a few days in now, how good does it feel to get new songs out from the studio and on to a live stage?

Very good! Obviously it's a bit of a wait when you've been in the studio and you've got the songs done and you're really just excited to hear what people think. You've got a wait to get to do that but once you do it's an amazing, amazing feeling. Especially now that it's being streamed and people have heard the songs, the reaction gets a lot stronger. We'd been playing a few songs before but people haven't heard the songs, and now that they have it's definitely a much more passionate response, which is great.

Which of the new songs have been particularly enjoyable to play Well on this run we've been playing four new songs which are 'Anaesthetist', 'Last Garrison', 'Never Let Go of the Microscope' and 'Slipshod'. Out of all of them, I think the most fun has been Last Garrison and Slipshod.

With Last Garrison, I think it was a bit of a surprise, we didn't expect it to be as fun as it was and Slipshod is just a crazy, silly, fun song to play!

With people now just hearing the album, then how much has this added to your environment in a live basis already?

It only takes people like a day or so, in this case a few hours and they were screaming the lyrics back at us so it makes a huge difference once people had actually heard the songs and the proper studio version.

Enter Shikari have got a pretty healthy back catalogue, so does it get more difficult to balance the set with old favourites and the new songs that you'll obviously be wanting to play?

Definitely, it's becoming a lot harder just because of having so many more songs to choose from. We want to play new songs but we're conscious that people come to a gig wanting to hear their favourite songs. Just because we've played them that many times doesn't mean people at the shows have heard them that many times, so there is a lot of thought that goes into it. I guess it's about striking a balance between what people want to hear, getting the new songs out there and keeping it fun and fresh for us as well.

This tour marks the start of a pretty solid six months on the road for you, are you able to prepare mentally in advance, not so much for the first few weeks but 3 or 4 months in when you might be starting to feel jaded?

Well this is our fourth album now so I think we're aware of what is needed and I think that helps us to prepare mentally. With the first couple of albums it was all new places, now we have a good idea of what's about to happen, but still I don't think there's that many ways you can prepare. It's going to be a long road but it's also going to be a lot of fun that we're all looking forward to. There's been a lot of changes in the way we set up, being able to come from the studio to being able to play these songs live has taken quite a few months of production, planning and natural preparation. That kind of thing is still ongoing and we're still making touches to that, so that will go on for a while yet.

Moving on to the new album, The Mindsweep is now out, so can you tell us a bit about what can we expect from the new output?

The one word we're using to really sum it up is “fearless” and that's the mentality we went into the studio with.

Flash Flood of Colour was the same team/producer and they gave us the confidence to be fearless because we had a lot of success by doing what felt right for us, so going into this album we felt even more confident that, that system works for us. I think people can just expect a lot of different ideas, obviously the lyrical content is a big part of our music. It's got some of the most extreme stuff we've ever written but also some of the most delicate stuff as well.

“The one word we're using to really sum it up is ‘fearless’” You are bringing in actual string and orchestral elements for the first time, how much has the experience of writing for these opened you up as individual musicians?

We've had and written parts for it before but this was the first time where we’ve had actual humans come in and play actual instruments, they've always been sequenced and samples before so it was just an absolutely amazing experience. It's something we've wanted to do for a long time just because we knew it would add another sound and dimension to the record and it did that even more than we expected it to. It is a lot of fun being able to write with that in mind and an amazing feeling when you hear it all back and it sits perfectly and feels right.

You worked with Dan Weller again for this one, how much does he bring to the table?

A lot really. We've never been a band that needed a producer for lack of ideas, we've always been brimming with ideas and things we want to do so I think Dan’s role in this is keeping us level headed, keeping an eye on the focus of where the songs are going and not letting us get to out of control with ideas! As well, just making sure we're keeping on time and not focussing too much on certain aspects and things like that. We've got a hell of a lot of respect for Dan, we came up from around the same areas, we're all big fans of Sikth so we respect him and listen, if he's got ideas he can throw them in.

Does the fact he is a musician and has the experience of Sikth, among other things, help with a kind of perspective of a musician?

Yeah definitely. I don't know if it's a subconscious thing but we know he knows what he's talking about and we know that he's proved himself before. I'd like to think we'd listen to anyone but with your music, it's a very personal thing and often you can get quite protective of it. With Dan, I don't know if it's just his character or the way he approaches or maybe he's smart enough to know how to broach the subject and that kind of thing, but we never felt he was over stepping or anything like that.

'The Anaesthetist', seems to be a shot at the state of the NHS and obviously the band have embraced politics both in and out of a musical setting, so what themes and subjects are you dealing with on this album?

We like to say we write songs that are socially conscious and aware so each song on this album has a different theme. The beginning song is an introduction to those themes and a call to unity. There's 'The Anaesthetist' that is about the privatisation of the NHS that seems to be happening and how we shouldn't allow that to happen. There's a song about the scientific reasons behind race and how it is has absolutely no point or reason for any kind of racial prejudice. There is also, in its plain and simplest form a love song on the album as well, so each song does vary in its content and we feel that people should be aware of these subjects.

Looking at your U.K tour most of the shows are sold out, that must be a big boost for that to happen so far in advance?

Yeah, it certainly is a big boost. It's different when you're on tour and you go into the dressing room and ask “how many tickets are sold tonight?” and you find out it's going to be a bit of an empty hall and you do get a little down about it sometimes, but going into this tour we know it's going to be packed out rooms. It's going to be great fun and it puts us in a really good mindset for what we're about to do.

“We never want to write the same album twice” How do the early days on tour compare to now?

It's been a very long road for us, we started off in a post office van that we'd ripped out the seats and put bunk beds in and things like that so there has over the years been a massive development. I remember playing gigs outside with very minimal P.A and now when we come into these venues, everything looks so big and on such a bigger scale. It's quite daunting to think back on how far it's come in what sometimes feels like a relatively short amount of time.

A Flash Flood of Colour took you to #4 in the U.K charts and all over the world playing to some huge crowds, where do you see The Mindsweep and indeed, 2015 in general taking Enter Shikari?

All we ever wanted to do was write music that people found exciting and boundary pushing basically. We never want to write the same album twice and want to be different & diverse. It's an amazing feeling when people recognise that in the music, really that's one of the main things we want the album to do. That and open peoples eyes, maybe make them think in slightly different ways. We never focussed too much on where the album gets spotted or that kind of thing, it's about how this record can push us out in front of more people and where it can take us.

Interview with Tobin

"With 20 million album copies sold worldwide, along with an epic list of hit singles, Papa Roach have simply proved that they are one of the most important alternative rock bands in history! So it's a pleasure to be joined by Tobin who tells us how the band created a raw energy in the studio to deliver their remarkable new album...F.E.A.R.! Also, make sure you don't miss out when the band head to the UK very shortly for a massive headline tour!”

How excited are you guys for your upcoming UK tour?

We're all ready for that for sure. We look forward to playing there because we have our best shows there, they're crazy and it's always been a special place for us, so we're excited to come back and play new songs.

Also we're going to play songs off 'Infest' to celebrate the 15 year anniversary of that record.

F.E.A.R. has just come out, so what can we expect from it?

I really, really believe that this is the best Papa Roach record. I think the songs and the message are there, and that the songs are very focussed, it’s probably our most focussed record, sonically it sounds huge. Loud guitars, big fat drums, and I got to show off on the bass on a few songs which was cool. It can be hard in a rock band when the guitars are super loud but we also have a dynamic tendency to a lot of the newer songs so when there's room I can go off and do some stuff on the bass. It started off being really heavy, we were focussing on throwing out some really heavy riffs. We did that and kind of sequenced the record in order of how we wrote the songs. You can tell where we got a bit more adventurous towards the end of the record and it takes you on a journey. There is an uplifting sense of pulling yourself out of the darkness and into the light, but at the same time it's heavy. It's a very personal record too for Jacoby. A lot of fans connect with bands because of the lyrics and he's speaking from personal experience, speaking from the heart. It's that real life material that people connect with and what everyone goes through around the world.

Are the two singles from F.E.A.R. a good insight to fans on what to expect from the album?

I wouldn't say that they are at all actually, I think people will be surprised when they hear the record. 'Face Everything And Rise’, is the first single we released, 'Warriors' wasn't really something we planned on releasing, it's the last song on that record and it's nothing like the rest of the album.

The albums title, in full, is Face Everything And Rise. What does this title mean?

It's just about taking everything that's in front of you head on, all the hard stuff. All that stuff that you don't want to deal with, everything that holds you back, and everything that bottles up inside you. It’s about facing your demons or your worst fear and overcoming the things that eat you up or stop you becoming the best version of yourself. I think personally from Jacoby too, he had a lot he was trying to deal with and you can see that in the music. When we started writing the record he had the whole studio covered in bits of paper so he could just write spontaneous, influential things on the wall that could maybe be used later. The only thing that ever actually got written was F.E.A.R. We were like “what is this man, it's the only thing you wrote” and he said “face everything and rise. Wait and see, I'm going to use it for something”. So when the song came around it was like, cool I get it and it sounded good. When we were throwing around record titles he said he thought it should be called F.E.A.R but it'll be Face Everything And Rise and it seemed to encompass everything the record was about so we said let’s do it!

You pretty much went from being on tour to straight into the studio without much of a break, had you been writing songs on the road or did you just get in the studio and thrash it out?

I'm kind of the one in the band who's always writing so I have a pro-tools rig, everything you can possibly imagine on my laptop and I always have my guitar out recording riffs, making demos so I always have things in the back of my head. I didn't make a conscious effort to have too much prepared ahead of time like we did before. On every other record I have come in with demos fully done and I'd have musical arrangements already sketched out for the guys. This time, we didn't want to get together jamming it out and spend months writing, we wanted to spend the time at home because we've been touring so much. So, we met up with the Churkos (Kane and Kevin, producers) and said we're not going to write anything and show up and see what happens, they were like “cool, you guys know what you're doing and we know what we're doing, let’s write and record as we go along”.

It created some nervous energy, so the creativity and the focus was there from all of us and it was rare. The last couple of records were tough to make because everyone was off their rocker in some way and dealing with personal stuff. This time everyone was clear headed and focussed. Even though we were in Vegas, we were like, don’t go to the strip, and ignore the distractions, as we have got to write some music and get this material out.

We walked in on the first day and noone, collectively really knew what would happen, I was like “I have a riff” and Jacoby was like “I have a chorus” let’s put it together and finish that song and that's how we would write, we did the whole record really quick, and just didn't over think it. We used gear we'd never used before, we used recording techniques that we usually don't kind of give into. We would plug straight into the computer and use plug ins, amp simulators, programming drums and then record the real drums at the very end. We were just doing things that we wouldn’t of been doing before but trusting the producers at whatever their forte was.

We had a great flow. Jacoby would be working on lyrics, then when he'd be recording lyrics to that one we'd jump on to the next one so we'd just be constantly working.

Did going in blind, so to speak, add a pressure that you could tap into and add to the creative process?

Yeah, it does. It makes you focus and think I've got to make something happen here but at the same time you don't want to force something good to come out, you have to let it happen naturally. I think we've been doing this for a long time and we're a band that understands our strengths and our weaknesses as individuals, what we bring to the table as writers, as performers so you don't have all this time to overthink everything, you're just doing what comes naturally.

When the people around you are like “hey that's good” you don't have to think anymore or be anymore complicated, just keep it simple, wait and see what Jacoby does with it later and we'll change it if we need to.

A lot of the time we didn't need to change anything, what we do, I don't want to say it's straight forward, but there really is a sense of a punk rock attitude of the three chords and a tune is really all you need for Papa Roach. We can add all sorts of things later to make it a little more interesting if it needs to be, but it was about getting the message out, having those banging riffs, and the drum beats that make everyone go crazy, but at the same time it was knowing when to let go.

“Your whole physical and mental state when you're on the road for a long time can get messed up�

Infest is the album that really launched Papa Roach into the big time, how much has making music changed in the time since you released the album?

It's changed a lot, technology has a lot to do with that. I think that you have your whole life to make your first record, then a couple of months here and there to make every other record after that. When we were making Infest, we were very young, we didn't know about song writing, we didn't know what people considered a good song, what people considered a hit. We didn't care about any of that, and I think that's the best when you capture that rawness early, that youthful energy. Sometimes that goes out the window after that first phase, however now we're all older and have put out eight records! The industry has changed, recording techniques have changed but it's cool though, everything has to evolve. For us, to keep interesting, Papa Roach is that kind of band.

With so much touring ahead of you, then does life on the road feel a bit like home for you at the moment?

Life on the road is what we live for, we've played live shows everywhere we could since we were kids playing in garages like little punks. To me, especially now, Papa Roach makes the most sense live, you can't download Papa Roach or watch it on YouTube, this is the last tribal experience that's pure and sometimes it bothers you when people have their phones up in the air, just be in the moment. That's why I think we find ourselves on tour all the time too, trying to gain new fans and we have such a huge following all over the world that it keeps us on the road constantly, Japan, Australia, Russia, South America, everywhere. Plus that's our bread and butter, most people don't know that a band only really makes their money touring these days, how else are you going to pay for the house, feed the children and save the whales?

Which songs are you especially looking forward to playing live from the new record?

Well we've been playing 'Face Everything And Rise' and that's been going over great. I'm really looking forward to playing 'Falling Apart' and 'Gravity', I think that is the standout track. Also the first song we wrote which was ‘Broken as Me', there are so many, we're just excited to play new songs period and I hope that everyone is as stoked when we get to play this material live. We've been working hard to step up our set, look on stage and involve songs we haven't played live in a long time.

With your UK tour confirmed for March, then can you tell us what it has been like to perform here over the years?

Like I said right off the bat, it's been our best market and our favourite place to play. They're the best shows, when we play Brixton it's the most epic shows but really it's about reaching all the fans because we're going to be going all over the U.K and it's about time we did that because we haven't in a while.

What do you guys prefer, festival shows, or your own shows?

To be honest, the festivals are fun but I'm getting tired of them. I think Papa Roach is at that point where getting on stage and only playing like 50 minutes just doesn't cut it for us. We really want people to come out and watch our whole show, when we're on for 90 minutes we're taking you for a journey. Lately we've been doing a lot of festivals and only getting 50-60 minutes, you're trying to pummel them, you're in their face for 50 minutes and there isn't as many peaks and alleys in the set. So it's cool, we'll always do the festivals but I'd encourage people to come and check the tour out, see the whole set and see Papa Roach in a different light where we're not playing in the middle of the day with a backdrop and that's it while everyone's drunk in the crowd. I do love those festivals because you play amongst your peers, but I think we're just more focussed on doing our own shows .

If we were to talk at the same time next year, what do you hope you will be looking back on from 2016?

I really hope we'll be looking back on a successful world tour, I'd like to think we'll all be healthy, focussed and still excited to be on the road because it is hard. You have to check your ego, watch yourself so you don't get too jaded when you're out there on the road. Your whole physical and mental state when you're on the road for a long time can get messed up, and I'm constantly trying not to drink too much, eat too much, do anything too much because man, I'm tired of feeling like rubbish and getting in trouble when I'm on the road!

ARCANE FRAMEWORK

Arcane Framework is a female fronted hard rock/metal band hailing from the suburbs of Chicago, Illinois.

Arcane Framework is comprised of Brian McDermott (rhythm guitar), Katy Pryzbytek (bass guitar/lead vocals), Scott Tomaselli (lead guitar), and Mike Bero (Drums).

They formed in 2011, originally as a three-piece, and after quickly Scott joined the band in August writing and recording their self2012 and was an immediate fit. titled debut EP in September 2011 His diverse background brought a Arcane Framework quickly began new dynamic to the band that to make a name for themselves in lead to more technical guitar riffs, the local Chicago rock/metal bigger hooks, and bigger scene, opening for acts such as choruses that can be heard on Nonpoint, Soil, Pop Evil, Saving their second EP "Colorblind" which Abel, Bobaflex, and My Ticket was released October 10, 2014.

Home. .

facebook.com/arcaneframeworkrocks reverbnation.com/arcaneframeworkrocks twitter.com/arcaneframework

“After being unable to escape his dedication to the music world, Boris eventually decided to take up composing full time! His dedication to his job role has resulted with him working on huge games such as Ratchet & Clank, Resistance, plus his most recent project Sunset Overdrive!�

When did you first get into composing?

If I remember correctly I started playing around with little vignettes as soon as I started understanding the basic concept of scales etc. Then I played in bands. But the more serious approach happened a bit later, in my early twenties when I wrote and performed a bunch of electronic music in Germany.

When did you realize that it was something that you wanted to do with your life?

I tried a few times to not do music - but I always ended up very, very unhappy and grumpy. So I thought it was better for me and everyone around me if I followed that calling.

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

The first professional gig as a film composer was to write the music for one episode of a brand new German TV series. They shot 4 episodes and I scored one of them. I spent weeks on something that now I would do within a few days. But it was my first time. It was super exciting and I loved it, even though it was extremely tough.

How did you end up working on Ratchet & Clank: A Crack In Time, and what was it like to work on this gaming adventure classic?

I absolutely loved working on that game! I had so much fun, and since then I am in love with the characters of that series. That specific game featured some marvelous storytelling - adventurous but also very emotional, with Ratchet being separated from Clank and finding the only other Lombax alive, who also knew Ratchet's father.

You also got to work on Resistance 2 & 3, so what did you enjoy the most about working in this Sci-Fi atmosphere, and how did you go about creating something new whilst also making it relevant to the first Resistance game?

Resistance 2 & 3 were very different from each other and also very different than the first one. Resistance 2 had a military theme but most of the music was pretty out there, highlighting the grotesque setup of aliens smashing our world into pieces. Resistance 3 then was much more intimate and human - portraying the survival of the human race. It was the storytelling that determined everything.

How did you end up working on Sunset Overdrive, and what was it like to create music for such a unique world?

Insomniac knew early on that they wanted to license a lot of punk tracks as in-game music for this game. I was responsible for the narrative parts - mainly the cinematics. These were crossing all musical boundaries all the time...from medieval bard songs to punk rock action cues and much more. The storytelling was just hilarious and over the top. And I never knew what rabbit Insomniac would pull out of the hat next.

What was it like to have your material on Sunset Overdrive nominated at The Game Awards 2014, and what was that whole experience like for you?

Nothing like being part of an amazing event like this! By the way - Geoff Keighley did an amazing job putting it all together!

Can you run us through the process of how just one typical day would work for you when composing music for games?

That very much depends on each project. There are projects where I spend almost all of the time writing music. But on Sunset Overdrive, for example, there were a lot of live sessions involved as well, which all need planning, preparation and scheduling. But yeah, I do get up early and often stay up late as well.

Can you tell us about your Germany From Above project that you have been working on, it's currently touring across the country as well right?

That project became one of the most gratifying projects I have worked on. It was a documentary feature I scored a year ago. It is about Germany and different than a typical documentary, it is more of a collection of beautiful images that are accompanied by music. And indeed, it is currently being performed live in Germany.

I am planning on attending the next big performance in Munich in a few weeks.

What would you say is the hardest part about creating music for games, and why?

Creating music for picture is an emotionally challenging experience. The tricky part about some of the games is that I only get a grasp on the complete story once I have seen all the cinematics, which very often happens the moment you are done writing the music. That part is a little better when working on a film, where you can watch a rough cut and get an idea of the whole story before you start writing the music.

What else can we expect to see from Boris Salchow in 2015?

It looks like there will be more interactive stuff coming your way - but also a few completely new type of projects which I can't talk about just yet. Stay tuned!

“It’s clear to see that vinyl has

Interview with Alex

made a huge comeback over the last year, with more and more bands offering re-issues of their classic albums, whilst also making sure that their latest release is offered in this format.

So it’s a privilege to catch up with Alex from Monkey Boy Records, who tells us all about his love for this format, and what it’s like to have a record company that mainly sells vinyl!”

So how did Monkey Boy Records originally form?

When I graduated from Uni a couple of years ago I had trouble finding a job so I decided to try and start something I would actually enjoy doing and keep me occupied. I had been collecting vinyl for a couple of years already and was getting more and more into it, at the time there was only a limited number of places in the UK you could order punk, pop-punk vinyl from, so I thought it would be good to try and set up something myself. So I took some money out of my savings setup a bigcartel got in a few records I liked and made a post on the punktastic forums and it kind of took off from there!

How did you get to the name Monkey Boy Records, and what does it mean to you?

Ha, well if you ever see me I am quite a hairy dude and my mates always used to refer to me as 'monkey boy'.

Why I decided it would be a good name for a distro/record label is anyone's guess but I'm happy with it. It also kind of worked out as when I was trying to make a logo I had never used photoshop before but making a cartoon monkey face was something I could just about manage (although the logo you see today was actually touched up a bit by Richard from Pornography For Cowards).

You guys specialize in vinyl, so what was the decision behind mainly selling this type of format?

It's just a beautiful format for music. The big cover art, the variety you can do with the packaging not to mention all the cool effects that can be done with the vinyl itself. There's just something special about vinyl that can't be replicated with a CD or download.

What do you think about vinyl making such a huge comeback over the last year?

It's great! As a collector it's awesome to have so much new music coming out on the format and albums which were never on vinyl originally getting a pressing. I suppose the downside is there is a limited number of pressing machines in the world and this resurgence has significantly increased the run time for production.

You see over and over again customers getting annoyed that they pre-ordered something however many months ago and is still hasn't arrived. Ultimately I think that's something many labels need to look at how they handle pre-orders.

Also, what made you only want to work with punk/pop punk vinyls, do you think you'll expand the genres at some point?

I don't have any plans to at the moment. Punk, Pop-Punk, Emo is what I enjoy listening to myself and so that's what I know and stock.

Can you tell us about some of your most recent releases, as well as any that you are very excited to be working with?

So last year was the first time I dabbled in the label side of things and I put out 2 records through Monkey Boy. McCafferty's debut 'BeachBoy' came out early last year who self describe themselves as a 'dance punk' band, if you like Modern Baseball, Weezer & The Front Bottoms you should like this record. After that I put out a 7� by a London based band called Eaten By Foxes, I personally loved this EP and the way the vinyl turned out.

Unfortunately I don't think it really got the recognition it deserved so everyone reading should go check them out!

So what does a typical day involve for you as part of Monkey Boy Records?

The main part of my day is taken up by packaging up orders and going to the post office, I think it's important to get people's orders out quickly so I really focus on making sure I do that everyday. Other than that I'm listening to a lot of new music to decide what to stock, updating the website, responding to emails and realising that I still haven't ordered enough Hotelier LPs!

What's the hardest part about running a record label, and why?

There's definitely been a few rough patches and just trying to keep yourself motivated when it doesn't feel like anything is going right is probably the most difficult. I guess it's the same for anyone who is self employed sometimes you can lose your passion and focus for what you're trying to accomplish and you have to try and rekindle that enthusiasm.

Alternatively, what's the most rewarding part for you guys, and why?

Honestly just having people on twitter or at a show or wherever saying that I'm doing a good job and they love the store. That's always really cool. Especially when I do a festival or gig somewhere I've never been before and there's someone digging through a crate and then they order all the time there's nothing more rewarding than that!

For anyone out there looking to start their own label, then what advice would you give to them?

It's hard to give an answer to this without sounding clichĂŠ but make sure you are passionate about the bands you are working with. It's unlikely you will start making money straight away and you don't want to regret putting all that cash into something you don't love yourself. And secondly I would say make sure you actually have the time to run it properly you don't want to get that reputation as the label with the great bands but terrible at mail order.

What else can we expect to see from Monkey Boy Records in 2015?

I'm working on some stuff with a local Kent based band called Holy Pinto which is really exciting, you should see an official announcement on that in the next month or so. Other than that I hope to bring the distro to more festivals this year, I had a great time at Hevy and Leeds last summer so it'll be cool to do more stuff like that.

And of course the online store will keep on growing I'm sure!

The ashes of Decrepity project gives birth to Sightline . This crew, which methodically throw a modern death metal , take its inspiration from the arid climate of north american country of metals mines and black spruce. Sightline debut EP *The Highway* is available now.

Physical copy : http://blindeyerecords.storenvy.com/collections/411386our-releases/products/9041815-sightline-the-highway-cd Digital copy : Itune, Rdio, Deezer , Google play , Amazon, Spotify, Xbox Live, Emusic Facebook: www.facebook.com/sightlineofficial

4 guys? Yorkshire-based? upcoming EP? Oh yes, we are Fading Sunlight.

What are we?

Our band's genre is widely inspired by today's pop-punk groups, with our own unique twist of hard rock/metal thrown in.

Who are we?

We are a group of 4, simply hoping to release our type of music onto the world. Lewis Oldfield is our frontman, the man providing the lyrics and creative guitar parts for that extra kick in our songs. Next up, Tom Bickerdike is the man behind the blaring melody lines on guitar and presents the harmonies and backing vocals in various tracks of ours. Following that is Jack Gill, the beast behind the bass (he doesn't bite we promise). Undoubtably being the one cementing our songs together with deep resonating bass lines. Finally we have Greg Elliott, the guy with two bits of wood in his hands to deliver the echoing crashes and bangs from the depths of the stage.

About us?

We formed 2 years ago in Yorkshire - (Around the time that 'Gangnam Style' was still considered socially acceptable). In the early stages of our band's appearance, we were very fond of popular metal groups. More specifically, Bullet For My Valentine. Along the way, we realised that the 'metal scene' was not really for us. We began to grow tastes for bands such as Biffy Clyro and Blink-182, however still retaining the unconditional love for more modern metal bands like Periphery.

What's to be expected?

Currently, we have a good amount of our own material to produce our long-awaited EP. Presently, we believe this will be made available to the public on April 20th, however this date is fluctuating and doesn't have a fully set release date.

Anything else?

A lot of our demos are on our band page on soundcloud (FadingSunlightUK) if anybody would enjoy a listen to a draft of our material.

CONTACT: fenderlewis@hotmail.co.uk facebook.com/FadingSunlightOfficial

Interview with Andrej

“Andrej is a very busy man, whether it be co-managing the talented Gnarwolves or packing up orders to make sure that they reach his customers on time, he is constantly making sure that he puts 110% into everything he does. So have a read, as we find out all about the awesome Tangled Talk Records!”

Can you tell us about the formation of Tangled Talk Records?

After playing in a few mediocre bands that didn’t do anything I realised I was probably better suited to being on this side of the 'music industry’. I’m still working out whether or not that’s the case.

How did you get to the name Tangled Talk Records, and what does it mean to you?

I got it by knowing the words to almost every Blood Brothers song. I thought it sounded cool, but I then regretted it. I think it’d actually make an alright name for a hip hop label, so you might see a change of direction from us in the future.

Can you run us through what a typical day would involve for you, as a part of Tangled Talk Records?

A lot of emails, occasional Skype calls or meetings (bands, labels, distributers, agents, etc.) a few spreadsheets, and a lot more emails. If I’m lucky it’ll involve actual label things like planning out a release, approving masters and artwork or going to shows. Alongside the label I also co-manage Gnarwolves and do freelance web design work, so my days are pretty varied.

So, can you tell us about some of the bands, and releases you are currently working with?

Our last big release was the Gnarwolves album, since then we've put out 7”s from Boxkite and a split with Rolo Tomassi & Stockades. There’s a couple of things to announce this month, including a return from one of my favourite UK bands.

Also, what is it like to work with a band on the lead up to the release of an album/EP? I mean, can it be a hectic time for you guys?

It can be really hectic but it’s also the most exciting time for me. It’s the culmination of months of hard work between a lot of people (more than most fans are usually aware of) and it’s super rewarding when that release date arrives.

So what do you look for when you are looking for a band to work with?

First and foremost it has to be a band that I love. If I’m not listening to them most days or weeks then it’s not worth it. After that I look for bands with passion and drive, who want to work hard, and who aren’t bad people.

What do you guys think about the vinyl format, as well as its massive rise in sales over the last year?

It’s always been my preferred format, personally and to release music on. There’s something about buying a new record, gawking over the artwork, liner notes and placing the needle on the record for the first time, and you just don’t get that with any other format. It’s awesome to see the rise in sales, it proves there’s still an audience that wants to own a music collection and support bands. How far it can go is the question.

“There are moments that justify the work that goes in and make you think maybe you’re not insane to be doing this” What vinyl release have you really enjoyed putting out there, and why?

Setting aside the music itself (that's like asking to pick a favourite child), it’s always fun to go a bit crazy with packaging or colours. I’ll go with the Pariso / Kerouac split, co-released with Holy Roar - who deserve more credit with the idea. 5" vinyl and credit-card shaped CD on a pop-up mechanism, in white or black litho-printed digipaks. The music’s pretty good as well.

What's the hardest part about running an independent record label, and why?

Finding enough hours in the day, having no money and explaining to family members what I actually do.

Alternatively, what would you say is the most rewarding part about running a record label, and why?

Any time our bands move onto bigger things or start to gain recognition. There are moments that justify the work that goes in and make you think maybe you’re not insane to be doing this. Watching Gnarwolves play Reading & Leeds Main Stage was pretty special.

What else can we expect to see from Tangled Talk Records in 2015?

It’s actually going to be a bit of a quieter year for the label itself because I’m being selfish and taking a break to do some travelling (the label’s being left in safe hands, but it’s still largely a one man operation). It won’t be for any of the bands though, and you can expect new albums from Let’s Talk Daggers, Svalbard, The Prestige, Rolo Tomassi and probably another 4 or 5 releases from Pariso.

NOW!

“Gaining his passion for art from an early age by drawing his favourite cartoons on a daily basis, Jon has simply always wanted to do this for a living. His devotion to his work has seen him collaborate with bands such as Parkway Drive, and he also won a competition to become one of the main artists for the awesome Hard Times Clothing!�

How did you first get into art?

I was always drawing, since I can remember. As a little kid at school I would sometimes sit in at lunch with some friends and we would all sit and draw, mostly from cartoons on TV, like Digimon, Dragonball Z etc and put them all in a big folder, good times. Since then I took art at A level, and went on to study Illustration at university.

Who was your first major client, and what was that like for you at the time?

I was a fairly fresh graduate and I was just drawing, and emailing, and uploading designs on as many websites as I could. Out of the blue Parkway Drive emailed me asking how much I wanted for one, which was mind blowing for me at the time!

Can you tell us about your most recent projects?

I can't give out too much just yet, but I have recently been working with a UK clothing label, Hard Times Clothing, getting some designs drawn up for their latest line, so go check them out, as they have some great stuff coming soon!

So can you run us through the process of how a design would normally come together?

I usually just start with a blank page in a sketchbook, and just scribble out thumbnails of ideas I have. Once I have filled a page or two I pick the best few and draw them up a little more, then me, or the client picks the best one. It’s drawn up as a rough, which will then be worked over in the final lines as well as adding shading.

What's it like to work with a client then, do they normally tell you exactly what you want, or do they just let you get on with it?

I've worked with both kinds of clients, both have their pros and cons, usually the best way to approach it is in the middle, have a strong idea of what you want, but let the artist do their thing and bring some of their style and visual signature to the work.

How did you end up working with Hard Times Clothing, and what have they been like to work with?

I won their artist competition a year or so ago, and since then they have been great to work with and we have been working together on a fair amount of projects since, a great client. Once we settle on an idea they trust me enough to just let me go with it!

Can you tell us about the stationary or equipment you use when putting together a design, and maybe how long it has taken you to find the items that are the best for you?

I used to work primarily digitally, using a tablet and photoshop, which I still do, but I find that recently I am favoring good old pen and paper, there’s something about the texture, and tactility of it that appeals to me, it gives it a look you can't quite match. However you have to learn to not rely on CTRL-Z! Currently using Pigma Micron pens, they have decent nibs and ink and seem to be widely used in the industry.

What's the hardest part about what you do, and why?

I would say staying motivated, being freelance, and your own boss you're the only one who can tell you to get your act together, especially when work isn't coming in as regularly as you'd like. But if you keep your head down, focus and work at it every day and keep moving forward then you will be glad you did.

Alternatively, what's the most rewarding part for you, and why?

Just the fact that I get to do something I love doing, and having people who are a fan of my work. When people want to buy my work it is a huge honor, and I can't really ask for more than that!

For all the upcoming freelance illustrator's out there, what advice would you give to them?

Don't get discouraged, it's a marathon, not a sprint. If it's something you really want then just give it all you've got. I've read so many articles and interviews from other bigger artists and illustrators and the one thing they all seem to have in common is a strong work ethic!

Tour Deforce - Live And Let Live Progressive metal is a strange genre for me. I don't particularly enjoy listening to it. I find at times it can be a bit samey but the talent that lies within these bands is incredible. This is Tour Deforce and their latest single.

Hailing from Texas this metal group have been established since 2012 and from the looks of their online trail it seems as if they never stop.

The vocals in this song are powerful, the drops are short and sharp and the song as a whole is just an excellent piece of music.

The pure emotion you can feel on bands you've never heard of can at times be staggering. That is exactly how I felt when listening to Tour Deforce. I may not be a fan of this genre but I'd be very excited to see what this band produces in the future if it's anything like this.

RO

Sleeping With Sirens - Kick Me Sleeping With Sirens are one of those bands that due to their unique vocals provided by Kelin Quinn are either loved or hated. Since they burst onto the scene a few years ago they've been all over the world and it still seems like there are some people who don't believe this is deserved.

Kick Me is a song relating to these people. The chorus of 'you don't know shit, don't know a God damn thing about me' resonates this point all the way home.

“If this is a taste of more of what is to come then it's not to strange to believe that this could be the year of the sirens�

This definitely stands out as one of the bands stronger efforts. Its hooky rhythm and lyrics definitely means it will be a repeated track on any angsty teenager's Iphone as they think 'Yeah the world doesn't know a thing about me either'.

Sleeping With Sirens are playing up to their target audience and they are doing it well. If this is a taste of more of what is to come then it's not to strange to believe that this could be the year of the sirens. RO

Funeral For a Friend - Chapter and Verse There seems to be a bit of a feeling these days that Funeral for a Friend are only that good as a nostalgia act. Sure, Casually Dressed & Deep In Conversation and Hours were good but that was a decade ago, and let's be honest Memory & Humanity wasn't great. Past that people don't really seem to care. Get that out of your head right now!

I will defend with my life Welcome Home Armageddon and even if The Conduit was a bit hit-and-miss, Chapter and Verse is sure to please fans both old and new.

It's very pleasing to hear that FFAF seem to have decided to go more down the post-hardcore route that was always a bit of a backdrop to their emo tendencies.

Maybe it's due to the line-up changes, maybe it was simply a creative choice, but right from the moment Matt's screaming vocals come crashing over the clean-crunch intro of Stand By Me for the Millionth Time, there's no doubt about it that the emotional connection they've always had has not gone anywhere.

But one of the most enjoyable things about this album is the riffs. The aforementioned intro song is chock-full of punchy guitar work, and Pencil Pusher especially has one of the fattest, bounciest riffs FFAF have ever written. There will always be the little clean licks across the verses and standard 4/4 quaver choruses, but this is Funeral for a Friend, there will always be those things, and they will always do them well time and time again.

The best way to describe this album would be solid. It's not mind-blowing. It is definitely worth a listen. It isn't really anything new, and I can't really see it making many people's top five of the year. But as an enjoyable pieces of music go, there are moments on here that deserve to be up there with some of Funeral For a Friend's best, classic work. AL

First Turn - Touch Me Post-hardcore quartet from Texas, First Turn made the move to reissue their debut album, 'Touch Me'. Originally released in mid 2013, a solid post-hardcore album which received positive reception from their local American scene.

Throughout the album the hard rock roots are undeniably evident on the majority of the tracks with an abundant of simple, yet effective blinding guitar riffs driven by the unpretentious and upbeat harmonies.

'Thursday Morning' and 'The First Night' are the catchiest of the albums and demonstrate their hardcore abilities a little more than the rest with raspy, throaty vocal screams inbetween the thrash of crazy hooks.

The record is a blend of punk, vocal-centric over electric guitar riffs pulling strong style influences from bands such as Thrice, Finch and Brand New. The reissue release has an added bonus of a new acoustic version of their hit song 'Somewhere To Believe' swapping bellowing of electric riffs for post-production clapping. The vocals harmonised with a softer approach and beautiful instrumental set up but seems to sell the album on a stunted note to end on.

In short, First Turn are a breakout band, with the persistence, and an eagerness to develop. With a load of hard work ahead of them, then the band could have a potentially interesting musical adventure, as long they reach for more and stay clear of the wormhole that eats up most post-hardcore bands. MP

Genuine Aspect - [Essence] Essence starts off with a quirky slow guitar riff with a slow building drum beat in the background, as violins enter seamlessly from nowhere. Just when you think, this is all it is the mood changes, the violins die down and the guitar is a heavy riff making machine crossed with out of control drumming that even Travis Barker would agree are insane. The violins pick up again with triumph and match the guitars equally in pace.

What a great and fantastic opener to an album! A truly great way to show music fans that everything doesn't have to sound the same.

As the second song Random ID kicked in with notably heavier tunes I was thinking, this will kick in now, surely there will be some singing. That is when I realised this whole EP is without vocals. A mish mash of metal, mixed with soothing violin work fused with riffs that could melt your eyes.

As I carried on listening I started to really appreciate every note, every melodic piece strung pluck, every drum beat hit, every note hit with such precision. At times it's even quite emotional.

Some of the guitar work can be related to Metallica, Bullet for my Valentine and even Muse.

Without sounding ridiculous this could be one of the best EP's I've ever listened to personally. It's an amazing concept to just make music. The fusion of metal and orchestral dialogue at times can make you think of Final Fantasy or even on The War of Art I was even reminded of the music from Buffy the Vampire Slayer.

Genuine Aspect are the saviours of this dank and murky plane where music is manufactured and artists have songs written for them so they can mime it to an oblivious audience of pawns. Anyone who truly appreciates music should listen to this as it just leaves you speechless. RO

Palisades - Mind Games Palisades are back! After the incredible effort in 2013 with Outcasts it's always nice to see a metalcore/dance act back on the scene doing what they can to preserve the amazing genre.

Let's face it the metalcore/dance scene is all but non existent! Attack! Attack! Had it but they then slowly withered and died.

At times Palisades can sound a bit like Hollywood Undead with songs like Trueblood and Like A Drug. At other times they can sound like a mix between Cobra Starship and A Day to Remember.

Whereas the beat and backing behind People Like Us sounds like it would be best suited on 'Now That's What I Call 90s'.

Palisades are one of those bands that don't have a distinct 'sound' they do their own thing and do it well.

Hailing from New Jersey this band's new effort is full of scorching tracks. From the intro of Player Haters Ball demonstrating who this band are and what they do. This album doesn't have a low point and would be a favourite for any metalcore fan.

The vocals are impressive, the metal drops are awesome and more than anything it feels like a rave in your ears. Pick up this album if you were a fan of Attack! Attack! Do it! RO

Enter Shikari - The Mindsweep When Enter Shikari broke through the stratosphere into the mainstream in 2006 it had been three years in the making. The St Albans foursome had made quite a name for themselves. With their fusion of trance, electronicore and metal, coupled with a reputation for crazy shows, they were certainly on their way up.

It would appear that the boys have all grown up as demonstrated by the final words on the album 'Mutato nomine, de e fabula narratur' translating to 'with the name changed the story is told of you'.

Something I'm sure Rou, lead singer and known emotion instigator, wrote to make us all think about our separate lives.

While most bands would sing about love or girls, first song The Appeal and the Mindsweep I is based on a book by George Orwell. It begins in classic Shikari style - a mix of melodic backbeat accompanied by Rou and his 'appeal'. The song quickens pace in the middle and the chorus of 'I am a mindsweeper! Focus on me!' resonates loud and proud.

Enter Shikari are one of those bands that have never been afraid to step to the forefront of politics and scream in the face of adversity. Mindsweep is no different. Whether it's roaring about the state of the NHS in the intense Anaesthetist by screaming 'you will not profit off our health!' or discussing the delicate topic of upper and lower class in the System Of A Down inspired There's A Price On Your Head.

The album is full of instant hits. Never Let Go Of The Microscope is what would appear to be a Linkin Park influenced piece that picks up heavily towards the end whereas Bank of England is a slow song involving blowing up the huge source of money and watching the paper 'burn for days'.

Songs like the first single The Last Garrison and Myopia really have that futuristic space feel to them. A sound in which Enter Shikari have become experts in replicating throughout their career.

Dear Future Historians is a beautiful sentimental piece in which lead singer Rou takes to a piano by himself.

He narrates to the people in years to come, that not everyone travelled the world, not everyone invented and not everyone found fame and fortune. A humble message that everyone can sing to show that it doesn't matter if you never 'walked on the moon' or 'saw the pyramids'. As long as you lived life and loved it that's all that matters.

“The hard work they put into everything they do is obvious and this is no different.

Mindsweep is an absolute work of art.�

The song reaches a penultimate point where the rest of the band join in and it becomes an anthem that just screams 'encore song'. Bring on the tour.

The ending of this incredible album comes in the form of The Mindsweep And The Appeal II. As scores of 'I am a mindsweeper! Focus on me!' are shouted again and again the song completely breaks down. The end result features a trumpet, a cameo of 'Sorry You're Not A Winner' and a latin speech 'Mutato nomine, de e fabula narratur'. You'll have to hear it to believe it.

Enter Shikari have managed to go from strength to strength and this is just another reason why they are one of the greatest bands on this planet. The hard work they put into everything they do is obvious and this is no different. Mindsweep is an absolute work of art.

Speaking of which, the album artwork is pretty cool too. RO

“Silent Sorcerer” is a five piece metal band from Salt Lake City, Utah with intentions to astonish all people with a magnificent sound, shocking energy, and an overall impressive live show that will intrigue fans of all ages.

“Silent Sorcerer’s” music is unique because they have songs that fit into all the different sub-genres of metal and cannot be placed into a certain metal sub-genre because of this. Their music is best described as heavy, intense, melodic, fast, and really gives all audiences a chance to be involved.

The bands most recent record was a three song self titled EP that was recorded in Columbus Ohio it was released in February 2014. You can purchase and listen to these songs on ITunes, Spotify and many other music websites. The band also has an official music video for their song “Shadows” off of their debut EP that has been viewed and enjoyed by thousands. Be on the lookout for the bands first full length album that will be released late 2015/Early 2016.

CONTACT: facebook.com/silentsorcerer

Comprising of Vocalist Klent Gullick, Along with session musician Jesse Enriquez, this yet to be signed Seattle based Progressive Metal band plans on breaking boundaries in the progressive metal genre. Originally formed by Klent, Nova: Rebirth was a side project. Shortly after choosing to leave his current band behind due to personal reasons, Klent took up the name and decided to devote full time to making the band have its debut by the start of the year.

Shortly after relocating to Arizona, Klent met with jesse Enriquez and fused his skills to the band along with Producer Gianni Carpinelli.

After adding Enriquez to the band, he relocated to the Seattle area to write and record with Klent. The band is currently excited with their first full reease of the debut single "The Spark Of Intrinsicality Part 1" With their producer Gianni Carpinelli for their awaited EP "World Eater". That single was released in January along with a lyric video for it created by ZW Multimedia, the likes of which have worked with bands such as The Word Alive, Oceano, LifeLike, and Famous Last Words. You can check out the bands Facebook for more information on the coming release of "World Eater" and further albums after the fact.

Links: Facebook: https://www.facebook.com/NovaRebirthOfficial Debut Single on BlankTV: https://www.youtube.com/watch?v=wSZ2w7gH2l0 YouTube Channel: https://www.youtube.com/channel/UCOUn2y2L6F-RwclcQ0sx9_A

Bleed American - Figure It Out Rock music certaintly has a lot of people behind it these days and it is because of its many supporters that bands like BLEED AMERICAN are able to make a name for themselves and establish a following.

Their EP Figure It Out is out in February and it's definitely one for the Weezer and Jimmy Eat World fans (If you didn't get the hint from the name). The intro is 57 seconds of rock music in the form of Sip. This pattern continues into songs such as Movie Theatre Theft and Bloom. Face to Face is a catchy acoustic piece to separate the album out from end to end. The vocals are full of compassion and just when it seems to hit its high point it ends. Beautiful piece of music.

“This is a great collection of music and I for one will certainly be keeping an eye on these guys�

Again we're back to the rocky pieces on the album. Some parts sound Fall Out Boyish and others even have pieces of Motion City Soundtrack in the vocals. The world is missing bands like these. Just rock music, a couple of guys, some guitars and a drum kit.

BLEED AMERICAN's first EP comes out a year after their conception and from the looks of it it seems they've only just begun to show us what they are capable of. This is a great collection of music and I for one will certainly be keeping an eye on these guys. RO

All The Rest - Loud Noises I would say the West Midlands is definitely missing a decent pop punk group in its midst of metal and indie music...yeah we had the Enemy but that's about it. All The Rest are a band inspired primarily by Blink 182 and want to bring the fun back to the scene that has all but died.

Their debut EP Loud Noises consists of just a couple of songs but its just enough to wet the appetite for this three piece band of vagabonds. Hate Her is their crowning beauty on this EP with the opening screaming lyrics. The riffs created by brothers Eddie and Jack are addictive and catchy, collectively comined with Ryan on drums it is an instant classic.

How The Hell? Has a slow start but once it kicks in it will be stuck in your head for days as the vocals burrow into your brain and make a nest. The last song will be especially relevant to people with siblings as it's about brothers who grew up together but now due to life taking over do not see each other as much. The simply titled Me and My Brothers may be a pop punk song but it can get a lot of people thinking.

All The Rest are one of Coventry's leading Pop Punk bands behind other greats but 2015 will be this band's year. It's pop punk all over and it needs to be injected into the mainstream of music. RO

Papa Roach - F.E.A.R Papa Roach are back with their follow up to 2012's, "The Connection" and their eighth album, "F.E.A.R" (Face Everything And Rise) which is a great motto to live by in life and also ties in nicely with Papa Roach's new sound which will continue to see them 'rise' and dominate the rock scene..

Opening song and title track 'Face Everything And Rise' is immediately hard hitting as you would expect from Papa Roach, with well written lyrics which are delivered with attitude through Jacoby's varied and urgent vocals - it possesses an extremely catchy chorus which will stick with you, this is a powerful and empowering song and it’s perfect to represent the album!

"Skeletons" opens on melodic guitar riffs and ambient flawless far reaching vocals which Jacoby treats us to in each verse - this one will rattle 'bones' and is something quite different from the band whilst in keeping with their core sound, making it a very strong relatable anthemic emotive song! "Broken As Me" is one hell of a groove driven beast which is a definite highlight, and demonstrates yet again their talents and song writing abilities, especially when it comes to writing a massive chorus! "Falling Apart" has a brilliant intro and demonstrates the excellently written lyrics, Jacoby's cleaner vocals and abilities which evoke tonnes of passion and emotion.

"Gravity" is one of the most surprising 'moments' of the album as it pays homage to the old school flavour of the band, with Jacoby's honest effective and clever rapping, but with a very new twist, where they enlist Maria Brink of In This Moment, which makes the perfect duo, the emotion and passion she brings matches Jacoby's - this is a must hear which is something different but with a pleasant familiarity at the same time. They certainly have reached new heights with this change in sound which still falls nicely within their releases! You will find this keeps 'floating' around in your head for a while to come!

"Warriors" pairs the band with hip-hop luminary, one-half of Eminem's Bad Meets Evil, and Slaughterhouse member Royce da 5'9". Making this another number which completely takes you back as it's not like anything they have done before. Again they have taken a bit of a risk, but thankfully they pull it off in this massive call to arms anthem which could easily be blasted it to the masses to rock out too... and rave too equally!

“They 'faced' it and will 'rise' to the top for their efforts!�

There are many stand out tracks on this album, in fact you can listen all the way through and appreciate each and every song, but some specific mentions have to go to the title track, "Face Everything and Rise", "Skeletons", "Broken As Me" and "Gravity" - a theme which seems to run through the body of this record is the positivity and hopefulness, even in this darkest parts lyrically and musically. Although each song brings something a bit new to the table, it all blends together in a neat and perfectly constructed coherent package!

From the start you instantly feel the high energy and power in every song aided by the strong lyrics and effective use of electronic synth sounds and somewhat industrial vibes at times, creating a brilliant new sound!

As we are just into 2015 there aren't many new big rock releases so far, but this release certainly sets the bar high, as it is a smashing release which will have a high impact! This is a great way to start the year with not only a superb album in its own right, but a new dawn for the band with a new sound pushing their boundaries and comfort zones. They 'faced' it and will 'rise' to the top for their efforts! CL

In This Moment - Black Widow Hard Rockers, In This Moment are back with a dark mainstream release and their follow up to their most successful album to date, "Blood" which picks up perfectly where it left off, but this time with extra creativity and more strangeness...

First song, "The Infection" eases us in and sets the ground for what we can expect, in this slow tempo moody powerful song. It slowly creeps in and then fully consumes you with its alarming build-up...Following on from this we have the wonderfully titled, "Sex Metal Barbie" which picks up where the last song left on and maintains the slow pace, with Maria showing off her unique and brilliant vocal variations from a talking type rapping to emotive hard edge screams and high pitched flawless tones. Although the tempo works and is effective, at times you feel perhaps they could ramp up the speed in parts so you can have a rock out to the track, but then again it does work...

"Black Widow" has an interesting prologue which sounds like some cautionary 80s news story to beware of the poisonous deadly "Black Widow" which is a good build up, which runs subtly throughout, before jumping into a dark dance rave vibe, with electronic synth sounds to achieve this, which is extremely infectious with poppy hooks and vocals that hold an air of insanity as Maria pulls off wonderfully throughout, this title track embodies the album and therefore isn't to be missed!..One of the other stand out tracks has to be, "Sick Like Me" which is a huge sinister 'infectiously' catchy anthem! Another must hear is the strange yet sensual, "Sexual Hallucination" which features the power house frontman, Brent Smith (Shinedown) which is a very pleasant surprise to the album in this unconventional strong ballad in which Brent and Maria's vocals blend smoothly together.

Whether this album is for you or not, there is no denying that this it is very different to a lot of the rock releases right now, and it sounds like the band have found their true signature sound, which they pull off incredibly well, amongst the largely slowish atmospheric build-up of songs it still manages to leave a massive 'bite' that will keep you going back for more, especially as it is somewhat bizarre and intriguing! CL

OK Go - Hungry Ghosts American alternative rock band OK Go return with "Hungry Ghosts" their fourth studio album which was successfully fundraised through PledgeMusic and which may just be their most creative and diverse yet!..

Opening, "Upside Down & Inside Out" kicks off to a fun upbeat start, messing with your mind but in a good way with its quirky glitchy electronic sounds, which are paired with great vocals from Damian and catchy instruments, aided largely by the electronic blasts. This is the sound of a band enjoying themselves and keeping creative!

The first lead single, "The Writing's On The Wall' in which the accompanying video impressively earned over seven million YouTube views and caused the song to debut at the top position of Billboard's US Bubbling Under Hot 100 Singles chart and in the top ten at number ten of the American Hot Rock Songs chart, marking OK Go's first entry on the chart - well deserved too, so give this hit single a listen! "Another Set Of Issues" keeps things exciting with groovy beats, rhythms and effects which are reminiscent of an arcade game, whilst Damian's high pitch memorable vocals compliment the whole attire perfectly, making this another highlight.

If you want something diverse, creative and a bit out there and different to your average rock, something a bit more positive and light-hearted - this will be perfect! It is good for when you’re in the mood, but there is a slight possibility that all the electronic concoctions seem to blur together perhaps more than needed making it hard to pinpoint specific songs, but in saying that the first half of the album displays the best moments with pop infused songs, displaying funky groovy beats and rhythms such as, the slick, "Obsession" and "I'm Not Through". This is their most electronic and modern release yet which they have executed wonderfully, as I said if you want something to chill out to and not take too seriously, this is great fun and is a good listen. CL

Storm The Sky - Permanence Storm The Sky, a young six piece hailing from Australia release their debut album, "Permanence" worldwide. Are they ready to take the world by 'storm'?! Or is the world ready for them?!..

Opening, "Alive" builds atmosphere and goes on to be a very strong electronic driven number, which is extremely melodic with powerful clean vocals from Daniel and fierce contrasting vocals from Will, making it a striking start!

First single, "Same Graves" draws you in and will quickly 'bury' its way into your mind! You get to feel the full wrath of Will's harsh vocals along with ambient soaring clean vocals and instruments which are far reaching and melodic.

"Dead Giveaway" marks the first guest appearance from Trenton Smith (Hands Like Houses) and as a result has striking dual and varied vocals which add extra depth. A particular emotive clean breakdown of vocals is a stand out point all charged and heightened through the use of electronics which is used throughout!

Keeping up the guest appearances, next we have "Portraits" featuring Matty Mullins of Memphis May Fire, and again this proves to be a strong offering and effective use of vocal differences. This fast urgency of this song works well but also the change of the tempo and structures is well placed.

"Oh Sister" with Jake Taylor from In Hearts Wake opens on an dark atmospheric intro which runs deep throughout the song and Jake does a brilliant job of putting his harsh vocals to good use. Closing song, "Red Letter" starts of on a calm ambient vibe and sees some of the best vocal performances, especially from Daniel so far and rounds everything up fittingly.

This growing band have made a solid release at the start of the year for the metalcore scene, it feels like this was their perfect time to release this, with their high energy, anthemic choruses and melodic riffs keeping the scene 'alive' and not stale, there is a sense of excitement and something refreshing about their debut. I think they will blast their way into the scene more following this with this emotionally and lyrically mature ambitious offering which oozes professionalism. CL

Angels and Airwaves - The Dream Walker It's hard to believe how quickly time ticks along, as Angels and Airwaves release their third album I notice that it is nearly 10 years since Tom Delonge's post Blink 182 act released the frankly superb We Don't Need To Whisper.

Over the years Angel and Airwaves have become more than just music as Delonge takes them in to comic books, novel, videos, animation and even a short film that incidentally, won best animation at the Toronto Film Festival at the end of last year.

The main theme of the whole, project shall we say rather than just this album, is the story of Poet Anderson.

The opening is a moody and gradual builder, 'Teenagers and Rituals' has everything you've come to expect, from the catchy chorus, synths and it grabs you and the distorted bass of 'Paralyzed' keeps you there with its very Sweet Emotion like hooks adding to one of the best moments on the album. Unfortunately on the whole this album feels exactly like what it is, one part of a project with many different branches and the music seems to be slightly lacking.

That is not to say it doesn't have its moments, 'The Wolfpack' is full of great hooks and a crushing chorus that’s instantly memorable and 'Tunnels' takes it back to a more simple formula, allowing the words and emotion in the vocals to take the lead and not be bogged down under the wall of synths and electronics creating what is for me, the albums highlight.

Maybe this is an album that will grow on me once all the pieces of the puzzle have been placed and it can absorbed as one big story. AN

Mind Over Time - ‘Ghosts’ New York City’s Mind Over Time are back with a new EP ‘Ghosts’ a couple of years on after their full length ‘A New Kind of Romance’.

The release starts with ‘Always’, the vocals interestingly have a megaphone effect, the song picks up in volume towards the end but it is not an overly impressive introduction. ‘Katrine’ is a much better song with engaging riffs and a catchy drumbeat, the vocals are also much clearer and more rounded.

‘Under The Lights’ is another solid number. I’d compare the style to the likes of Muse in terms of their atmospherical guitar tones and distorted vocals, the instrumentals will do well in captivating the listener. ‘By The River’ loses the distorted vocals and is a much clearer track, its fast pace and flowing lyrics make it a highly catchy song, the chorus is especially good. The backing vocals towards the end are choir like; enhancing the atmospheric sound.

‘Am I Dreaming?…’ is another very ambient track, the use of synth is very creative and blends well with the solid vocals. You can definitely understand the thinking behind the name of the EP - ‘Ghosts’, the style of music can sound almost spiritual. ‘SpaceDust’ finishes the album, the synth and guitars working well again and the vocals are at their most impressive in this track providing a stellar conclusion.

The future is bright for this band if they continue with this unique combination of different genres, with continued refinement and progression; this band will hopefully experience success if they remain diligent. JP

The Ghost Inside - Dear Youth If you want something to blow the cobwebs away in the morning then this is just the album for you, this is an absolute sledge hammer of a record. There are so many albums being churned out that it would be easy to get lost in the wave after wave of bands so the need to have something to make you stand out is essential, that is something Dear Youth manages to do, comfortably.

Right from the off there is no let up, the riffs fly and the crunching breakdowns keep your attention. While they aren't doing much different to what other bands in the metalcore community are doing, The Ghost Inside just seem to do it that bit better.

“The Ghost Inside's fourth album is one that should see them make some big waves this year” 'Move Me' is going to be a floor destroyer with its non stop vocal delivery and thumping riffs that keep up a healthy amount of groove.

It isn't all about speed as songs like 'With The Wolves' show with its slower pace and crowd engaging chorus that will give a quick moment to catch your breath and sing along. This simple formula gives it more dimension and keeps it fresh enough to keep the interest high throughout in the way Bleeding Through did in their later years.

The Ghost Inside's fourth album is one that should see them make some big waves this year with a release that should satisfy most within the metal sub genres. AN

Anominus – End of Atonement As wonderful as most of them are, metal fans can be a pretty difficult bunch to please. Somewhere out there, there will always be someone who says it isn’t really their thing. Which is fine, obviously, but it means that some bands are doomed from the start by simply being too niche.

I cannot see that being a problem for Anominus. In short, End of Atonement combines everything that is good about both the hard rock and heavy metal scenes and smashes them together in the kind of chemical explosion that comes around very rarely.

Of course, you could argue that this makes them somewhat generic. On paper it certainly does seem that way, and even on record there are times when you do feel like you might have heard certain bits before somewhere else, but if you can let the album wash over you then the generic moments become moments where “I’ve heard this before” turn into “I’ve heard stuff like this and loved it”.

Over ten tracks, Anominus have crafted for themselves a solid foundation from which to launch into greater heights. If they can continue to produce music like this, music that is melodic enough to have tons of people singing along at club nights and heavy enough to inspire utter carnage at their live shows, then these guys may well see themselves being dragged out of the Danish underground and into the international limelight.

AL Marilyn Manson - The Pale Emperor Here's one of those dampening facts that make you feel your age: it has been almost 21 years since Marilyn Manson's debut album, 'Portrait Of An American Family', the leading villain who continuously beat up the American Dream with his controversial, often sexual, and obscure music. Now, the king of darkness is back with a new album, 'The Pale Emperor'. Comprising some of his best material in a decade but almost certainly not the best album he has produced.

It's relevant, if not obvious; to point out that he is a very different Manson musically and directly in 2015. No longer are there exclamations of being the God Of Fuck or playing with his aggressive side but a somewhat mature character leaning on his-already familiar-dark side to produce creepy, from-theheart tracks.

His vocals have always been croaky and this album proves consistency, but it's evident the range of his vocals have become tame as he has aged-but we're talking rockstar level tame-this is not necessarily a terrible thing. The dude is 46 years old and he can still rock claret lipstick, leather and a stage. The maturity of Mansons' vocals bare a resemblance to his long time idol and legendary artist David Bowie, a hoarse tone that slides comfortably from his throat.

The gloomy 'Killing Strangers' firmly solidifies the opening of the album with low-key strum and Tyler Bates's six-string twang. The band's lyrical artistry hasn't lost any of it's hostility towards American society with lyrics such as "We're killing strangers so we don't kill the ones that we love" croaked effortlessly by Manson. A track undoubtedly aimed at the gun legislation that looms over America.

'Deep Six' is a strut back in to an earlier Manson era, a punchy tune packed with stomping riffs. The gloriously melancholic 'Warship My Wreck' hits the nail on the head as a finely produced piece of art with a thrust of electric beats and pale piano that really sets this track apart from the rest.

'The Pale Emperor' isn't quite the comeback to take hold of the long awaiting fans by the lugholes, but Manson has set the mast up once again, refocusing his energy on his abilities which don't need shock factor to prove as he would once so believe. No, the real supreme here is that Manson has re-established his flair as an ever-remoulding artist with a sharp sense of who he is about and what he is capable of. MP

A combination of catchy metal riffs, hardcore break downs, and both powerful, melodic structures/leads...creati ng a big dynamic sound packed with raw energy We are influenced by real life occurrences. Things we go through as humans is what drives us to write the music we do. all the ups downs and all arounds is what makes the music flow from our souls into your ears.

CONTACT: facebook.com/noneedforarmor

A Skylit Drive - Rise: Ascension The Californian post-hardcore band, A Skylit Drive, have released their fifth album as an acoustic reimagining of successful album 'Rise', and now we have 'Rise: Ascension'. After the departure of Brian White and Corey La Quay in 2014 you'd think this version was going to be a tragic decision but in actual fact, they on were on to a good'un with this.

'Save Me Tragedy' and 'Unbreakable' steal the first opening moments and any doubts of the album so far. Bearing in mind that these tracks were completely disassembled and built back up with intricate instrumental styling and focused harmonies, they don't suffer from any loss and quite possibly flow moreso than the originals. They've swapped industrialised rage for a smoother acoustic version that previously had been unimaginable.

On tracks such as 'I, Enemy' and 'Pendulum' Michael Jagmin's vocals have room to breathe and flaunt without being overshadow by their recent powerful signature synths, instead his vocals now flow in harmony with swelling strings.

'Rise: Ascension' is a complete reworked piece that wholly works for the remaining members who stated the reasons behind the two departures as artistic disagreement, and with this album it's clearly very evident.

However, A Skylit Drive seems very comfortable in this new skin and it is going to be an interesting ride to see their progression with their new approach. MP

One Last Run - Self-titled EP Warrington based hard rock band, One Last Run, have been working hard towards the making of their self-titled debut EP. They only formed in the later half of 2013 through a run up of various other projects, it may seem a short time but for the band it has been a long road of patience and progression.

Fronted by a powerful vocalist, Becky Roberts, dynamic riffs from the guitar work and driving pummeling from the rhythm section. The ballsy rock band pulls the album to all directions with lyrics that'll yank you inside out.

'Close My Eyes' is a dive straight in there kind of tune. Crushing with whooping bass finely tuned in time with a kick from the drums, and a high-voltage of energy from electric guitar. Punched with a clear vocal range from Roberts from beginning to end crushes this song into perfection.

“

“One Last Run have produced an impressive debut to kick start a promising and potential future�

The album takes a little turn to lull you in with 'Breathe', with a gradual electric guitar solo that is hit with pounding drums before Roberts towers it again with her pitch perfect vocals.

With all the on-point slash guitar solos and grandstand hooks paired with Robert's soaring lungs; One Last Run have produced an impressive debut to kick start a promising and potential future, and holds a lot of hope as a hard-rock, no holds-barred, intense female fronted band. MP

Roam - Viewpoint - EP Eastbourne based pop-punkers Roam have already made their mark in what short time they've been a band. Sharing the stage with the likes of UK risingstars Neck Deep and US punks State Champs, Roam have come a long way since their formation In 2012. Roam are about to catapult themselves across the globe this year. Signing to Hopeless Records the home of All Time Low and We Are The In Crowd, with the band's first material on the label in the form of an EP titled Viewpoint.

ROAM have their music of choice nailed down to the last detail. Opener "Over Your Head" shows ROAM going all in from the very start, for a band that have only been formed for a short while, the boys lay everything down professionally and In a manner that would give their high-calibre counterparts a good run for their money.

The latter of the tracks which include "Warning Sign", "519" and "Safeguard" all showcase ROAMS capability in songwriting and it's more than ample. Showcasing that they're keen to fit into their new home, which has released some of the most acclaimed pop-punk records over the years. Huge sing-alongs, honest lyrics and fast-paced riffs all pour through Viewpoint and it makes for a listen that will please fans of the genre no matter if you're into Neck Deep or Heart to Heart.

For a band that haven't even made a dent on their career just yet, Viewpoint shows that ROAM aren't waiting around for anything. Be sure to catch them throughout the year and experience for yourself what all the hype is about. GD

Fall Out Boy - American Beauty/American Psycho American Beauty/American Psycho sees a newly reinvented Fall Out Boy. With the soundscape that shaped Save Rock and Roll, Fall Out Boy show no signs of turning back to their pop-punk roots. Instead bringing forth a record that further cements their new sounds but also packs songs made for big-venue euphoria.

Enthrallingly layered American Beauty/American Psycho presents a new Fall Out Boy. Big numbers such as "Centuries" and opener "Irresistible" show the band delve into sampling territory, with much of the album relying on this element, Fall Out Boy have shown an impressive depth to their sound by making use of this element. Of course Stumps signature vocals and Wentz' lyricism are second to none here.

“Fall Out Boy have produced one of the most interesting albums of their career�

"Fourth of July" and "Favourite Record" comprise of impeccable producing and big sing-alongs destined for big venues. But where American Beauty/American Psycho triumphs it also falls, in search of huge fistthrowing tracks within the first half, the latter of the album often dips as Fall Out Boy begin to fall behind most notably on the track "Twin Skeletons".

Save Rock and Roll was a triumph in that Fall Out Boy pushed beyond their recognised sound and threw something back with soul and more lip than a angsty teenager. American Beauty/American Psycho further pushes their newfound sound with engaging sampling which plays at the forefront of this record. Along with huge-venue esque sing-alongs and enough fist-throwing tracks to throw the biggest of crowds into a frenzy, Fall Out Boy have produced one of the most interesting albums of their career and not only shown their skills for finding new sounds, but also bending a genre in which catapulted this band to their success. In other words, American Beauty/American Psycho is cracking! GD

Shake Well Before - Woland There isn't much to say about metalcore bands that hasn't already been said. The genre has got to the point where most things have already been done. Still, this doesn't mean that there isn't still some good music coming out of the genre, it just means that a lot of what you'll hear, you might have heard before.

One of the most apt ways of describing this album would be solid. It's not revolutionising the whole concept of heavy music, and I can't really imagine it was on many people's Top Five lists at the end of last year. But it is not a bad album.

It's a decent way to spend half an hour.

There are some pretty top-notch riffs to be found though; the intro riff to Liars with Guns is a typically metalcore way of inducing compulsory headbanging, ditto pretty much every second of Jennifer's Body Was Awesome and Black & White. One of Shake Well Before's strengths is most certainly writing good breakdowns (always helpful in metalcore). Totem especially has some fantastic breakdown work towards the end, and intro track Game of Death is basically one enormous chunky chug-fest.

The main downside to this album is an apparent lack of diversity. Admittedly, Shake Well Before can do both the fast & thrashy and the bouncy rhythmic types of metalcore well, but that's about all there really is on Woland. It can be an entertaining listen, don't get me wrong, but as far as exciting and captivating go then it would take being performed in a live situation to showcase the true strengths of this album. AL

Light You Up - All We've Ever Known People don't still complain about pop-punk do they? Yes, we know it's simple. No, we don't care. Yes, we know you might have heard it before. No, we still don't care. Why bother writing exceptionally complex music just for the sake of it, when you could write something that is just a lot of fun and do it so much better?

Even though they hail from Birmingham, the work these guys have done with Panda Studios in San Francisco really shows through. There's something distinctly American-sounding in the vein of Man Overboard and Bayside about the overall feel of the album, the production especially. Luckily they've managed to steer clear of that thing where signers slip into an American accent, and on the title track and follow-up Good Days the incredibly British vocals add a touch of the feeling of home (possibly only to a British listener though).

“Put simply, it's very hard to dislike this album�

Being from their music-related backgrounds (Drew - Guitar is a tour manager & Tom - Bass owns a tour bus company) this band clearly know how much effort goes into making music that comes from the heart, something that really comes across on this album. First single Always Wanting More ft. Alan Day is full of so much soul that every time Tom Napier belts out "You'll never leave this fucking town" you absolutely believe he feels strongly about his subject matter.

Put simply, it's very hard to dislike this album. It just feels so honest and well produced that to search for specific faults within the bigger picture of the album would be to ignore the fact that each song (and indeed the entire album) is made to be listened to as a bigger picture - it's not a tech-metal album where you can analyse each section of each song by itself. And it's pretty bloody brilliant when you do. AL

36 Crazyfists - Time And Trauma Alaskan band, 36 Crazyfists return after a five year break with their sixth album, "Time And Trauma" which was also produced by guitarist, Steve Holt and marks the start of their deal with new label, Spinefarm Records..a new year, new label and a fresh sound..

First song, "Vanish" (We All Disappear) quickly reasserts their presence and fills the void of their absence with their unique blend of metal which they fully embrace here, but with a more hardcore fierce stab, fuelled by anger and hostility!

"11.24.11" keeps up the high standards and momentum with Brock's aggressive screams and equally clean melodic vocals backed up with fast impressive catchy strong instruments! Brock's ferocious and resounding vocals still manage to hold an emotive maturity, something which is offered throughout the album..

"Sorrow Sings" opens on a heavy chug intro from guitarists, Steve Holt and Mick Whitney's and goes on to be ever powerful and features a huge anthemic chorus. Brock's vocal delivery in terms of variation and pitch really adds to the strength of the song, as he has more emotive tones and unstable screeches with more depth and meaning.

Title track, "Time And Trauma" is one of the most diverse and striking, demonstrating effective pleas from Brock who adds the feeling behind the songs general despondent sound. The title track completely embodies the essence of the album making it the perfect choice for the task!

"Also I Am" is a stand out one with its tempo changes which keep you on your toes and not to mention a surprising and impressive guitar solo, which highlights the skills of the band more so.

"Slivers" features brilliant melodies, rhythms and more free spirited harmonies, which are left to roam throughout with not so much focus on the screamed vocals, giving this a more hopeful and liberating sound!

Following on and keeping everything tied together, "Swing The Noose" has one of the most memorable choruses and will go down a treat with fans, especially with its well-structured tempo changes and changeable vocals, making this is a stand out song.

Closing song, "Marrow" starts of on a mellow intro with soft spoken and emotive vocals, which are quickly accompanied by haunting and powerful female vocals which have the desired effect, making this ending the most moving with an impressive build up reaching great heights, whilst weaving in and out of isolated beautiful moments to more brutal yet delicate ventures, putting you through the motions as we reach the end.

This album will be very appetising to existing fans but I think they will entice many new fans also to devour up their wonderful blend of metal which is filled with frustration, pain and all delivered in an intelligible and solid manner. The albums theme and context of "Time And Trauma", they really represent fully through the emotive aggressive and clean vocals of Brock with the moody instruments to compliment. It is quite evident that the album and the bands long break reflects on the 'trauma' of the bands past, but with a more mature backdrop making this some of their strongest and most diverse material to date! CL

WITHOUT A HOBBY

The band started with Bryant, Andrew and our former vocalist and close friend Matt Hobby. Around 3 years ago is where it all changed. Our best friend and band mate Matthew Lane Hobby passed away in 2011. We then decided to change our name to Without A Hobby in remembrance and dedication to our missing band member.

Along the years we've lost and gained members but right now we've found the perfect group of musicians and friends to put together what we originally wanted to start when Matt was in the band! We play for our christian faith and to share a message! We are also still experimenting with sounds and styles but we can say we are all drifting to a more southern type deathcore feel!

CONTACT: facebook.com/WithoutAHobby

Available now:

Wellborn Road - Pain Hate Redemption Straight away with opener, 'New Found Life' you can hear a mix of classic metal with a healthy dose of the modern turn of metal.

There is a huge Metallica influence musically with Scott Emanis having a very Hetfield grizzled voice morphing in to Corey Taylor and guitars very Dimebag like.

The title track finds the music heading in to Black Label territory with plenty of those Zakk Wylde licks and southern rock feel while still incorporating plenty of thrash energy. Some of the breakdowns and particularly the closing few seconds is going to be prime chaos inducing pit music.

In to the third song and the tone moves heavily in to Alice in Chains, the vocal style has shifted again and while the guitar throws out some some nice hooks it is impossible not to feel that this band needs to find something to make them stand out individually.

Already I have mentioned plenty of of bands and people they sound like but there is just not enough that makes them unique, there seems to be too much in relying on influence than forging their own sound and path.

Don't get me wrong, the songs are good, the change from the heavy double bass dominated to the slower 'Left Behind' shows there is a lot of variety that can be called upon and 'With Broken Wings' is a great song.

There is potential for Wellborn Road, they just need to find that spark to make themselves stand out from the shadows of their influences which are too obvious. AN

Red Kate - When the Troubles Come If you want an album that is going to grab you by the balls and not let go while they repeatedly slam you against a wall then Red Kate are just the band for you.

From the dirty blues drenched riff that opens the album, launching in to 'Union Voice' this band have got a groove and passion and it is impossible not to be swept up right along with it through the superb rockabilly solo and the raw tempos that shred all around it.

The pace doesn't slow on 'Pink Sweater' a song that has moments of Queens of the Stone Age springing to mind but with far more aggression and attitude.

There are so many elements coursing through the veins of this album, 50's rock n roll, punk, rockabilly, blues and plenty of country which, given that the band are from Kansas City is probably not a surprise.

With all these different elements it would be easy to see how this could end up being a muddle of an album, there is not a hint of it though. It is focused and tight while maintaining a loose, band jamming in the bar kind of vibe.

A browse through the lyrics also tells you the sort of band you hear, politically charged, working class attitudes are very prevalent but while bands such as Dead Kennedys would make you feel that the music was a primarily a platform for getting their message across, Red Kate feel as though they are having a great deal of fun with this at the same time as getting their message out there.

This is a great album, give it a listen and you may well find a new favourite band. AN

Wednesday 13 - Monsters of the Universe: Come Out and Plague Probably the most famous horror punk band since the Misfits gave punk a demonic makeover, Wednesday 13 is no stranger to giving punk his own brand of the devilish and macabre.

I would have to say there isn't much punk about this album, it is heavier and more melodic than you would expect from the genre as he pushes closer towards sludge and even industrial at times. This album feels very much like you chucked White (Rob) Zombie and Alice Cooper's DNA in a jar and grew your very own Wednesday 13, warts, demon and more.

Following a spacey opening the album kicks in proper with 'Keep Watching The Sky' a medium paced groovy number with a bouncy, staccato beat cutting in to a very White Zombie radio message before kicking back in to high gear. While 'Astro Psycho Galactic Drive' and 'Come Out and Plague' carry on in much the same style, it is quickly changed in to more straight rock on 'I Ain't Got Time to Bleed'. It's full of the usual rock cliche lyrics but it is done in such a great way you can't help but love it and continue to groove along with it!

The midway point drops back in to the same spaced out montage of the opening couple of minutes but eventually turns in to a death metal album for a time on 'Planet Eater – Interstellar 187' on an absolute power house of a song. Double bass blasts, Deicide like riffs and monstrous, extra terrestrial sounds that would eat up E.T as soon as he looked at him. This isn't going to win any album of the year awards but it is a great album, a chance for escape and to get lost in the theatrics of this space opera. AN

John Murphy - ANO The chances are you may not have heard of John Murphy but the chances are pretty good that if you watched Snatch, 28 Days Later, Kick Ass or even...... Basic Instinct 2, then you have heard his music. He is a film scorer with an impressive pedigree from independent studios to some of the most powerful there is and the list reads like a must watch countdown of films. This album is what was left from a score that was, as the title suggests, rejected a number of years ago and has now been packaged as a stand alone album.

The craft of building a film score isn't as simple as just writing music, it will be as cut throat and brutal an avenue of film making as any other. A soundtrack is engrained in to a films core and at times as famous as the film itself. The Good, The Bad and The Ugly, The Godfather and probably most of all, Jaws are the prime examples of the art. This feels exactly what it is, a soundtrack but the beauty of this soundtrack is that you could sit back, imagine your own story and allow your imagination to wonder. It is easy to get wrapped up and lost with this album with the dynamics bringing different moods and vibes.

The jump from the seducing, soft piano accompaniment of '3.59am' in to a fuzzy, distorted guitar is filtered in without missing a beat to provide the hook under the string pieces. It is gripping and hauls you up and down like a yo-yo by being both chilled out and aggressive. At a shade over eight minutes it could easily be at least three good separate songs but together, with this ability, they make one perfect piece. The use of every day sounds at times chops in, very subtly but also to a very great effect. The siren wails that pierce the slow building piano and flute on '8mm Dream' paint a great picture of that rough city landscape during a sunrise gradually bringing the string section to life to takeover.

The string sections at times are a thing of beauty, 'Dead Ballerina' is the stuff of a tragic opera, a beautiful piece of music with a haunting conclusion. From there it is in to an almost industrial song, almost Filter or maybe even The Prodigy like in moments with 'Automatic' but again with a wonderful string section. This album is a master class in moulding compeltely conflicting styles of music and not just making them fit but making them feel as though distorted guitars and electronic keyboards with an orchestra is the most natural thing in the world, like it has never been anything other than the done thing.

It is not an album that will be for all ears but if you are a fan of soundtrack albums, such as Paul Leonard Morgan's Dredd or the works of the masters of the classical period then this will take you on a unique musical journey. AN

Milk Teeth - Sad Sack If you would imagine a mixing pot filled with The Stooges, Dinosaur jr and Nirvana, it is entirely possible that the opening seconds of 'Vitamins' would be the result. The effect and feedback laden noise makes this so messy but at the same time very addictive with the melancholic voice of Becky's giving it depth and when she cuts in with those screams it really is something special.

With 'Melon Blade' it goes slightly heavier but also cuts out to elements of the Lemonheads leading to an impression that this is a band out of time. They would have fit right in with the early 90s alternative rock scene but the problem with that is that they may have been lost in the ant nest of bands that existed at the time. In 2015, they stand out as something that hasn't been heard for a while and will be completely alien to listeners of a certain age.

It becomes far darker with the edgy 'Linda', a song that pulls no punches but still finds moments of tenderness while 'Bagels' is straight up aggression, it is slower than the previous songs but loses none of its power.

'No Fun' sees the vocals taking on a partnership and the interchange between Josh and Becky serves them well and by the time 'No Trampoline' closes out then there is no doubt this is a band that are going to make waves. AN

With Dawn - Infinity Hopeful atmospheric post-metal/post-hardcore band, With Dawn from Cape Town release their debut album, "Infinity"..

Opening, "In" is setting the scene prologue which has an air of hopefulness and anticipation..Leading us to the first track, "Came The Gulls" bearing fierce vocals with strong ambient positive instruments, with well composed tempo changes and instrumental sections, which along with the changing vocals to fit the mood add to the emotions and power of the song..

"Cytherea" is one of the heaviest offerings with nu-metal blasts, but still maintaining the resonant and optimistic sounds, as well as a strong sense of urgency and aggression which is executed wonderfully, making this a must hear!

Keeping things flowing, "Diminished" follows on well and is very memorable and melodic, again demonstrating the effective use of clean versus the screamed vocals, which sounds like it could be two people, but is just the one, in the form of Kevin Rule.

This album has a lot to offer and displays the bands array of composition skills and diversity, "Driftwood: The Calm" and the continuation of this, "Driftwood: The Storm" best assert this in an epic fashion, showing clever progressions and well-structured changes both vocally and instrumentally!

Closing song appropriately titled, "Fin" sums up the essence of the album and what the band set out to achieve, being the most hopeful and defiant through the atmospheric instruments as well as characteristic breakdowns, transitions and build ups..the end result is effective, powerful and striking!

This is a debut they should be extremely proud of, sounding like a well-established experienced band, who not only have a hell of a lot of skill, but have created an exciting stand out sound; bringing the hope and positivity to metal music, which sometimes is lacking giving the nature of the scene, but they have got the balance perfectly and the end product is something not to be missed - following this stirling debut I think 2015 will be a big year for With Dawn! CL

Summer Cruise - Let The Cruise Begin EP Freshly formed metalcore act from Italy release their debut EP..

Intro song, "Sail" is atmospheric with distant screams building suspense before thudding into, "Concordia" which opens with plenty of heavier slow chugs, before picking up pace and ferocity with a hefty breakdown thrown in for good measure!

"Causes, Reactions & Effects" starts with a chilled guitar intro, before the instruments crank up in a fast and catchy fashion with melodic rhythms driving it, and constantly changing, showing precision and keeping things unpredictable as some metalcore can be! Whereas this leaves you wanting more! "Venus Friendzones" is metalcore at its best, with effective gang vocals, fast bouncy riffs and pounding drums, as well as a brilliant instrumental section/solo with ambient and far reaching sounds, making it a highlight! The ending song, "You Promised" (featuring Gaetano Coppola) introduces a bit of a different sound aided by the guest collaboration, which displays strong clean vocals and many memorable moments. As they have demonstrated throughout they decide to end on a high with an impressive instrumental with powerful vocals ringing out!

This is a solid and impressive debut EP which will leave you wanting to hear more! The band prove that this is one 'cruise' you don't want to miss! Considering they have only recently formed they have created a brilliant professional debut EP which should appease many a metalcore fan! Who knows where their sound will take them next! CL

Title Fight - Hyperview Title Fight are back with another full length following up their sophomore record ‘Floral Green’ released in 2012. This album has been eagerly anticipated as it’s their first LP in three years. The album begins with the mellow, almost shoegaze style ‘Murder Your Memory’ which consists mainly of dreary vocals and a soft guitar rhythm, an interesting introduction. ‘Chlorine’ screams grunge with its industrial style guitar riffs and a vocal style similar to Kurt Cobain, the first two tracks are very reminiscent of past numbers such as ‘Head In The Ceiling Fan’ from Floral Green in 2012. ‘Hypernight’ begins with a cool base line which seems out of context with the other instruments, adding an interesting element to the track, the vocals remain in comparison to Title Fight’s previous works, the chorus is particularly enjoyable on this track. I immediately drew comparison to the likes of The Promise Ring and Jawbreaker when listening to ‘Mrahc’ - the catchy riffs, drums and lazy vocals over the top re-establishing the sounds of the 90’s.

‘Your Pain is Mine Now’ is easily the best song on the album. The instruments and vocals collaborate beautifully in sync to create a superb piece of relaxed music. What is incredible is how the band almost sound like Daft Punk with a highly experimental piece of guitar work towards the end. If you’re expecting songs similar to those on Shed and Floral Green then ‘Rose of Sharon’ is the track for you with its fast pace and aggressive vocals of Ned Russin. ‘Trace Me Onto You’ is another higher paced number, again you could draw comparison to the likes of Jawbreaker. The guitar skills are on show again with continuous soloism, the pace of the song slacks off towards the conclusion of the song; with a return to the deliberately slow style at the start of the album. ‘Liar’s Love’ is another measured number with a catchy and nicely delivered chorus with the hook ‘don’t count on me’. If you’re not an admirer of guitar work then ‘Dizzy’ may bore you and may influence you to go onto the next song, granted the track is fairly drawn out and can come across as monotonous. The track concludes with a bizarre arrangement of noises and then leaks into the concluding track ‘New Vision’ - this track title is interesting as it may represent Title Fight’s thinking behind this new record. I like most other Title Fight fans would prefer more aggressive vocals, ‘New Vision’ is a nice ending but fails to truly complete the album.

Overall, this is a brave and unusual full length from Title Fight, each individual's skills clearly have to be admired on this record but I have concerns that moving away from the aggression (with the exception of ‘Rose of Sharon’) may disappoint fans of their previous works. It will be interesting to see if they receive a positive reaction, I have to compare the situation to Pianos Become The Teeth who changed their style to a more emotive and softer take on their music and their new LP ‘Keep You’ was just as enjoyable as their previous works. Hyperview will have no problem drawing curiosity and there are certainly some memorable moments on this album! JP

We founded in 2013 /2014 without any direction or any plans for our future.

The only thing we knew was that we wanted to make music with a message from our hearts.

The decision to write songs about topics like sociocritical was founded at our rehearsals.

After a long time of practicing we wrote our first song "Deepwater Horizon" and we decided to record and release this song. We got the chance to play our first show on the "Sputtenmosh" with Napoleon (UK) and we confirmed it. The feedback for this show was amazing and the people motivated us to play more shows and we recorded with Redshift Recordings our first EP "Deepwater Horizon" and released it on an EP release show with "Forever Ends Today" (GER).

At this point we´re looking forward into the future. We have printed our first shirt design because of requests from our fans. We sell our merchandise at shows and on our facebook page. People also asked for a music video, so we decided to cover Ellie Goulding's "Burn" and shoot the video with Mirko Witzki, a professional video producer, who also makes videos for Any Given Day (GER). The people shared this video worldwide and because of this popularity we won a competition to play at the German festival "Festi-Wil". We played there with Eskimo Callboy (Ger) our first open air show.

We have played a lot of shows and we plan to release our first album in 2015 with a big tour in Germany and a new music video. 2014 was our newcomer year and 2015 will be ours!

04/2014 - EP "Deepwater Horizon" 09/2014 - Official Video Release "Burn (Ellie Goulding Cover)"

CANNONBALL RIDE "Coming from different music genres like punk, metalcore and death metal, Cannonball Ride was formed by five guys from Upper-Austria in 2009. The band is well appreciated mainly because of their extraordinary guitar playing and their complex songwriting in which they combine both rock and metal elements in a very unique way.

Over the years they developed a convincing and professional live perfomance and are in the position to look back to over 200 live shows all across Europe.

During the past years, they had the chance to share the stage with bands like Hatebreed, Napalm Death, Dog Eat Dog, Evergreen Terrace, Caliban, The Ghost Inside and many more. The physical output of Cannonball Ride so far includes their debut EP "Breaking Walls And Building Bridges" (2009) as well as "Enchant The Flame And Let it Breathe" (2011). In cooperation with Wreckshred'N'Clank Concerts as well as Pandastic! Records, the next level is being reached with their debut Album "Emerge & See" (2014). Cannonball Ride is definitely climbing up the ladder with this statement and prove themselves that they are constantly evolving.

"Emerge & See" is the first full-length release (2014) of famous upper austrian hard'n'heavy / modern metal band "Cannonball Ride", after two successful EP's (2009 and 2011).

The 5-piece demolition squad outta Ungenach City planishes in the familiar climes of brachial heavy metal art, yet always melodic but never losing sight of the atmospheric essentials!

10 tracks which gets the listener into his own ride on a cannon ball! Described simply, in a nutshell. Check ‘em out, keep on rollin‘…"

CONTACT: Search for Cannonball Ride on Spotify & Amazon! youtube.com/cannonballride facebook.com/cannonballride

Savour The Silence

We are a Lincolnshire based Melodic Hardcore band, playing all our own material. Upcoming shows to be released.

Our EP is available here: https://soundcloud.com/savourthesilence Proudly endorsed by Whole Hearted Clothing.

For fans of: Bring Me The Horizon, Of Mice And Men, Sleeping With Sirens, A Day To Remember, August Burns Red, Avenged Sevenfold, Enter Shikari, Asking Alexandria

CONTACT: facebook.com/SavourTheSilenceBand savourthesilence@yahoo.co.uk

Amon Amarth - Nottingham Rescue Rooms - January 19th It is painfully obvious that something heavy is happening in Nottingham [tonight]. The sun has long since gone down, there's a chill in the air, and swarms of large hairy men in leather jackets are converging on the Rescue Rooms. For tonight, Amon Amarth are storming in on their tour bus-shaped longship to pillage the party out of as much of the midlands as possible.

Opening up the night is Savage Messiah. Being first on stage for a band like Amon Amarth is no small job, but it was one Savage Messiah performed excellently. They thundered though their set seemingly without a care in the world, getting behind each and every one of the notes they played, which resulted in some spectacular gurns from both band and crowd alike. It did feel like the set may have been a bit too short, just going over the line between "left wanting more" and "not having had enough" but still an extremely solid effort.

Now, if there is any doubt anywhere that Jill Janus, frontwoman of Huntress is anything other than the absolutely queen of heavy metal, let them be dispelled here. The woman was an absolute animal, prancing around the stage with a mix of American swagger, primal, ethereal witchcraft and straight-up sexual intimidation. The rest of the band absolutely propelled her already impressive vocals even further as well, and in terms of stage presence knew exactly the moments to charge forward and bust out a guitar solo, or when to simply stay back and headbang through their fantastic riffs. Such a good performance even those who clearly had barely even heard of the band could be seen partying with the rest.

I feel like a lot has been said about Amon Amarth in reference to their live show already, often referenced with what seems like ridiculous hyperbole. But honestly, their reputation is more than well deserved. Those riffs that sound so massive on the album crash over you like an ox that's just been hit by a cannonball, and Johann Hegg's vocals could have been ripped from the record they were so good. You think you are manlier than that man? He will out-man you into the ground son. For over an hour he stalked the stage, demanding at every instance that people enjoy their performance as much as he did. Live performances are always infinitely more immersive when the band can be seen genuinely loving performing for their fans, and Amon Amarth's enormous grins totally belied their grim aesthetic.

Each and every song went down an absolute storm. It was great to hear less famous tracks like Varyags of Miklagaard and War of the Gods alongside some of the more rousing songs like Live for the Kill, Guardians of Asgaard and Death in Fire. Still no sign of Runes to My Memory though, which was a little disappointing, but you can't have everything. Old favourites and predictable encores Twilight of the Thunder God and Pursuit of Vikings went down phenomenally well, despite the lack of simulated rowing on the floor of the Rescue Rooms.

From the state of both band and crowd by the time the lights went up, it was difficult to say who had the better time. AL

Save Your Breath - Bristol Exchange - January 26th In the short time since their formation, they have signed to Fearless Records and already earnt themselves a slot on an upcoming US tour with Set It Off. So with this kind of support already behind them, then my expectations were high before they had even took to the stage. With their lead singer Patty making sure that crowd interaction was a must straight away, and with the band also jumping around and giving it their all then it was obvious why As It Is have gained this kind of reputation. The highlight of the set has to be 'Dial Tones' which receives a great response, and simply shows us that these guys are already on their way to being the next Save Your Breath or Neck Deep. Overall, an exciting representation of UK pop punk.

Save Your Breath have done nothing but great things for the pop punk genre in the UK, they've released two brilliant albums, toured with huge pop punk titans such as New Found Glory, The Wonder Years, The Story So Far, and simply shown us that with honest hard work comes results. So for me it's sad to see Save Your Breath on their last UK tour, as I believe they still had a lot of big times ahead of them. Nevertheless, on with the review! The band put on an excellent performance and as usual put on a high energy leveled show.

Highlights for me include 'Lessons' & 'Stay Young' which both remind us why these guys have become such an important pop punk band over the years. The band end with their hit song 'Nothing Worth Having Comes Easy' which sees their lead singer Kristian jump into the mosh pit for one last epic sing along. Brilliant. AD

Taking Back Sunday - Bristol Academy - December 8th Marmozets start the night by treating us to songs of their debut album 'The Weird and Wonderful Marmozets'.

If you've listened to the album then you'll know that every song is just as unique and fresh as the other, so on a live basis this works really well as with every track you just don't really know what to expect next.

Throughout their set they give their usual 110% effort level and with the feedback from the crowd to tracks such as 'Hit The Wave' and 'Captivate You' then I have no doubt that the band are already on their way to headlining venues of this size.

Next up it's Blitz Kids who are here to share their alternative punk/rock sound. It seems that Blitz Kids aren't as well known in the Bristol area as Marmozets, but this doesn't mean that the audience is not paying attention, as throughout the show I see more and more people heading towards the front to check out what the band are all about. They win over new fans with anthems such as 'Sometimes' and 'Perfect' which also tell us that when these guys come back to Bristol, there'll be a lot more people there!

Taking Back Sunday start their set in style by kicking straight into the crowd jumping track 'What It Feels Like To Be A Ghost'. As the set continues I am treated to classics such as 'A Decade Under the Influence' 'Timberwolves at New Jersey' 'Error: Operator' which all get an overwhelming return. Taken from their awesome new album 'Happiness Is' the band mix in a bunch of new songs including 'Stood a Chance' 'Beat Up Car' & 'Better Homes and Gardens' which Adam Lazzara tells the audience was one of the hardest songs he has ever wrote. TBS have always been a pleasure to watch live, and at this point in their career they have so many great songs to perform from their history that you can only ever expect a great set. The band get an exceptional response to one of their most recent singles 'Flicker, Fade' which shows that if the band can keep putting new songs like this out there, then they are just going to continue being a huge part of the alternative rock scene for a very long time to come. To conclude the band has everyone in the room singing at maximum level for 'Cute Without the 'E' (Cut from the Team)' & 'MakeDamnSure' which both create a great end to an absolutely epic set. AD

Parkway Drive - Bristol Academy - December 16th I had a watch of what was happening during the setting up of the performance environment. There was car crash and industrial debris strewn across and piled in the centre of the stage below a 4ft podium that held the drums above the scene, all the amps were painted to appear rusted and the whole stage had a real visual post-apocalyptic feel to it. This was going to be a great show, obviously. Lights went low, everything got pretty tense (especially with the dark intro music being played) and as their shadows appeared on stage the sold out venue capacity erupted into a powerful roar. Upon the first guitar chord the lights went up and a group of cannons were fired above the crowd showering them in paper ribbons and confetti. Parkway Drive opened their set with Wild Eyes (which would explain the post-apocalyptic setting) and it went down an absolute treat.

Winston then greeted us all and said "Okay, we're just gonna shut up an keep playing" which was fine by me.

They followed with Sleepwalker, Karma and Dream Run which were all played with an awesome energy and a perfect sound. I've been to shows in this academy before where the sound man has not been on his best behaviour, but thankfully, he absolutely nailed it tonight!

Idols and Anchors? The whole crowd was singing along to the opening guitar riff which was, as Winston said, "Something that only happens in Britain". Then followed, the absolute banger, (from the 2006 album Killing With A Smile) Mutiny! Now, this song was one of the heavier songs of the set and to be honest with you it was probably one of the most powerful metal tracks I've ever seen live. It just had so much guts! A track later I was thinking to myself "Check out the stamina on this lot!" because they played every note of every track without falter. Yes, this band has been together for nearly 13 years but I still found the stamina they showed (especially Ben on those drums) to be really, really impressive. In came Deliver Me and the whole room got pretty wild. Next, was the emotionally epic, and my personal favourite Romance Is Dead which was just epic to watch, it was played exactly as it sounds on the record (Killing with a Smile) with Winston silent and the crowd took over for the part "so cry me a fucking river". Absolutely great! Parkway Drive then departed upon the end of Swing which had plenty of crowd participation.

Of course they were going to do an encore! They wouldn't have had a choice anyway with a sold out venue chanting for more. After much anticipation came a slow but tense opening to the encore with the full version of Horizons which was absolutely nuts. Those riffs live are incredible. Then, to end the set...Carrion. Wow! Parkway Drive absolutely killed it. So make sure you don't miss them next time. I'll see you there. BM

Over the course of the past few years, Martin Freeman's Bilbo Baggins has become one of my favourite characters throughout our journey's of Middle-Earth. Which is why I suppose I was a little disappointed that we don't get to see too much of the courageous hobbit in Peter Jackson's latest and last JRR Tolkien adaptation, The Battle Of The Five Armies.

The film starts as the previous movie (The Desolaion Of Smaug) ended, with the fiery destruction of Lake Town. Smaug, having been awoken from his timely slumber in the Lonely Mountain flies out for vengeance against the dwarves who disturbed him and the humans who aided them in their rediscovery of Erebor.

The visual effects are nothing short of stupendous, the inferno that thwarts Lake Town and Smaug himself show off Peter Jackson's brilliant decision to film the trilogy at 48 frames per second. Although I will take a second to question; why is Orlando Bloom's Legolas so heavely CGI-ed? The new look of Peter Jackson's movies is impressive, but maybe pulling back slightly from the airbrush would've helped the bond between the old and the new. Nevertheless, it's the story which drives this movie forward and onto the front end of an already adored saga.

The little burglar takes a backseat and becomes somewhat of a mediatior between the dwarves, the elves, the humans, and of course Gandalf (Ian McKellen). Without having too much screen time however, Martin Freeman still manages to conjure up a witty, adorable and admirable Bilbo Baggins in what is to be his final outing.

The focus of attention shifts then to Thorin Oakenshield (Richard Armitage), the King under the mountain, as he seeks to reclaim the dwarves homeland and the abounding gold that lies within. Bard the bowman (Luke Evans) steps forward as head of the humans as he attempts to bargain with the Thorin for a share of the treasure that lies within Erebor, hoping to aid the residents of Lake Town to rebuild their fallen home. Thorin though falls ill, plagued with dragon sickness he has desire for only one thing, the Arkenstone.

Multiple plot lines run simultaneously throughout the movie as we witness the Five Armies meet at the foot of the Lonely Mountain. The yearning love-story between elf warrior Tauriel (Evangeline Lilly) and dwarf Kili (Aidan Turnger) continues as their respected allegiances cross paths. Orlando Bloom's Legolas returns, and after being included in the movies without any mention of him in the original book, doesn't seem out of place and adds an exciting element to what is already an action-packed adventure.

Having not actually read the book I cannot be too critical of Peter Jackson's devotion to the original storyline, although from what I've heard the movie includes many scenes which JRR Tolkien had never originally created. But instead of viewing this as a negative, I see these scenes as an expansion of the Middle-Earth universe. An immersive insight into the backstory of characters and a chance for viewers to enjoy their beloved Shire-folk just that little bit longer.

I went into this film with a mixed bag of emotions. Excitement for the impending return to a beloved story, and the disappointment of knowing that this would be our final adventure alongside Peter Jackson through Middle-Earth. But once again he does not fail to deliver. Epic battle scenes and a seeming-less flow through this final instalment will leave you wanting to journey there and back again, again and again. 4.5/5

Imminent Annihilation, a five piece death/groove band from Aylesbury, United Kingdom, was formed in October 2011 by lead guitarist Connor Rhodes and a former drummer. For the next two and a half years the line up of the band would be in a constant state of change of band members.

Imminent Annihilation

It started with several vocalist changes in the first 5 months until current vocalist Jordan was found in February 2012. Soon after Joe Payne, the bands rhythm guitarist left and was replaced by a string of fill in guitarists (one including now current rhythm guitarist George Godfrey) until his subsequent return late 2012. It was during this period that the band departed from their former drummer and enlisted current drummer Harry Godfrey. During this time, the band started performing their first gigs in their local town of Aylesbury, High Wycombe and also London.

Within 18 months they worked their way up from opening a show run by promoter Jambox Live to headlining their first show, playing with great bands such as Mask of Judas, Malevolence and Confront the Carnage. In the meantime they began writing material that would eventually turn into their debut EP 'The Annex Between Creation and Annihilation'. The band started recording their EP between the months of April-September 2014 at A-Tonal Recording Studios in Stanmore, London.

It was during the recording process that the final change to the band line up was made when long term bassist Jack left, seeing Joe take the helm on bass and Harry's brother George (who previously filled in for Joe in 2012) become a permanent member of the band on rhythm guitar. Their EP was released on 11th November 2014 but has not been reviewed yet. The band are now focusing on promoting their EP the best they can online and to get back to gigging. The band have also started writing music for their debut full length album, currently untitled, of which they aim to record late 2015/early 2016.

CONTACT: imminentannihilation.bandcamp.com www.facebook.com/ImminentAnnihilation