Issue 31 of Stencil Mag by Stencil Mag

TEAM

Ash Dex Carina Lawrence Aymer Nelson Zach Redrup Richard Ounsworth Andy Leddington George Dimmock Sean Reid Kirsty Cheney Dominic Meason Friswell Photography Stepdraw.it Momo Vu Photography Gentle Giant Photography Scott Cooper Chris Nadin photography Bastien Guibert Atherton Photography Creeping Mac Kroki Yoann Robin Danielle Burch Chris Besaw Ruth-less.nl Terry Dobbins

editors note

Hello and welcome to issue 31 of Stencil Mag! Join us as we catch up with some of the busiest and hardworking musicians out there. We get up to date with new releases from Anti-Flag, Four Year Strong, The Story So Far, Three Days Grace, Millencolin, In Hearts Wake, and MANY more! If you're heading to Download Festival then make sure you check out our interviews from The Ghost Inside, Lacuna Coil, Every Time I Die who all tell us what we can expect to see from them at this year's event! To add to this, we also have a huge preview on the weekend, where our writers have put together a list of bands that just have to be seen live, it includes A Day To Remember, Rise Against, Parkway Drive and MANY more, so if you're unsure who to watch, then get involved with that! Our main article comes from Cradle of Filth as we talk to their front man Dani Filth to go into detail about what their extremely impressive career has been like for him, whilst also discussing the story behind their highly anticipated upcoming album 'Hammer of the Witches'! London Film & Comic Con & Nass Festival are just around the corner, so take a read as we chat with huge talent from both of these events such as Mike Perkins, Andy Diggle & Tom Justice. For those into photography & filming then you will want to check out our feature with Ben Morse who tells us what's it like to take this hobby and make a living out of it, as well as what it's like to work with the very talented Frank Turner! If you like old school computer games such as Donkey Kong, Goldeneye, Banjo-Kazooie then DO NOT miss out on our feature with Playtonic Games who tell us how they created their own company which went on to complete a $1 million kickstarter campaign in support of their upcoming game Yooka-Laylee, which we hear is inspired by all of the games they created previously! Enjoy!

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mewithoutYou have announced they will be teaming up with Big Scary Monsters for the UK/EU release of their new album, ‘Pale Horses’ on July 24th. The latest names for this years Hevy Fest have been announced and sees Protest The Hero, As It Is, Stick To Your Guns, Milk Teeth and several others added to the bill. The full list of additions are: As It Is Betraying The Martyrs Break Even Chon Endless Heights God Damn Landscapes Milk Teeth Protest The Hero (UK Exclusive) Stick To Your Guns Sweet Jesus Waster With their appearance at the Hevy Fest announced a while ago, Touché Amoré have now revealed they will be playing several headline shows whilst they are in the UK. August 8 The Globe, Cardiff 10 Rescue Rooms, Nottingham 11 Studio 24, Edinburgh 12 Academy 2, Dublin 13 Academy 2, Liverpool UK pop punks Neck Deep have announced their second album will be titled ‘Life’s Not Out To Get You’ and it will be released on August 14th through Hopeless Records. Glasgow-based Struggletown Records have announced the first details of their all-day DIY punk festival known as Strugglefest. It will take place at Audio in Glasgow on October 10th. The line-up so far includes Bear Arms, Carson Wells, Maycomb, Cøllege, Bluebird, Slowlight, Get It Together and Adjust.

Oklahoma punk rockers Red City Radio will follow up the release of their recent self-titled album with a UK tour in July. July 14 Le Pub, Newport 15 Ducie Bridge, Manchester 16 Audio, Glasgow 17 Brixton Windmill, London Australian rockers Hands Like Houses have announced a one-off UK headline show. It will take place at the Barfly in London on June 10th and will serve as a warm-up for their appearance at the Download Festival.

Sam Duckworth will make his return on June 15th with the release of a new album called ‘Amazing Grace’. The album will be released through Alcopop! Records and includes a cast of over 40 musicians with appearences coming from members of Gomez, Yourcodenameis:milo, The King Blues, Sweet Billy Pilgrim, Kate Nash, and Jehst and Megan Washington.

Forrest have joined Close To Home Records. Their debut album, ‘Soluna’ will be released on July 16th. Kent based punk duo Slaves have announced they will be touring the UK once again in November. November 14 Anson Rooms, Bristol 15 Student Union, Cardiff 16 Pyramids Centre, Portsmouth 18 Waterfront, Norwich 19 O2 Abc, Glasgow 20 Newcastle University, Newcastle 21 Ritz, Manchester 23 Becketts Student Union, Leeds 24 O2 Academy 2, Liverpool 25 Wulfrun Hall, Wolverhampton 27 The Forum, London Cambridgeshire melodic rockers The First have announced they are splitting up after nearly a decade together. To mark the bands split, they have released a new EP called ‘Live.Exist’. Brazilian metal legends Sepultura have announced they will follow their appearance at Bloodstock in August with two headline shows in Dublin and Chester. August 10 Academy, Dublin 11 Live Rooms, Chester With now less than a month to go until Download Festival, four more bands have added to the massive bill. The latest announcement sees At The Gates, Man With A Mission, Geyser and Beasts added to the lineup.

Iron Maiden have announced frontman Bruce Dickinson has been given the all-clear after being treated for a small cancerous tumour at the back of his tongue. Iron Maiden’s manager Rod Smallwood stated the band will not be playing any shows this year as Bruce will be concentrating on getting back to full health. Whilst he and the rest of the band are currently finishing a new album, which is expected to be released later this year.

The first names for Brighton’s Breakout Festival have been revealed with SikTh being announced as headliners. The other names joining them are Black Tongue, Dead Harts, Martyr Defiled and TRC. Breakout Festival will be taking place at Brighton Racecourse on September 26th. Having recently joined Pure Noise Records, Counterparts have now revealed details of their label debut. Tragedy Will Find Us’ will be released on July 24th. The line-up for this years Ghostfest continues to grow with 7 new bands being recently added. The announcement sees former headliners Emmure and Oceana returning to the festival. Whilst Angel Du$t, Oathbreaker, Desolated, Broken Teeth and Casey have also joined the festival. September 5 University Union, Leeds 6 Motion, Bristol Leeds up-and-comers Fizzy Blood have revealed their debut EP will be called ‘Feast’ and will be released on June 22nd.

Twenty One Pilots have announced they will be returning to the UK in November for another headline tour. November Wed 4 O2 ABC, Glasgow Thu 5 The Ritz, Manchester Fri 6 O2 Shepherds Bush Empire, London Sat 7 O2 Academy, Oxford Mon 9 The Institute, Birmingham This October melodic hardcore band Boysetsfire will be touring throughout Europe with Silverstein and Great Collapse. The tour will include a one-off UK show at London’s Islington Academy on October 3rd. A new Cambridge-based label called Crooked Noise Records has been launched. It has also introduced its first wave of signings. Its roster includes Gloucester punks Black Art, Merseyside rockers FOES, Banbury metallers I Cried Wolf and Bedfordshire ambient group V/Vega.

Frank Turner has revealed his sixth studio album will be called ‘Positive Songs For Negative People’. With the recording of their follow up to 2013’s ‘The Finer Things’ all done, State Champs will be returning to the UK this Autumn for a headline tour. September 15th QUB Students Union, Belfast 17th O2 Academy 2, Liverpool 18th Asylum, Birmingham 19th O2 Academy 2, Newcastle 21st Kings Tuts, Glasgow 22nd Stylus, Leeds 23rd Sound Control, Manchester 24th Rescue Rooms, Nottingham 25th O2 Academy Islington, London 26th 1865, Southampton October 3rd Hippodrome, Kingston

Don Broco have confirmed a huge headline date at London’s O2 Academy Brixton for December 13th. They will also be heading to Middlesbrough on Saturday 15th August for the Make A Scene Festival. Then on Saturday September 12th they will be making their return to Queen Elizabeth Country Park to headline Butserfest. Up-and-coming Peterborough rockers The Endeavour have revealed details of their debut EP. It’s called ‘Voyage’ and will be released on July 27th. Irish singer-songwriter Anna’s Anchor (Marty Ryan) has revealed plans of a new project called ‘The Islands’. Throughout June and July, Marty will be visiting a different island off the coast of Ireland every weekend to play a gig and record a new song which will then be made available through annasanchor.com via Never Meant Records.

Bullet For My Valentine have made their return with a series of announcements. First of all their fifth studio album will be titled ‘Venom’ and will be released through RCA Records on August 14th. It will be followed by a lengthy intimate UK tour in the Autumn. It’s the bands first record with new bassist Jamie Mathias. September 28 Ulster Hall, Belfast 29 Olympia, Dublin IRE October 01 Academy, Bournemouth 02 Hexagon, Reading 03 G Live, Guildford 05 Waterside, Aylesbury 06 Victoria Hall, Stoke 07 Engine Shed, Lincoln 09 Barbican, York 10 Music Hall, Aberdeen 11 Alhambra, Dunfermline 13 Empire, Middlesbrough 14 Sands, Carlisle 16 Academy, Leicester 17 De La Warr Pavilion, Bexhill 18 Leas Cliff Hall, Folkestone 20 Brangwyn Hall, Swansea 21 Guildhall, Southampton 22 Regent Corn Exchange, Ipswich With Essex rockers Hey Vanity now on a hiatus, singer-songwriter Marc Halls has shifted his focus to his solo work. A new EP titled ‘Bittersweet Memories’ will be released on July 13th.

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

Interview with Dave

“After storming into the music industry with their incredible debut album ‘Overgrown Eden’ the talented bunch that are collectively known as InMe went on to release four more albums which all saw them push the boundaries of what they could accomplish in exciting ways! Right now, they are prepping to release a TRILOGY of albums, which will of course be just as awesome as the rest of their material!” So how did the original idea for a three-record concept album project come about? It actually came about before we’d even finished The Pride in 2011. I just knew that after The Pride I wanted to try something different rather than just releasing another album. I toyed with intertwining ideas & thought I’d explore something that was at its heart very simple but could then go into quite complex detailed directions.

Can you tell us about the main concept behind the album at this stage? It’s split up into three albums called Dawn, Sentience & Quietus which represent birth, life & death basically. The first album Dawn is about birth, childhood & youth & as such as an upbeat rock album. The next will be about adulthood & life & will be an introspective atmospheric album. The last album will explore the closing chapters of life. Each song on each album has a matching sub-heading so for example the songs with the ‘Reverie’ sub-heading will explore dreams in different ways. For the birth album the song is about a recurring childhood dream, for the life album it’s about a lifelong dream & ambition & for the death album it’s about meeting loved ones we’ve lost in our dreams. People will likely think the whole thing is pretentious & over the top but it’s really fun to work on so I’m ok with that!

With this being three records, then what can you tell us about the current recording schedule for InMe? We’re just playing it by ear so to speak. We’ve finished Dawn & are gearing up for the release of that & I’m just beginning the proper demoing & writing process for the next one, after a solo album of course!

How would you say the sound on your upcoming records will compare to anything InMe have done before? I think the main thing is the production & songwriting has improved tenfold in every way. We’re really at the top of our game.

You are working with PledgeMusic again to support the first release, so what do you like so much about putting out a release this way, and how rewarding is it for you to do? It makes a campaign more involving so that I can directly be in touch with our supporters in a really personal way. It’s incredibly rewarding for me to be a part of so many successful campaigns & as a band with no label or management it’s the perfect platform to release music to the standard InMe needs.

What made you want to release ‘Trauma: Door Slam Crescendo’ first, and how happy have you been with the response to it so far? We just thought it was a great all rounder. It’s got hooks, crazy dynamics, an amazing solo from Gazz plus it features real violin, viola, cello & double bass from the incredible Alex Davies of Elliot Minor/Spirits.

After the release of The Pride you put out a new album under the name of Centiment, so what was this project like to create, and be a part of? Very, very hard! Centiment is my brother Greg’s baby & is a much different beast to InMe as he writes most of the music (at least until now) & I just write the lyrics & vocals. The feedback was overwhelming & it was nice to spread our metal wings. It was also really fun to not have a guitar & run around the crowd etc!

Also, looking back on The Pride, how happy are you with this record still, and what do you think it has done for the representation of InMe? I’m still very pleased with the album, it was exactly what we wanted to create at the time & was a fun experience throughout. We’ll always get some overly nostalgic superior music opinion elitist that says we haven’t done anything good since Overgrown Eden but for the most part the response was beautiful.

With the massive vinyl revival currently happening, then have there been any thoughts about putting any of your pre The Pride (as it's already out) records out on vinyl? I don’t really have time to get into it for now as there are complicated issues as they’re done via previous labels etc but there is talk of possibly doing Overgrown Eden somewhere down the line as Music For Nations has returned.

You’ve stated that 'you have weathered the ever-changing storm of the music industry and come out fighting' which we'd agree with. However, for you guys, what do you think it is that has kept your band so crucial to the alternative rock scene over the last two decades? I can’t really answer that to be honest & it might not be wise for me to over analyse it! At a guess hopefully it’s because at the heart of what we do is a huge labour of love. We’re hardworking, don’t expect to make any money out of this, are all great friends & constantly progress our sound instead of rehashing the same thing over & over.

What else can we expect to see from InMe in 2015? We have a pretty cool touring idea up our sleeve for September. Other than that hopefully some cool festival slots, the next Trilogy album & more!

Interview with Kris

“We catch up with the legendary Funeral For A Friend to reflect on their hard hitting album ‘Chapter and Verse’ as well as what we can expect from their live performance at this year’s Download Festival!” You are currently on tour in Australia, so how is that going, and what's it like to have people react to your music so far away from home? It's pretty mind blowing to think that we started this band in a small town in South Wales and people on the other side of the world appreciate it.

Where else would you really like to tour on the touring circuit for Chapter and Verse, and why? I'd love to go back to Japan as it's one of my favourite countries. It’s so different to anywhere else in the world it still blows my mind every time we go there.

Also, can you give us some highlights from your time on the road since the release of this record? I think every show has its merits. It's really hard to pick one.

Looking back on the release of Chapter and Verse, then how happy have you been with the feedback from it overall, and what do you think it has done for Funeral For A Friend? I don't know if this may come across as arrogance but I don't really look into it too much. If you start really caring about what people think of your music then you lose the purpose of doing it. I've come to a realisation that after 14 years you can't please everyone so the most important thing is to make music you want to play.

What songs are you really enjoying performing live from Chapter and Verse at the moment, and why? I've really enjoyed playing "The Jade Tree Years Were My Best" it's one of my personal favourites.

How excited are you for your upcoming UK tour, and what can attending fans expect? It'll be fun. We love playing live and we always give an honest representation of ourselves. So people should expect a mixed set of songs from our back catalogue.

With each release the sound of Funeral For A Friend is always pushed in a unique and exciting direction, but for you guys, how would you say the sound of FFAF has changed/progressed since you first started out? I think that as a band you start out with no particular agenda and the more successful it becomes the more people try to place one on you. I think over the life span of this band we've been very up and down, we've written albums for ourselves and we've written albums because there's a time frame we've had to stick with. I feel that where we're at now is the same as when we started. We do what we want when we want to do it. We don't force ourselves to do things because other people rely on us. It's good to have that freedom again.

How would you say the alternative rock world has changed since you first started out? Music has changed massively and not entirely for the best. Bands are so obsessed with making the perfect record that everything's starting to feel sterile. However, there are still some real gems out there like Svalbard, Grader, Zoax, The Tidal Sleep, The People The Poet.

Interview with Chris

“If you’ve seen And So I Watch You From Afar live then you’ll know that with their mesmerizing approach to instrumental music that this is an act that everyone should know about. We catch up with the band to discuss their outstanding new output ‘Heirs’ as well as what else we can expect to see from them this year!” How did you get to the album title 'Heirs' and what does it mean to you? The title came about because during the period of time of writing and recording, the new generation of our families began appearing. Johnny had a baby girl Eisa last year, Chris and Niall got little nephew's and Rory's girlfriend has a daughter as well. So these new additions into our lives had a direct affect on us as musicians as well as people and a lot of that joy and positivity from it comes out in the album. So “Heirs” felt like the perfect title to embody it all.

How would you say 'Heirs' compares to anything you've done before? We had quite a clear vision of the direction of the album from many discussions well before the writing began, also this was the first album that Niall had been fully part of the writing process so Heirs had a fresh and exciting feel to it throughout. We spent January – June 2014 solidly writing and demoing ideas and were quite regimented with the process. It yielded a huge batch of songs so by the time it got round to tracking we had to make some pretty important choices regarding what we moved forward with. By the time we finished Heirs we had 44 minutes of the purest and most accurate representation of all our work, so every second you hear on the album was scrutinized and considered.

As an instrumental rock band, then have there been any effects that you've really enjoyed using for this album? From my perspective, I was looking for a more organic sound from the drums on this record as with the previous release 'All Hail..' there was a much more processed feel to them to suit the songs. The guys struck up a great relationship with Earthquaker Devices who very kindly sent us a tonne of new pedals to try out. The Disaster Transporter that Rory and Niall use features a lot on the album and Johnny came up with some incredibly gnarly sounding effects with the Hoof Reaper. The Rainbow Machine and Arpanoid pedals are also great and gave us a lot of ideas. The Line 6 M9's are quite an integral part of the Heirs tour campaign at the minute as Rory and Niall do a lot of midi looping and loop manipulation live.

Can you tell us about the themes and inspirations that run throughout 'Heirs'? Along with the inspiration we got from our new family members that I talked about earlier, the band talked at length about what sort of sounds and personality we wanted to show with the new album. A notable theme was that we wanted a vast, spacey feel to the record. There is a lot of atmospheric moments on the album harking back perhaps to some of our earlier material, yet vocally and tonally the album is a big step forward for us and we feel the end result is a good representation of years of us crafting and evolving as musicians.

You once again chose to work with Rocky O'Reilly, so what is it you like so much about working with him? It was a no-brainer to work with Rocky again. Ever since we recorded a track of a Belfast scene compilation way back in 2008, we have had a really unique rapport with him. Rocky is an incredibly talented and inspiring producer to work alongside, and he's not afraid to voice concerns or opinions about how the songs are coming together during the recording process. We're four albums in with Rocky now and it has been a partnership that has helped us continue creating and progressing with our music.

The artwork for 'Heirs' is awesome! Can you tell us about how it came together, as well as maybe what it means to you? We were really fortunate to be able to get Sonny Kay on board on the design through Cathy our Label Owner of Sargent House. We compiled various ideas and mood boards based around those themes of space, vastness and the idea of continuing lineage and Sonny captured those ideas so perfectly we couldn't be happier with it. The depth of field and sense of wonder that Sonny created in the artwork sits so well alongside the music and we're very proud of it all.

Looking back on the release of 'All Hail Bright Futures', how happy are you guys with this record still, and what do you think it has done for the band? â&#x20AC;&#x153;All Hail..â&#x20AC;? was a big step forward for us at the time, Tony our old guitarist was leaving the band in the midst of it all so the album captures myself, Johnny and Rory during a stressful and uncertain time for the band, but the positive atmosphere of the album was a direct reflection on our collective resolve to continue the momentum of the band in spite of tough times.

How excited are you for your upcoming performance at 2000 Trees Festival, and why are festivals like this so important for the UK? We're extremely excited, it is a highlight on our festival calendar and has been since the first time we played several years ago. James Scarlett and the team have done an amazing job in cultivating such interest for alternative music in the UK and it's evident in consistent sellouts of both 2000 Trees and the more recent ArcTanGent festival which we also love to play. Bands like ourselves, TTNG and Maybeshewill have all been touring and releasing albums for upwards of 10 years now and festivals like these have really helped nurture and expand our fan bases here and beyond and they continue to turn music fans onto fresh and exciting altenative music.

We saw you guys perform in the Thekla (Bristol) and at one point you jumped into the crowd to start playing. So we were wondering, when you perform to bigger crowds, then how do you go about overcoming that literal barrier that stands in the way, to make sure you interact? That Thekla show was a really memorable show for us, a lot of energy was flowing inside that boat! Crowd barriers are a little irritating for a band like us who like to get up close with the crowd but we obviously acknowledge they are a necessity in bigger venues and festivals. Often the boys will get into the crowd regardless, clambering over barriers and diving in which always whips the crowd up that little bit extra but barrier or not, we always get a sense of intimacy from the crowds we play to, and I think that is really testament to how passionate our fans can be which makes performing so worthwhile for us.

The band 65daysofstatic put out an alternative soundtrack for the sci-fi film Silent Running. So have you guys ever thought about doing something like this? We would love to try our hand at soundtracking something if the right opportunity or film presented itself. It's great to see our contemporaries like 65 Days.. and This Will Destroy You entering the soundtrack realm.

â&#x20AC;&#x153;Vocally and tonally the album is a big step forward for us and we feel the end result is a good representation of years of us crafting and evolving as musicians.â&#x20AC;? Also, which film would you love to do an alternative soundtrack for, and why? That's a tough one as all my favourite films all have impeccable soundtracks already but I would probably say Donnie Darko. It blew me away when it first came out, and I think we could have a lot of fun crafting music to it based on the themes of alternate dimensions.

What else can we expect to see from And So I Watch You From Afar in 2015? As I'm writing this we're on our way from Manchester to Bristol for our third show of tour at the minute. The HEIRS album tour we're now on covers the UK and Europe for the next 5 weeks. After that we're doing a number of summer festivals, 2000 Trees and various European ones finishing up at Reading and Leeds which we always love playing. For the Autumn we're in the process of firming up a big tour of the US/Canada and then hopefully some more European stuff before the year is out, so the year is coming together nicely and we're psyched to be able to be taking the new album to so many cities.

Current Featured EP: Living with the Loss (2013) - headwithwings.bandcamp.com/

Head with Wings rests between the fragility of life and the certainty of death. We want to show you our world through sights and sounds; our fantasies and our realities. Through short stories and introspective revelations, the themes of our lives will be revealed. But most importantly... We are a rock band from New Haven, CT. Facebook.com/HeadWithWingsband / Twitter.com/hwwmusic / headwithwingsmusic.com/

Interview with Taylor

“Since receiving an epic response to their incredible album ‘Jar’ the guys in Superheaven have been hard at work on a follow-up that will hit the high bar that they raised themselves. The album we are talking about is entitled ‘Ours Is Chrome’, and if you take a listen then you’ll see that the band have clearly surpassed what they set out to achieve!”

How did you get to the album title 'Ours Is Chrome' and what does it mean to you? It kind of means a few different things. The easiest way to explain it is that not everything is what it appears to be. Something might look appealing, but later on, you find out it actually sucks.

You've stated that this album is about your 'insecurities and determination', so can you elaborate on what we can expect to see from the themes and influences that run throughout this record? Did I say that? I don't really remember saying that, but I think the record is just about how personal tragedies can effect you. Since we put out Jar, a lot of terrible things have happened in my personal life, and a lot of the songs are about those things.

You spent some time filming your latest video 'Next To Nothing' at Side One Dummy Records, so what was that like, and can you tell us a bit about the narrative behind the track? Doing the video was fun. We were allowed to be annoying for a couple hours. I didn't write the lyrics to the song, but I think it's just kind of about the frustrations of putting everything into something, and feeling like you're not really getting much out of it in return.

What was the hardest part about putting together 'Ours Is Chrome' and why? Probably just the pressure we put on ourselves to try to make a decent follow-up record to our first record. Overall, making the record wasn't bad at all. But I think we definitely stressed ourselves out, trying to make sure we made something we could be proud of.

How did you end up working with Will Yip, and what was he like to work with? Well, he's one of our best friends, and his records sound great. So it seems like kind of a no-brainer to work with Will. Making a record with your close friend is pretty much as comfortable as making a record can be. Working with Will is always a pleasure. He helps our band out a lot.

How would you say 'Ours Is Chrome' compares to what you did on 'Jar'? I think, sonically, it might sound a little more "pop-y" at times, but I don't think it's all that different, overall. I think it's different enough that it doesn't sound like we make the same record twice, but it still sounds like us.

How happy are you still with the release of â&#x20AC;&#x2DC;Jarâ&#x20AC;&#x2122; and what has it done for the band? Surprisingly, I still like it. I think it's the first record where we figured out how we wanted to write songs, and how we wanted to sound. Jake and I figured out what was comfortable for us to sing, also. The record has a lot of songs about really important things to me, so I think I'll always like it. I think the record got some new people into our band, so that's cool.

What was it like to change your name to Superheaven, and has this had any effect on getting your material out there for the world to hear? It was stupid, every part of it was a pain in the ass. It hasn't had any effect on our music, and I don't know why people think it would, or even could. It's a name. It's a few letters put together. What does that have to do with music. We had to change it for legal reasons, it's not like we thought it would be a fun thing to do! We're the same band, and always will be.

What else can we expect to see from Superheaven in 2015? We're currently on a full US tour with Diamond Youth and Rozwell Kid, and we hope to tour a lot more this year.

Interview with Jeff

“It’s been twenty years since the formation of Will Haven, but with this milestone now accomplished we are happy to see that the band are showing no signs of slowing down anytime soon! Joining forces with the incredible Artery Recordings Worldwide the band have just unleashed their dynamic new EP ‘Open the Mind to Discomfort’!” How did you get to the EP title 'Open The Mind to Discomfort', and what does it mean to you? I actually pulled it from a lyric in a Will Haven song called Miguel, being that the music on this EP has a very disturbing feel to it and it is also a little different than past will haven records so I thought the title fit perfectly for the overall feel of the EP. The goal with this EP was to put people in an uncomfortable place, not to be used to the same thing from us and get a sense of uneasiness.

Can you tell us about the main themes and influences that run throughout 'Open The Mind to Discomfort'? We really didn’t have a set game plan at first, then we wrote the song Soul Leach and everything kind of came from there, we wanted to do something a bit different which is why I love doing EPs because you can experiment a little, so our goal was to make something very dark and emotional but still have a heavy vibe to it. I added some very ambient pieces in between songs to kind of give the roller coaster effect of the heaviness with some peaceful sounds, I like that diversity.

How did you end up signing to Artery Recordings worldwide, and what have they been like to work with so far? Artery is based out of Sacramento, CA where we are from. We have been friends with Eric Rushing way before he started Artery, so after we finished our last record with Bieler Bros, Eric asked if we would like to do an EP or something on Artery, so it worked out awesome. I am not too familiar with a lot of the bands on that label but we are stoked that we get to work with a good friend of ours and do what we can for his label. Besides being friends they really are a great label, everybody over there has been awesome to deal with and I would have to say their art department is amazing, so yeah we have been really happy with them so far.

Can you tell us about the recording process for this release? We recorded it here in Sacramento at a place called Pus Cavern. I guess it would be famous for all the Cake records recorded there. It’s an awesome little studio and has a very easy going vibe. We recorded it with the owner and our good friend Joe Johnson. We tracked all the songs in about three days then I went in and did all my little ambient interludes. It then took Grady a few months to finally finish the vocals on it but we were in no rush to get it out so we took our time. We always have a lot of fun in the studio and we look forward to going back in sometime soon.

How would you say this release compares overall to 'Voir Dire'? I think it has a lot of the same vibe of Voir Dire, it’s definitely a lot darker than Voir Dire but has similar landscapes. We are always trying to do something a little different, of course it will still be heavy but we don’t want to do the same thing over and over, so whether it be tunings or effects or riffs or whatever we just want to see what things will sound like. I actually like the new EP a lot, it has a very unique vibe to it, I think I captured what I had envisioned with this EP. I love the musicality of Voir Dire, that’s one of my top Will Haven records but the vibe on this EP is very distinct and I love that.

Also, looking back on 'Voir Dire', how happy are you guys with this release still, and what do you think it has done for Will Haven? Well it’s funny because I have A LOT of fans that have no idea we even put Voir Dire out, haha I think that record slipped through the cracks a little bit. I personally think it’s an awesome record, there is some very cool stuff on there as far as metal bands go. I was very happy with it and to this day I still love that record. We did get some great reviews from the press and webzines but I don’t know if the fans even knew it was out. I don’t think we did one tour on that record either so that didn’t help. So I guess it’s our "hidden gem" but I’m ok with that. I don’t think it did do much for the band except open up our musical endevoirs a little more. It got us out of that basic Will Haven sound and opened up more ideas to what we can do with our music. So as far as the band goes that record got us wanting to do more unique stuff with our music.

What was the hardest part about putting together 'Open The Mind to Discomfort' for you guys, and why? Well Will Haven is not our main priority, it’s just a hobby to us at this point, so getting the whole thing going can be a task. Writting the songs then getting everyone in to jam it out can take weeks. So yeah just getting the guys together is the hardest thing, once we have songs and a plan we usually work pretty fast but yeah it takes us a while to get things done, with jobs and families and other things it’s hard to get it all together. It is definitely fun when we do though, I love writting music with my brothers.

So how does a song normally come together for Will Haven? I usually demo some ideas for the guys, I go into our practice room and record drums and put guitars over it just to get an idea so I can show everyone. After that everyone else comes in and we work on the song together, we change stuff up or add stuff, everyone puts in their own idea to the song, So it starts off with me but then everyone comes in and adds to it, we have always done it that way and it seems to work, we do sometimes jam stuff out but I don’t think the same as a lot of people so when I play something I hear something completely different than someone else does so it’s easier for me just to show them. It does happen though, some of our best songs have come by accident, by just jamming out.

“We are still playing music and hanging with each other, so as long as we have that we will be happy.” It's been twenty years since the formation of Will Haven, so for you looking back now, then how would you say the 'rock world' has changed or progressed since you first started out? It is completely different than when we started. When we formed there were huge labels and record stores and vinyl and CD's. We didn't have myspace or Facebook or even a cell phone when we started touring, we had to call from a payphone to get directions to the next show, no GPS. I know I'm old now but to me music back then was pure, it was all about the music and the artist and the craft, now the rock world has a digital and plastic feel to it. People worry about what label the band is on or how good the production is instead of the songs itself, it’s so very weird to me. I don’t remember worrying about that stuff when I listened to bands back in the day, infact the worse it sounded the more I loved it, the raw punk rock sound, made it feel more real to me. Now everything has to be auto tuned or put into a click track and polished. So yeah I could go on and on and its just my silly opinion but I grew up in the punk rock days so where it has gone now is a completely different world. I cheerish those old records and will always draw my influences from them. I like that the music industry has crumbled though and left it to the bands to do it themselves, I like when bands have to pay their dues and figure out if they are playing music for the right reasons, when you have to do it that way you will do anything you have to just to play a show or put out music, that is what a true artist is. I wish fans would appriciate that a little more instead of being a music critic the first 30 seconds of a song but that’s their world and they will never know what it’s like to practically kill yourself or go broke trying to do what you love. The world has changed but the heart of a true musician never has.

What else can we expect to see from Will Haven in 2015? Geez this year is already half over! Time flies, we don’t have anything planned really, we do have a few shows in the summer around our area but that is it. We are already writting some new songs, I have no idea what we will do with them, an album, EP or maybe nothing at all, I’m not sure, but we are still playing music and hanging with each other, so as long as we have that we will be happy.

DEEPSHADE

CONTACT: Facebook.com/deepshadeuk / Twitter.com/deepshademusic DEEPSHADE Launch Free Download Debut Single Wigan’s (UK) psychedelic fused alternative/rock outfit‘DeepShade’ announce the release of their free download debut single‘Tattoo’! Taken from their forthcoming first album ‘Everything Popular Is Wrong’ – founding members David Rybka (vox/guitar), Tom Doherty (bass) and Paul Barlow (drums), premiere an insight in to the musical world of DeepShade - and it is one that deeply resonates with a cohesion of sounds inspired by a range of influences such as QOTSA, Beck, Nirvana, The Doors, Led Zeppelin and Alice In Chains etc. Along with establishing a loyal following across the North of England on the strength of their live shows, Deepshade have gained early airplay support from BBC Introducing and a plethora of alternative radio stations within the UK, EU and USA. Despite only a relatively short period of time together as a creative unit, Deepshade were soon to be recognised as one of the Hot Top Ten unsigned British bands to check out, by The Guardian (UK newspaper).

Grab your free download of Tattoo available from: Soundcloud.com/deepshademusic

amarionette

Amarionette, (originally formed in 08' with ex-members of the Cab, Molotov Solution & Youinseries) then reformed in 2010 have been making waves in the post hardcore/ Rock scene all over social media and through out the west coast of the US also being featured in AP magazine....hailing from Las Vegas NV, Quin White (Vocals), Nick Raya (Guitar), AJ Sarmiento (Guitar, Not pictured), Ron Wells (Bass) & Justin Brooklyn (drums) Amarionette's driving rock rhythms, experimental infectious riffs & pop sensibility will have you hooked! Shown in their latest release "Picture Perfect Ep" Amari will give nothing but energy, heartfelt lyrics, and MORE ENERGY! Get ready for your new favorite band. FFO: Paramore, Saosin, Coheed & Cambria, Sleeping with Sirens, Dance Gavin Dance, Circa Survive Latest release : Picture Perfect Ep Single: Scooty Puff Sr. The Doom Bringer (released Oct 7th, 2014)

CONTACT: amarionette.bandcamp.com Facebook.com/amarionettelv Twitter @amaribandLV YouTube: amarionettelv

Interview with James

“Although we didn’t see much of Rolo Tomassi in 2014 it’s plain to see that they have been using this time wisely to create their mind blowing new album ‘Grievances’! On this release the band has once again taken their unique style in a rewarding direction, so we strongly recommend you do not miss out on this epic listen!” How did you get to the album title 'Grievances', and what does it mean to you? I keep a notebook of words and phrases whenever we start writing. Grievances started out as a working title for one of the tracks but as writing went on it stuck out as a strong title for the record as a whole piece.

Can you tell us about the main themes and influences that run throughout 'Grievances'? Shame, guilt and regret. I can only really speak of my own contributions lyrically, but it covers the most personal topics I've ever written about. It’s a lot darker in terms of how it sounds and is presented overall. Musically I'd obsessed over the idea of writing a soundtrack and that definitely fed into the way my ideas came out for it. We wanted to create something that moved as a whole and felt like one piece with musical themes and ideas that ran throughout.

How did you end up signing to 'Ipecac', and what have they been like to work with so far? They'd been interested in us for a few years and we actually came close to working with them a while ago. When discussing American labels their name got brought up again. We passed the record on and they liked it. It’s very early days but so far everyone at the label seems very forthcoming and we're looking forward to developing our relationship with them over the course of releasing and touring the record.

Can you tell us how the front cover for 'Grievances' came together, as well as what it means to you? As with all our album art, it was handled by Simon Moody (www.linedwithghosts.com). We've known and worked with Simon for so long that we trust him 100% with the record covers. He's been instrumental in cultivating the visual aesthetic of our band since we started putting out full lengths. We sent over the titles and the lyrics and then just let him get to work. He sent back the cover and we didn't have any changes to make to any of it. It really captures the feel of the whole album.

What was the hardest part about putting together 'Grievances' for you, and why? We had a little bit of a last minute panic getting string players for Crystal Cascades and Chandelier Shiver. That side of the recording was the most stressful but probably also the most exciting. We hadn't worked with session musicians before and it was kind of daunting getting them to come in and just presenting them with sheet music. Fortunately they were both fantastic players and their contribution to the record really tied it together for me.

How did the video for 'Opalescent' come together, and what was it like to film? It was made by our long time friend/collaborator Josh Connolly. He's toured a bunch with us over the last 4 years and would often make shorts from touring footage. We discussed the idea for making something that was relatively simple but stylistically in keeping with the albums art and he had a really clear idea and led with the direction. The filming itself was fine. It took the best part of a day but really started coming to life in postproduction.

â&#x20AC;&#x153;It covers the most personal topics I've ever written about. Itâ&#x20AC;&#x2122;s a lot darker in terms of how it sounds and is presented overall.â&#x20AC;? How excited are you for your upcoming tour with Fall of Troy, and what can attending fans expect? We're really looking forward to it. We played some shows with them a long while back and got on so it'll be nice to catch up. People coming to the new shows can expect to hear plenty of new material.

How excited are you to be performing at this years ArcTanGent, and how important do you think these kind of festivals are for the music scene in the UK? We're delighted to have been asked back. ArcTanGent is a great celebration of the musical scene our band exists within. I would say this festival is really important in terms of showcasing alternative music from in and out of the UK. Their programming is always super on point.

What else can we expect to see from Rolo Tomassi in 2015? More touring, maybe more new music. We really hit our stride with writing and it would be a shame to stop now just because we finished an album.

The band was founded in October, 2010 as a cover band. At first, they started with small gigs in bars. Their first bigger gig, on a bigger stage was in Sisak in the late 2010. Later on, the band became more famous on the local scene during the 2011, with gigs such as Hermetika Festival, Buba meeting, Beer Festival in Karlovac, "Rujanfest" in Zagreb. In the late 2011, the band played couple of gigs after which they took longer winter break. They returned in the middle of April, 2012, with a lot of gigs, starting with a gig in Duga Resa, Hermetika Festival 2012, „Karavana za život“ as one of the biggest motorbike shows in Croatia, RocKorana Fest 2012 and many others. The band went on a small hiatus in late June. After almost a year after the break-up, the bands returned in a stronger and powerful edition, now more oriented on their own songwriting. After their comeback concert on Pickup Music Festival in Karlovac 2013., the band entered a studio and started to record their very first EP, called "Waiting for tomorrow“ with six songs written by them. In the meantime Karlo Bonetić (Sampler, Synths, Back vocal) joined the band and at the beginning of 2014 they recorded a music video for the song "Waiting For Tomorrow". Soon after that, guitarist Krešimir Ćurić left the band and has been replaced by Marko Križanić. On March 26th, EP "Waiting for tomorrow" and first music video for the title song were released. Currently, they're working on a first LP album and shooting new music video for the song "Schizophrenic" while at the same time they're playing shows. Absortick released new single "Reason to exist" on 24th April 2015!

Interview with Andy

“Currently on the road promoting their outstanding new album ‘From Parts Unknown’, Every Time I Die are here to talk about this new output whilst discussing what we can expect from their upcoming performance at the mighty Download Festival!”

So for those that might not know, how did Ryan Leger end up parting ways with Every Time I Die? He had two kids and decided it was time to go be a full time dad. We all respect him for that. It's very commendable.

Also, how did Daniel Davison end up joining the band, and what has he been like to work with so far? I think it was a matter of right time, right place. We thew around a few names and he actually showed up to the show that night unannounced and we brought it up to him and he said yes. He's a total delight.

Looking back on the release of 'From Parts Unknown', how happy have you been with the release so far, and what do you think it has done for the band? I'm not really sure how to answer that. I'm extremely proud of what this band has done on every single release and we try and set the bar every time we drop a new record. So we just stuck with the plan and it has gone down like the others.

What songs are you really enjoying performing live of 'From Parts Unknown' at the moment, and why? They're all really fun to play. The great secret is a complete smash in the face. It makes you play really hard. It's cool. Moor obviously is going to be one that's great to play. It's so eerie. It takes people who have never seen the band or heard the band to another place.

What can you tell us about the unreleased material on your upcoming EP 'Salem' (including a Nirvana cover!), as well as a bit about what your fans can expect from it? Well, we wanted to release them all on FPU, but that's just too many songs. So we hung onto the four for record store day. The songs are great.

How excited are you for your upcoming performance at this years Download Festival, and what can attending fans expect? I'm extremely excited for it. The last time we played was like 04 or 05 and it was bananas. I think we're going to blow the tent off, it's going to be fun. I hear there's wrestling this year, so maybe you should keep your eye on that if you want to see some cool stuff involving the band...

Can you give us a couple of personal highlights from performing in the UK over the years? It's always a highlight, the whole thing. The people that come out over there are the best, actual music fans. I'm sad the cockpit in Leeds closed, as we've had some of the greatest shows in our career there. People hanging from the light truss and just insanity.

How would you say the sound of Every Time I Die has changed/progressed since you first started out? In my head, it's never changed. Jordan and I have always wrote the same way, we go in the jam spot and riff. What comes out is what comes out, no preconceived notions or goals, just ETID

What else can we expect to see from Every Time I Die in 2015? We're not slowing down.

Interview with Ben

“At this point In Hearts Wake are one of the biggest metalcore acts in Australia. With their first headline tour in the US going extremely well and the release of their powerful new album ‘Skydancer’, right now is certainly a good time to get involved with the band, as world domination is surely just around the corner!” How did you get to the album title 'Skydancer' and what does it mean to you? We originally released a single titled 'Skydancer' before heading into the studio to record our double album and that single appeared on the second half so we decided to make it the title track. It's based off the meaning of Father Sky which is the more masculine side to the double album, whereas 'Earthwalker' was the feminine side, being based off Mother Earth.

Can you tell us about the main themes and influences that run throughout 'Skydancer'? The album’s overall theme is about our world and what we are doing wrong to it. Skydancer is a lot darker and heavier in both lyrical and musical content compared to anything that we have released before. We touch on certain subjects such as greediness and how that's affecting the environment we live in. The influence behind writing about certain subjects like these come from us living in such a beautiful corner of the world surrounded by Mother Nature and us wanting to keep it this way.

What was the hardest part about putting together 'Skydancer' for you, and why? Seeing as it was part of a double record, that meant we had to come up with 22 tracks in order to have enough content to fill out both albums. This proved to be a real challenge for myself when writing during the preproduction stages before we entered the studio, and we only had limited time to work with in between our busy touring schedule. I'm glad that we pushed ourselves so hard as a band to make it happen, because it turned out better than we had ever expected and we're all very proud of the achievement.

This release was recorded at the same time as 'Earthwalker', so was this idea intentional, and can you tell us a bit more about the recording process for 'Skydancer'? When we entered the studio I believe we had 17 tracks that were at least 90 percent finished, and we had our minds set on releasing a double album so we had to write five more tracks whilst in the studio. Usually we like to have every track written before heading into the studio, so this time around it was challenging having to write whilst recording. The tracks that we did end up writing in the studio turned out to be some of our favourites and we actually got pretty creative being in that space too.

How did Jonathan Vigil, Marcus Bridge, J Hurley and Ben Marvin end up on the record, and what were they like to work with? We wanted to have guest vocalists who all had a unique sound that would fit in with the diverse sound of the record. All of the guest spots were actually done in different studios around the world and sent back to us in the studio which makes each spot even more unique. We are so stoked with how they all turned out and can't wait for the world to hear them!

How would you say 'Skydancer' compares to anything you've done before? It's probably the most mature sounding record we've ever done, which comes with us travelling the world and learning a lot about ourselves and growing up as a band. There is definitely an epic feel to the record, but I also think it's the heaviest material we have ever written. We also had a lot of fun with this record and experimented with a few different things musically and vocally, so it's going to be really fun to play these songs live.

How did the front cover come together, and can you tell us a bit about what it means to you? We wanted album art that worked alongside Earthwalker but was also the opposite to that and worked with the title of the album. The track Skydancer is actually about the Native American Indians that would work on constructing massive towers in the cities to earn a living to feed their families. We decided to go with a face that would represent that and used the sky theme to coincide with the Earth theme used on the Earthwalker cover art.

How excited are you for your upcoming performance at Download Festival, and what can attending fans expect? We have always seen photos from that festival while we were growing up and just thought how amazing it would be to play that festival and now that we're playing it's like a dream come true. Fans can expect a very energetic performance from us as we are so excited and hopefully everyone can get on board and get into it with us.

Touring wise, can you give us a couple of personal highlights from your time on the road this year so far? We just got home from a nine week tour of America and that's been the highlight of our year so far. It was our first time touring over there and we played 46 shows across two tours with some amazing bands. We weren't too sure if many people would know us or care about our music but our expectations were blown out of the water and we can't wait to do more international touring.

What else can we expect to see from In Hearts Wake in 2015? You can expect us to be putting a lot more of our time towards doing what we love, and that's touring. We've already announced that we will be heading back to the USA and Canada later in the year and can hopefully make it back to the UK for a second time towards the end of the year!

Interview with Steve

“We chat with Steve who tells us what we can expect from the bands highly anticipated follow-up to ‘Severance’, as well as why you should come and see their electric live performance as they take on Download Festival very shortly!” Looking back on the release of 'Severance' how happy have you been with the feedback to the record so far, and what do you think it has done for the band? I think we're are all extremely happy with the response we have had from Severance. We were overwhelmed by how positive of a reaction it was. Seeing as it's a slight change in direction from our debut record ‘Hope & Hindrance’ so we were nervous as to what the reaction would be. As for what it has done for the band, it has enabled us to really up our game with touring and enabled us to play some of the biggest festivals in Europe and the UK.

What songs are you really enjoying performing live of this record at the moment, and why? My favourite changes all the time, but at the moment I'm enjoying playing Monstro. We haven't played that track live very much, but we've had a few headline shows and it’s meant we've been able to play some of the tracks we don't get to with a 30 min support slot.

So you've been in the studio working on your new album, how's it coming along? The record is done! We're just finalising details with the label in regards to the release date etc.

Where did you decide to record the album, and who did you work with? We decided quite early on into the writing stage that we would really like to work with Justin Hill who is the vocalist from the band Sikth. Jamie tracked all the Vocals for ‘Severance’ with him and one hundred percent wanted to work with him again, so we thought why not go to him for the whole thing. Which was a great choice! He really immersed himself in the record with us during our time at the studio, he was completely on our wavelength. An absolute pleasure to work with.

What can we expect to hear from the themes and influences on this record, and how would you say it compares to anything you've done before? We wanted to be a lot more to the point with this album, it's really more of a straight up Metal album. It's still Heart of a Coward but more of our influences thrown in the mix. If I had to be specific, It’s a mix between Gojira, Meshuggah, Slipknot and Killswitch Engage. It feels a lot more “developed” than our previous offering.

How excited are you for your upcoming slot at Download Festival, and what can attending fans expect? You can't really put in to words how it feels to be playing the main stage at Download Festival, It's just such a huge thing for us all. Personally, it was my first festival when I was 15 and you always imagine yourself up there. But to actually get the opportunity is very surreal and I don't think it will really sink in until we are stood waiting to walk out on stage. We are going to be bring our heaviest most energetic set to date to make sure that it translates to the size of the hallowed main stage. There may be a couple of new ones in there too…

Also, can you give us a couple of personal highlights from touring the UK over the years, as well as watching your fan base gradually grow in numbers? Personal highlights for me have to be the most recent tour we did with Machine Head. I'm a big fan of that band, so to be on a tour with those guys was incredible, we got to play some of the biggest venues in the country and we had some great parties on that tour, especially with the guys in Darkest Hour. It was also a personal highlight to play a sold out KOKO in Camden on tour with Sikth. It's a beautiful venue and the show was amazing.

How would you say the metal scene has changed/progressed since you first started out? I think the quality and quantity of bands has grown quite rapidly especially in the UK. It also seems a lot more bands are breaking out of their respective hometown scenes and are jumping in a van and heading out touring the country, which is great! People need to support these bands, they also need to support their local music venue so these up and coming bands have a platform to progress.

What else can we expect to see from Heart of a Coward in 2015? Well the most important thing is the new album, unfortunately I can't give a date as yet. Expect a single and video in the not so distant future. We have some great festivals coming up.. Download, Resurrection fest in Spain and With Full Force in Germany. Come to a show, come say hi and grab a beer with us. We hope to see you at a show soon!

Interview with Jonathan

â&#x20AC;&#x153;With the response they have been receiving to their latest album Dear Youth on a live basis, it is clear to see that the awareness of The Ghost Inside has increased dramatically on a global scale. Jonathan is here to discuss what this exciting time has been like for them, whilst also finding out what we can expect to see from them as the year continues!â&#x20AC;?

How did your recent US tour go, and can you give us a couple of personal highlights from your time on the road? Our last US tour was awesome. It was with the Acacia Strain, Gideon and In Hearts Wake and they're all such awesome bands. My personal favorite part of that tour beside the shows were the hangs with the other bands. We had a few bbq's and it was just great.

How happy have you been with the reception for 'Dear Youth' so far, and what do you think it has done for The Ghost Inside? The support for Dear Youth has been overwhelming. When we play any song off the new record live, they always seem to be the biggest songs of the night. Which is what you want for your newest record. I think this record is going to give us the opportunity to do a lot of bigger things for our band.

What songs are you really enjoying performing live from 'Dear Youth' at the moment, and why? I think my personal favorite is probably Dear Youth, the title track off the record. We have also been playing Mercy, Move Me and Avalanche and they've all been going over really well. But as far as playing any of the songs live my favorite is definitely Dear Youth.

How did you end up working with Jason Butler on the track 'Wide Eyed', and what was he like to work with? I've known Jason for a very long time. Long before The Ghost Inside, we used to hang out at a local teen center near where we grew up. They used to host all kinds of punk and hardcore shows that we would both be attending. We grew up in neighboring cities and we've been friends for a long time. When it came time to have a guest vocals spot on the new album because of what Dear Youth was about we thought it would be awesome to reconnect with my childhood and have him on the track. He's obviously very talented and everything he does is awesome.

How excited are you for your upcoming performance at Download Festival, and what can attending fans expect? Download is definitely a festival we are looking forward to. Last time we played it, it was one of the biggest shows we had ever played up until that point. This time around we know what to expect from the crowd, and we're going to give it everything we got. I think it's going to be one of our best shows ever.

Can you give us a couple of personal highlights from performing in the UK over the years? I think my favorite memory from performing in the UK was playing the London underworld for the first time. Being from America and seeing all these flyers for awesome shows there, it was always a place I wanted to play. Our first show there totally blew my mind. It was just real sweaty, up close and personal and those are always my favorite kind of shows. Any time that we go back to the Camden area I make it a point to walk by there and remember that show.

â&#x20AC;&#x153;The support for Dear Youth What parts of the world would you really like to take The Ghost Inside experience to where you haven't already, and why? I think the last place left for us to go is to South America. We've been very fortunate to be able to tour all around the world and I've seen almost everything I could ever dream of seeing. The last big one on the checklist is South America for sure. We've just never had the opportunity to go yet.

How would you say the sound of The Ghost Inside has grown/progressed since you first started out? With any band growing with each other and as musicians, you start to expand your talent into more ideas. For us, we just want to keep it fast, heavy and fun. But we've all gotten better at what we do so there's a lot more room to try new things.

h has been overwhelmingâ&#x20AC;? It's been just over ten years since the formation of The Ghost Inside, so with that in mind where would you like to see the band ten years from now? Well I don't really count the former band A Dying Dream as the ghost inside years. I like to think the band started in 2008 when our first record as the ghost inside came out. But hopefully in 10 years we will be at a point where we will continue to grow, where the fans still support and we still get the chance to tour the world and have fun with this.

What else can we expect to see from The Ghost Inside in 2015? Just lots of touring. We're not a band that likes to just sit around, we like to be on the road. Hopefully we are going to write a new record as well!

SECOND DRIVE

Second Drive first came together in October 2008 with members Dan Hyland, drums and Stephen Butler, guitar. Over the next two years Hyland and Butler began finding other members to complete the band and begin playing live with the songs that they had been writing. Over the next few years, Hyland and Butler found it difficult to locate the right set of musicians in the band that would help discover their sound and carry forth with Second Drive. In Butlers' past he had been in a series of bands and knew many musicians in the area. As Second Drive struggled to find steady, strong members to carry the bands name Butler, began to reach out to past band members that he knew could hold up to the challenge. After several attempts, Second Drive finally came together with singer Michael Royal, and bassist Jason "Cheezy" Martinez whom both were from past bands with Butler.

Once Royal and Martinez teamed up with Second Drive the band came together, locating the sound that they had been trying to achieve for all these years. At this point Second Drive began to write heavier as a band, giving them a second wind to carry the distance to their first studio album which was recorded in late summer 2014 in Dublin, OH with URC Studios. With the first album officially released "What's Left Is Decay", Second Drive now has the momentum they were wanting to achieve to launch themselves in to the music world.

CONTACT: facebook.com/SecondDrive seconddrivemusic@yahoo.com

Interview with Ben

“The guys in Black Stone Cherry have simply shown since day one that they know how to pen a classic hard rock track, and if you check out their most recent album ‘Magic Mountain’ you will see evidence of this! So it’s a privilege to be joined by the band who reflect on their career as well as discussing what else we can expect to see from them in 2015!”

Looking back on your latest album 'Magic Mountain', how happy are you with this record still, and what do you think it has done for Black Stone Cherry? We are very proud of that album! We had a great time recording it, and we got to do one of our biggest tours in the UK and Europe to promote it. The crowd loves to sing along to the tunes and move their bodies, so that's all we can ask for! I think it has only helped us continue to grow as musicians and as a band.

What songs are you currently enjoying performing live of 'Magic Mountain' and why? One of my favorites to play live is ‘Bad Luck and Hard Love’, mainly because the riff is sick! It slams! It's one of my favourites on the album and it goes over great live. However, hearing thousands of people sing ‘Me and Mary Jane’ is incredible as well!

For you guys, what's the hardest part about being on the road? Probably just being away from family. I would say that is probably the answer you’ll get from most bands. We love our families, of course, but we also love touring. You just have to balance it out to where you don't burn yourself out too quick.

How would you say the sound of Black Stone Cherry has progressed since you first started out? We've just grown as musicians and songwriters, I think. I hope, anyway! Haha. But what's funny, is just lately we have been recapturing the mindset of when we first started. Sometimes, too much knowledge or experience can take away some of the special flavour. Our new stuff is sounding like total badassness!

Also, how would you say the rock scene has changed/progressed since you first started out? We've seen several bands come and go. We've seen rock magazines and radio stations in the US come and go. But there's still rock bands, wherever you go. Especially in the UK and Europe. Rock is King.

How excited are you for your upcoming UK dates, and what can attending fans expect? I literally just woke up from a dream about Download Festival. Absolutely not joking. That is a very important show for us, we know we have to bring it 100%, which of course we try to do every show! Fans can expect an uncaged BSC with energy and passion on stage. Maybe even a new song or two!

Also, how excited are you to be a part of this years Download Festival, and what can people expect from your performance?

Very excited. Honored, really. We are going to step on the stage and hopefully create an evening that ourselves and those watching will remember and walk away talking about. We don't have a moving drum riser or pyro and all that. For us, it's about pure performance, and we hope the fans can see that passion as we play!

For you guys, what's the difference between your own concert, and a slot at a festival? At our own concert, we may have a little more control in the way of staging, lighting, set length, etc.. A festival however is great, because we get to expose our music in front of a massive amount of people who may never have seen us before. So both situations are killer, just in different ways.

Touring wise, what else are you getting up to this year, and are there any places in particular that you are really excited to visit? We’ve just finished a US tour, so shortly we’re back in the UK & mainland Europe. We have a few more US dates in July and back again to Europe in August. Our summer is pretty busy, but we're ready to rock!

'Skies Turn Black E.P. release June 15/06/2015 featuring the tracks/songs Life Goes On and Cold'. Soundcloud.com/skiesturnblack Facebook.com/SkiesTurnBlack Twitter.com/SkiesTurnBlack

Interview with Fred

“Just recently the band put out ‘True Brew’ a record that shows that even if it’s been seven years since their last release ‘Machine 15’ came out, Millencolin still have more than what it takes to construct an epic punkrock album that can grab your attention from the moment you hit play!”

How did you get to the album title 'True Brew' and what does it mean to you? It was me who came up with the title and it was long before the lyrics were written. I thought it sounded really good for an album title and it sums up what we’re about as a band. We’ve always done this for ourselves and by ourselves, everything from the music to album covers, artwork and making all the decisions as a band. A while back we even started calling the writing process ”cooking notes” so this is the True Brew.

Can you tell us about the main themes and influences that run throughout 'True Brew'? This album is a little more political than before lyric-wise, I’d say. How we live our lives, how we treat other people and this planet, the over-consumption, the growing problem of racist parties and so on. When it came to the music, we wanted to do something different to Machine 15 as we felt we couldn’t really take that much further, even though we like that one too. It’s no secret we’ve always listened to bands like Bad Religion and how they’ve inspired us, and they have inspired us this time around too. We wanted to write a little more straight on melodic punk/rock album. We’re really proud of it!

What was the hardest part about putting together this new album for you guys, and why? Even if the process took us a while it wasn’t too hard at all. We recorded most of the instruments in our own studio (Soundlab Studios) last spring, then we did a bunch of European festivals and stuff. Mid fall 2014 Nikola started to do the vocals with Jens Bogren at his studio (Fascination Street) and also the mixing at the same place. I know it’s like 7 years since Machine 15, but we’ve been playing live all these years since. We toured Machine 15, then we did this special Pennybidge Pioneers show in Örebro which later evolved to a world tour playing that album from the first to last track. After that we celebrated 20 years as a band by arranging a 2-day festival where we played two different 25-song sets and invited bands we’re friends with like The Hives, Danko Jones, Bombshell Rocks, Angers Curse, Anchor, Voice Of A Generation, Hårda Tider etc. Loving it!

What can you tell us about the narrative behind "Sense & Sensibility", and what was the video like to shoot for you guys? The video shoot was awesome! We used only our GoPro cameras, put our gear in the back of a van and drove around Örebro at night playing the song over and over. People on the streets were just wondering what the hell we were doing in there, haha! The lyrics to ‘Sense & Sensibility’ are a bit more serious though, it’s about this growing problem with racist parties and egocentric people in general.

How did the artwork for 'True Brew' come together, and what does it mean to you? Erik (guitar) did the artwork as usual. He made all our album covers, shirt deigns and did it good so it’s how we do it. He worked on an idea and came back to us, showed what he wanted to do and asked for inputs and then did his thing. It turned out really great, works great with the title too.

Other than the release of 'The Melancholy Connection' can you tell us a bit about the main things Millencolin have been up to between the release of 'True Brew' & 'Machine 15', as well as maybe why you think it has taken longer than usual to put a new record out? Like I explained in a question above here we’ve been active ever since we released Machine 15 with touring and playing festivals, 20yr anniversary and a Pennybridge Pioneers world tour as well. The writing process didn’t really take that much more time than usual, we just chose to wait for the right moment and not to stress it which was great. When we got to it, we knew exactly what to do!

Also, looking back on 'Machine 15' then, how happy are you with this record still, and what do you think it has done for Millencolin? We are happy with that album, absolutely. There are always a couple of things you could change if you’d do it again but all in all we are satisfied. There are a whole bunch of cool songs on there. When it comes to our listeners it’s like always, some like it and some prefer the earlier stuff.

“We definitely had our ups and downs but that makes you stronger as a band”

You guys have had the same line-up since day one, so how rewarding does that feel, and how do you go about keeping it 'fresh' in the Millencolin camp? That’s something we are extremely proud of! We definitely had our ups and downs but that makes you stronger as a band. We have a lot of respect for each other and great understanding. We don’t all live in the same area anymore, Nikola lives in Gothenburg, I live in Malmoe and the other two fellas live in Örebro so when we catch up to rehearse or whatever we have a really good time together. All of us were more or less friends before Millencolin so we have a lot of history together. I guess living in different places and not seeing each other gives us perspective and fresh inspiration when the writing process starts.

What else can we expect to see from Millencolin in 2015? We’ll be touring all over the place. Europe, North/South America, Australia, Asia. We’re stoked, so make sure to catch us live somewhere and check out True Brew!

â&#x20AC;&#x153;This is a band that with the right breaks, could and should go far.â&#x20AC;? - Stencil Mag

Interview with Brandon and Vinnie

“With the announcement of their reunion The Movielife went on to sell out shows across the world. It’s proof that although their last album was released in 2003, the band obviously released music that meant everything to a lot of people. So it’s an honour to be joined by Vinnie & Brandon who tell us in depth what this new beginning has been like for them!” For those that don't know, can you tell us why The Movielife originally called it a day back in 2003? Vinnie: We died of natural causes. Lack of communication, relentless touring. At the time we were very young and never expected to get as far as we got.

After a brief reunion a couple of years back, then how did the idea of another reunion initially come about, and how hard was it to make this a reality? Brandon: A few months before we decided to do it, Vinnie and I met up at a local neighborhood park just to catch up - we always make it a point to get together here and there, no matter how busy our lives get. What was intended to be a very light-hearted meet-up ended up becoming fairly monumental. The 2011 Movielife reunion casually came up between us and we discussed how we wish we would've done things a bit differently. I had some regrets about my approach and state of mind back then, and Vinnie said he did too. I mused out loud that if we were ever to do that again, that I know exactly how I'd like to do it, and that I would one day love a second chance at righting what I felt was done wrong. This conversation immediately opened up the flood gates of enthusiasm, and the word "one day" was quickly abandoned and replaced with "very soon". We weren't sure how the other guys were going to respond, as the original reunion left off without much resolution amongst us. It turned out the other guys were very much enthused and eager to reform as well. And now, here we are.

What was it like to rehearse as The Movielife again after all of these years? Vinnie: Everyone showed up somewhat prepared. We jammed easier ones and re-learned a bunch of songs. As a vocalist I have the easiest job. I remembered most of the words, Pinky Swear, Ship to Shore, and Jamaica Next have been my favorite songs to revisit.

What have your reunion shows been like so far, and can you give us a couple of personal highlights from your time on the road? Brandon: It will be very hard to use words to describe that. First off, the first 3 shows sold out almost immediately -- and the reaction was absolutely beautiful and chaotic. The Movielife was not that band in the old days -- at least not to that degree. We didn't sell out shows -- especially in big rooms. It's remarkable to have seen people become so interested and excited, or rather, upping their loyalty during those years of disbandment. The present feeling cannot be explained without first touching on the past. There is this newfound rejuvenation; it's as if all of these people were standing by, patiently waiting for the big day. I would say that is exactly what the personal highlights have been for me from our recent shows -- the impassioned, almost violent reaction that we are receiving while we are on stage. At times, it is almost frightening, and it is utterly rewarding for me on a very deep level.

What made you want to release 'It's Go Time' on vinyl for the first time ever? Vinnie: The idea came from Mike Dubin who originally put it out. He has since turned Fadeaway Records into a non-profit and the record will benefit the fight against cancer. It's a no brainier. Now that I've seen the packaging, I'm getting very excited.

Most of you are in side-projects, so what kind of effect will this have on The Movielife, if any? Brandon: If you're referring to musical side projects, I don't believe this would cause any hindrance whatsoever, as we are only playing a couple of shows a month (3 tops). I'd say the biggest challenge we face right now is carving out the time to rehearse and play shows, considering we all have jobs and most of us have wives and kids. So, finding that sweet spot where all 5 people are free on a particular day for a certain amount of time is almost an art form at the moment.

How excited are you for your upcoming UK tour, and what can attending fans expect? Vinnie: Extremely excited for the UK. Love the UK, love the fans, they can expect The Movielife to come back there and be better than ever. LOTS of songs.

You've said that it's going to be pretty hard to get The Movielife out on the road as much as you'd like, so with that in mind, where & why would you really like to take The Movielife on this current tour? Brandon: At this point in time, the most attractive thing to us is playing places that will allow us to not spend too much time away from home. The only way this thing can work at the moment is if we aren't doing full tours -- it's just not possible right now with our individual lives and responsibilites. With that said, I am very excited about going to England for three days this June (wish it could be longer!). I also like the idea of going to Australia for a few days as well. Popping into a bunch of different countries for a few days at a time would be the real fantasy, although it's not very cost efficient (or smart). But, we will see what happens in the future! I never say never.

What are your future plan as The Movielife? Vinnie: We are constantly adding more shows when we can fit it into our schedules. I do have thoughts but they still feel like daydreams. Whether they stay daydreams or come into reality is yet to be seen. Right now I'm happy to be singing these songs again.

Interview with Chris

“Their views on political matters and the way they describe important subjects in general are always spot on, and in short we really need to raise more awareness for what this band is trying to promote. Their new release ‘American Spring’ is an incredible listen that will satisfy both old and new fans of the band, whilst continuing to establish Anti-Flag as one of the most inspirational acts out there right now!”

How did you end up signing to Spinefarm Records, and what have they been like to work with so far? It's still the honeymoon phase, so far so good. We decided before this record that we bet on ourselves. It's the first record after our 20th anniversary, and our 10th record overall. It seemed heavier and more dire for us to be focused. The politics of the world merited a more feverous and attentive Anti-Flag, we decided that if we were going to make another record it required us to be at our best. American Spring needed to be a tent pole record for us, like Die For The Goverment, Terror State, or For Blood and Empire. So we wrote and rewrote, I had a tumultuous end to a relationship that was as long as I've been in the band. My struggle with finding my new self identity is all over these songs and their commentary on our socio-political climate. It made me personally more focused than ever. We recorded the record with our own money, we had our friend Doug Dean create the artwork, all of it finished and in hand before we found a label partner. We wanted someone who loved the record and was a global label, Anti-Flag is a globally conscious band, we are not exclusive to any territory and that was important to us in a label. Of all the ones we met who wanted to release American Spring, spinefarm met that criteria.

â&#x20AC;&#x153;We need to start again, with a new plan of direct democracy.â&#x20AC;? You've always had important, socially conscious messages to convey with your material, so can you tell us a bit about the main themes and influences that run throughout 'American Spring'? Obviously the police murdering african Americans at will in our country, Obama's failures at being the anti-war president and turning into the surveillance and drone president. But most of all itâ&#x20AC;&#x2122;s a record about empathy, Michael Brown was a real person, those killed by drone strikes in the Middle East are real people, with families that love them. The animals we kill and eat are living, these themes ring out loud on American Spring.

How did you get to the album title 'American Spring' and what does it mean to you? It's an obvious reference to the movement of the Arab Spring. We took away the positives of that immediate history. That communication through new technology can bring people together in unprecedented ways and numbers. The idea of spring being a rebirth. The cherry blossom in the art work, and its short life span, it's symbolism of renewal. We need to start again, with a new plan of direct democracy.

How did the album artwork for 'American Spring' come together (front & back), and what does it mean to you? It is a challenge. A challenge of our collective perception of peace and violence. A middle american Fox News watcher sees a woman Muslim and thinks terrorist, a punk rock idealist sees a soldier or cop and thinks baby killing authoritarian. We are not immune to prejudice, and until we recognize our own privilege and prejudice we can not live above it. We took these ideas to Doug Dean and he delivered an image with no violence at all in it, but one that evokes emotions. Archetypal individuals, the exploded flower, depending on your own inherent beliefs you feel one way or another.

You've stated that 'The entire American Spring package includes essays, personal liner notes, and further information' so can you elaborate on what fans can expect to see from the packaging of this record? A tremendous amount of clarity and transparency. We want people to know where we are coming from, my personal headspace when forming these opinions, our collective urgency in sharing and commenting on the worlds happenings. And much more amazing pieces of Doug Dean's artwork.

â&#x20AC;&#x153;We may have been complacent in our writing over the last two records, that is not the case hereâ&#x20AC;?

What can you tell us about the recording process for this album? It was tough, we worked tirelessly on the songs, we brought them to Kenny Carkeet (of Awolnation) and his production partner Jim Kaufman. Kenny is an Anti-Flag fan, which is new to us. Working with a producer who is familiar with the bands history. Wanting to challenge us and our audience but being cognizant of staying true to the sound we have created, he was beyond helpful in this process. Jim captured it all. We recorded for a month and a half in a house in LA. Just living the songs. Not a sterile studio environment, but an open and free space to create. It was truly the perfect place to make such a heavy, politically and emotionally, record.

How would you say this release compares overall to anything Anti-Flag have done before? It's our best record. Hands down. Song for song, we are reaching further musically and ideologically. We may have been complacent in our writing over the last two records, that is not the case here.

What made you want to release 'Fabled World' first, and can you tell us a bit about the narrative behind the track? It's a song about the failures of the Obama administration. We are sometimes alone on an island of politically driven music, but we can not give Obama a free pass. The song being the first to release was a tough decision. We worked so hard on the record as a whole piece, to boil it down to one track was impossible, so we went with one we believed was an introductory track. Not necessarily a synopsis of the album.

How excited are you for your upcoming show with Less Than Jake in the UK, and what can attending fans expect? We have played with LTJ a fair bit. They're so kind and are proven lifers. The show will be fun. Both bands want a space where people are free to be themselves, a place where all are welcome. We go at achieving this goal in different ways, but we always get there when we play shows together.

The six piece fusion pop-rock band, Surprise Me, based out of Santa Barbara, California, brings a refreshing blend of rock music with electronic pop to the music scene. Each member utilizes their individual tastes ranging from metal to classical to add to the high energy sound of the band. The genre-crossing sound mixed with entertaining live shows makes Surprise Me a band that constantly "surprises" audiences. Surprise Me's debut EP is available online at Soundcloud! CONTACT: soundcloud.com/surprisemeofficial

Interview with John

“By working extremely hard since their formation The Maine have gone on to have their albums dominate the US charts whilst touring the the world to make sure that everyone knows about their incredible approach to alternative rock. The band has just released their new record ‘American Candy’ which will of course see their career take to the skies once more!” How did you get to the album title 'American Candy' and what does it mean to you? American Candy is anything without a heartbeat. It's everything I hate about the media and popular culture, and it is what I tried to combat most while writing American Candy.

Can you tell us about the main themes and influences that run throughout 'American Candy'? Embracing the feeling of being lost. Notes from Underground by Dostoevsky influenced a lot of the topics I touch on throughout American Candy.

Have there been any effects, or new instruments that you have really enjoyed using on this album? We used the Fender Rhodes quite a bit more than we ever have in the past. It definitely brought out a different sonic element than we ever toyed with prior.

This is your third independent release, so how did you originally go independent, and what has that experience been like for you so far? We were somewhat forced into parting ways with label support and couldn't be happier with how things have panned out. The creative control we enjoy now feels too great to ever want to revert back to our old ways.

What made you want to release 'English Girls' first, and how happy have you been with the response to this track? Sonically, "English Girls" felt like the perfect ambassador for American Candy. We couldn't be happier with the support we're being shown online and on the road since it was released.

Also, with the album literally just out, then how happy have you been with the initial reception, and also how does it feel for you as a band to finally have it out there for the world to hear? It's incredible to have people singing along with songs that just came out last week. It really shows how supportive of a following we have and makes us want to work that much harder to take American Candy to places we've yet to visit.

How would you say 'American Candy' compares overall to 'Forever Halloween'? Forever Halloween is analog and somber, where American Candy is digital and uplifting.

How did you end up working with Colby Wedgeworth, and what was he like to work with? We worked with him for one of our previous records, Pioneer. He’s a pleasure to be around. A great producer and an even better friend which made for a radical recording experience once again.

How did the front cover for 'American Candy' come together, and what does it mean to you? The cover is meant to be eerily "perfect" and representative of the meaning behind the title. There is no such place as Utopia.

What else can we expect to see from The Maine in 2015? Loads of touring. We hope to take American Candy all around the globe.

“We couldn't be happier with the support we're being shown online and on the road”

Atlantic Division is a Canadian pop punk band from Hamilton, Ontario, formed in the fall of 2014.

Facebook.com/AtlanticDivisionBand Twitter.com/ADOfficial905 AtlanticDivision.Bandcamp.com Instagram: @AtlanticDivisionOfficial

Consisting of five members; Darcy Chaffe on lead vocals, Jake Renshaw on lead guitar, Marco Ciampaglia on rhythm guitar, Adam Baldwin on bass, and Josh Blazek on drums. Atlantic Division will be releasing a five song EP this June followed by an Ontario tour this fall.

â&#x20AC;&#x153;On their new self-titled album the guys in The Story So Far chose to work without a producer, and by going down this path they have ended up creating one of the most raw and organic records of the year. So join us, as we find out how it came together whilst reflecting on their touring life in recent years!â&#x20AC;? Interview with Will How did you go about deciding that this release would be self-titled? Parker showed up to practice one day and asked if we could do a self/titled album...we all said, YES! it was the happiest day of our lives.

Can you tell us about the recording process for this record? We recorded the album at The Panda Studios w/ Sam Pura. We've done most of our recordings with him. We went in more prepared musically than ever before. We had more songs written and we wanted to treat each song individually. We recorded drums for a song or two at a time, then guitars, then bass, then vocals, then repeated the process for the rest of the record. We went back later and added over dub guitars and had time to really get guitar tones for each song and each guitar track. It was a new way of recording for us that we enjoyed, greatly.

What was the hardest part about putting together this release for you guys, and why? Writing the record itself is a lot of work. With touring so much, we wrote on the road a lot. We'd then get home and want to sleep and catch our breath, but, we'd get back in our practice spot a few times a week and work. That was the most difficult part. We did a lot of pre-production at a few different studios, one being Electric Ladybug (Chris Conley), to catch a new vibe and give ourselves a weekend getaway to work with someone we've looked up to for most of our lives. It was a huge impact on the record.

How would you say this record compares to what you achieved on 'What You Don't See'? This record didn't have a producer, we didn't have any distractions, we knew what we were doing going into it. WYDS has a lot of production on it, which is cool, I still like that record, but, we wanted to have a more natural process and record. This time we got that.

How did the idea for the album artwork come together for this release, and what does it mean to you guys? We are big fans of Neil Young, we looked at Neil Young & Crazy Horse-Zuma and liked that. We wanted something along those lines and James Fisher did just that. It means we're on a crazy adventure and we get to sing into cobras and Ryan gets to play his drums on top of a waterfall.

Looking back on the touring cycle of 'What You Don't See' then can you give us a couple of highlights from this, as well as how happy you've been with the gradual growth of your fan base on a global level? Well, we got to see some pretty awesome places, New Zealand, Australia, Eastern Europe, etc. We got to play the absolute biggest shows of our lives w/ A Day To Remember and Every Time I Die, which was one of the coolest tours, ever!

â&#x20AC;&#x153;This record didn't have a producer, we didn't have any distractions, we knew what we were doing going into it.â&#x20AC;? How did your last tour go in the UK with New Found Glory, and can you give us a couple of personal highlights from your time on the road here? It was a fun tour, but to be honest, we were burnt. It was our last tour for the cycle, we had family and holidays waiting for us at home, a record to finish writing/recording, we had a lot on our minds that trip. We didn't do anything fun, we watched three seasons of game of thrones. Sometimes when you're gone and traveling as much as we do, you try your best to make a nice home-like environment. That was the back of the bus that we shared w/ State Champs. So if you saw us on that tour and we played/looked like rubbish, well you're right, we did! We apologize for being so burnt!

How would you say the pop punk scene has changed/progressed since you first started out? Well, it's obviously grown and become this, thing. I have a hard time answering this question, given that I don't really follow many bands that are similar in sound. I personally can't listen to it, I think most of the bands suck.

Interview with Alan

“Their last EP ‘Go Down in History’ was an epic release that really got listeners excited for what the future might hold for one of the coolest rock bands out there. Thankfully, we didn’t have to wait too long, as they are already back with their new self-titled album, which sees the band taking influence from their earlier releases such as ‘Rise or Die Trying’ & ‘Enemy of the World’, and well, you can’t complain about that!” How did your recent UK tour go, and can you give us a couple of personal highlights from your time on the road? The UK tour we just did was really great. It was our first time overseas in a couple of years, and it was great to do it with a cool package of bands, almost all of them being label-mates. All of the shows were a ton of fun, crazy crowds, loud sing-alongs, the whole shebang. My personal highlight from the tour is definitely getting to eat wagamama almost every day!

What made you want to name this as a self-titled album? Usually we wait until the album is done being written and recorded before we come up with an album title, because a lot of times it comes from a lyric from a song that we feel represents the album as a whole. This time when we finished up, and we realized that we felt that we have made our best record yet, it just made sense to have it be self-titled.

How did you end up working with Kurt Ballou, and what was he like to work with? We have always wanted to work with Kurt because he just makes huge sounding records. There’s no doubt about that. It also helped that his studio is located in MA, because Dan and his wife had a baby recently so we didn't want to spend too much time away from home while we weren't out on the road touring. Working with Kurt was a very interesting process at first because it was so different than any other way we've recorded records. He just made us set up in a room and play the damn songs. We had to work pretty hard to get the songs down once we were in the studio because we ended up doing very minimal editing after tracking each instrument. We just had to play it really fucking good right off the bat. It made the process a bit harder, but a lot more fun and rewarding in the end. I think it will help us in the long run to be a better band and better musicians in general.

Can you tell us about the main themes and influences that run throughout your upcoming self-titled album? We usually don't have themes on albums that we make. We just write stuff that feels right at the time. I feel that if we concentrated too much on sticking to a theme then the quality could potentially suffer, the influence is mostly the band itself. We have gone through a lot in the past few years with releasing an album that wasn't received very well, into almost two years of no touring at all and almost breaking up, and indulging in our personal lives at home, all of it really put things into perspective. When we decided it was time to make this new record, we knew that it just had to be the best FYS that we could be. We started thinking a lot more about why we started this band in the first place, and what was in our heads when we were making our earlier records like Rise or Die and Enemy of The World. We realized that those records were 100% about the live show. We always kept the live show in mind with every song, guitar riff, gang vocal, everything. That’s what it was all about. So that’s what we did with this new record. We just wanted to make an awesome record to play live to our fans across the world because that is what we truly care about,

You've stated that this record is “one of the most raw records we’ve ever made, it’s just us playing. No fancy computer shit. Made for singing along and head banging.” so for you guys overall, can you elaborate on how it compares to anything you've done before? I talked about this a bit in one of the other questions, but that’s really what it is. Not a whole lot of crazy production stuff, not too much editing, just straight up FYS. We've definitely never done that before. It's a bit scary to be so bare bones, but I think it came out great.

“We just wanted to make an awesome record to play live to our fans across the world” Also, looking back on the 'Go Down In History' EP, how happy are you guys with this still, and what do you think it has done for Four Year Strong? We all love that EP. It was a really important step in the FYS world. We had taken so much time off, did some soul searching or whatever you want to call it, and that was the beginning of the new FYS. It was the beginning of this self-titled album really. We had the same mentality going into that EP as we did making this full length. I like to think that it put us back on the map a little bit. It sucks to think that there was a time where we weren't really on the map at all, but with peoples attention spans these days I think it’s safe to say that the map had been erased of FYS completely, and it was time to draw us back in. That’s what the EP was for us.

What was the hardest part about putting your self-titled record together, and why? Defeating our procrastination was definitely the hardest first step of writing the record. We are all really bad at getting things done on time. So much so that I think it’s come to the point where we all expect it and know that instead of working here and there for a long period of time, we just end up having to bust our asses for 6 months and make the best thing ever. We've always worked better under pressure I guess.

So, how does a song normally come together for Four Year Strong? A guitar riff is usually the start off point. Either Dan or I come up with something and take it to the other to turn it into something real. Then Dan and I write about half or three quarters of a song and move on until we have a bunch of songs. That’s usually when we bring it to the rest of the band and really turn it into a four year strong song. Jake and Joe put their finishing touches on the song, and then that’s when we write lyrics. It’s a strange way of doing it I guess. Most people would write lyrics and music simultaneously, and we've done that on occasion as well, but we've always had a better grasp of what a song should be about once we write the music. Sometimes pieces of the music change once we've written the vocals, but it’s a lot more fun to write words to music. It comes a lot more naturally to us that way.

Can you tell us how the artwork for your self-titled album came together, as well as what it means to you? It was literally the band and our touring crew sitting on our bus on tour spitting out the stupidest ideas we could come up with, while our tour manager was writing it down to send to the label. I can only imagine what the artist thought when he first read that email. Probably thought we were insane. I had the vision of making it a kind of 70's psychedelic theme, which I thought was funny because of the lack of drug use in our band. We always just think album art should be fun, and stupid. We don't want to take ourselves too seriously. Playing in a band should be fun and exciting, which it is 99% of the time, and we just do stupid things like this album artwork to make sure it stays that way.

Purchase the "Lisa May EP" on iTunes, Amazon.co.uk, emusic.com, tatepublishing.com

After a successful stint fronting melodic punk trio Words Away, New Jersey native Mike Carroll set out on his own to create Folding The Pages. Though he's been an established songwriter, guitarist and vocalist for years, this exciting new project represents Carroll's marked evolution and maturation. Present in each Folding The Pages song is the stiff spine of hard rock enveloped in pop song structures, gut-wrenching lyrics and sing-along sensibilities. Accessible to mainstream audiences but with just enough punch to attract song nerds worldwide, Folding The Pages, simply put, is a rich musical experience. Mike Carroll - Lead Vocals/Guitar Mike Ford - Bass Dylan Gadino - Drums

Interview with Brent

“Just recently the band completed their Frozen Flame Tour, which ended up becoming their most successful headline tour to date! To add to this, they are just about to unleash their epic new album ‘Found In Far Away Places’, which in short, is an absolute must listen!” How did you end up signing to Fearless Records, and what have they been like to work with so far? Fearless was one of the last labels that we actually met with. We sat down with them because our good friends in Blessthefall loved them, and our other friend, Sal, had newly become an A&R with the label. They came at us with a great presentation of what they wanted to do with the band, and were able to explain how the label worked really well, so it seemed like a great fit. It's been great so far. They are very excited about our new record and have some cool ideas on how to promote it.

Touring wise, what have you been up to this year so far, and can you give us a couple of personal highlights from your time on the road? We just finished the Frozen Flame Tour which ended up being our most successful headlining tour ever. It was kind of nice having that come 12 years into your career. We had a TON of sold out shows on this tour, but the one that had the most impact was the Norva in Norfolk. It's a very legendary venue so selling it out was a big deal to me.

How did you get to the album title 'Found In Far Away Places' and what does it mean to you? The title used to be a song name, but we all really liked it because it has an interesting sound and can mean a lot of different things to different people upon listening to the record. To me, its meaning lies behind the fact that most of us have really found who we are as people by traveling all over the world and learning about and seeing different cultures. Your opinion of how the world works can really change when you get outside of the bubble of your friends, family and home town.

Can you tell us about the main themes and influences that run throughout 'Found In Far Away Places'? The record doesn't really have a main theme lyrically. We strive to have a lot of different ideas and topics on each record. We accomplish that by opening writing lyrics to anyone in the band who wants to. We all have different values and opinions so we think itâ&#x20AC;&#x2122;s fair that everyone gets to express them. Musically the main influence is just trying to push ourselves creatively, and to not be scared to try new and challenging things.

What made you want to release 'The Wake' first, and can you tell us a bit about the narrative behind the track? We were actually really surprised when Fearless wanted to release The Wake first because the track is so thrashy and heavy. However, we love how it's just a big kick to the balls and a really in your face song. Kind of showing our fans that we may be getting older, but we are still as fast and heavy as ever. The narrative just talks about how we as humans are, in general, pretty apathetic towards the environment. I think a lot of the negative impact we have on the world we live in gets swept under the rug just so big companies can still make money off of our consumption, and it's time for people to wake up and change how they live. Today I watched a person just throw a huge cup out their window into a patch of trees and I just started honking my horn at them until they turned off the street. Drives me nuts! That is just so lazy.

Can you tell us how the artwork for 'Found In Far Away Places' came together, as well as what it means to you? We always use Ryan Clark from Invisible Creature for our artwork. We pretty much just sent him the album title and he sent us some art. We trust that he will make something we like every time. Thereâ&#x20AC;&#x2122;s not really much of a story behind it!

How did you end up working with Jeremy McKinnon on the track 'Ghosts', and what was he like to work with? We've known Jeremy for years and we all really think the vocal work he does with ADTR and other bands is great, so we hit him up to see if he would be down to track something for us. He said yes and laid down a rough version of what he was thinking, which we were all stoked on. It's always nice when a guest spot is a super painless process. I think there is a lot of mutual respect between our bands so it made it even easier.

How did you end up working with Carson Slovak & Grant McFarland, and what were they like to work with? We've worked with them for our last two records so we decided to just keep going, because we love it. They are great guys, who let us do what we want. They interject with changes and ideas, and it just becomes a fun recording environment. They are both hilarious people as well, so that always helps.

What was the hardest part about putting together 'Found In Far Away Places' for you guys, and why? We really took our time with making this record, so I can't say that anything was particularly hard. We took a lot of time to write it, and then we spent two months in the studio to make sure it was exactly what we wanted.

What else can we expect to see from August Burns Red in 2015? We are doing the Warped Tour this summer, and then we are headed all around the world, but we can't say where or with whom yet. Sorry! You can also expect some music videos very, very soon!

Band@dreamgrave.com / Facebook.com/dreamgrave / Twitter.com/DreamgraveBand

Exploring the realm of our dreams in some ethereal balance, unrestrained by definable sound, but in a daunting storm of emotions. After the unexpected success of the Deadborn Dreams demo the band had troubles finding stable, lasting members. While the search has taken up several years, founder and band leader Dömötör Gyimesi worked on his ideas which eventually became the foundation for the Presentiment LP. In September 2012 he met János Mayer which has not only shifted the songs towards a more progressive approach but became the turning point in the band's history. In September 2013 the band started recording the demos with the beautiful soprano of Mária Molnár. After a lot of hard work the band finally went into the studio to record the Presentiment LP, a concept album consisting of eight progressive dark metal movements. Prog Metal Zone: "This is gonna knock you out! Amazing debut by this dark and at times foreboding band. Very much influenced by bands like Tool and Katatonia but with a strong dark symphonic metal aspect. Great use of female and male (mostly) death vocals too. Dramatic gothic-esque keyboards add tremendous depth to the sound. Seriously, Dreamgrave is one of the best debuts we've heard in a long time and easily one of the best albums of the year." Download and buy Presentiment Digipak Limited Edition at Bandcamp: dreamgrave.bandcamp.com

Darkstone Crows

Darkstone Crows are a heavy metal band from Mississauga, on the western fringe of Toronto, Canada. Founded by rhythm guitarist Jiverny Marshall in early 2014, vocalist Chanel Martins was first to be recruited. Following radical lineup changes, bassist Russell Shipman joined in September 2014, lead guitarist Adam Alexander took over leading into the New Year, and drummer Matthew Skypas completed the lineup in February 2015. Heavily influenced by classic metal transcending the last four decades, DSC pays special homage to Pantera, Halestorm, and Tool. Eschewing progressive pretentions and adhering to a hard-working punk ethic, DSC deploys a shredding dual guitar attack supported by a thunderous rhythm section and rounded off nicely by powerful, crooning vocal work. In the latter half of 2014 and early 2015, Darkstone Crows have shared the stage with for Pat Travers, Vixen, Puddle of Mudd, Hookers nâ&#x20AC;&#x2122; Blow (Dizzy Reed), Red Dragon Cartel (Jake E. Lee), SLAUGHTER, and Lynch Mob (George Lynch). Hitting the studio in mid-April, their debut LP will be available shortly, courtesy of TRH and Animikii Music Group.

/darkstonecrows

Interview with Cristina

“Lacuna Coil have gone on to sell over two million records, with their refreshing take on metal. With a performance at Download Festival coming up shortly, as well as an exceptional response to their latest album ‘Broken Crown Halo’, it looks like right now the band are pretty much unstoppable!”

First of all you have just played in front of 500,000 people in Rome at International Workers Day, what was that experience like? This was a very special occasion, not just that it is one of the most famous events in the world but it doesn't tend to have metal, at all. Usually a musical event will have a selection of artists who are very well known in Italy so for us it was a very special thing to play and an honour because they treated us almost like an International guest because we don't belong to the typical Italian scene for different reasons. For the music we play and the fact we sing in English so it was definitely a great thing.

With you mentioning the Italian music scene, do rock and metal bands tend to sing in their native tongue rather than English? Not really, to be completely honest I don't know that much about the Italian scene because I'm always away, I don't get to hear much of the Italian bands or Italian music in general. As far as I know, they are still singing in English because probably, for this kind of music, English is the most appropriate language to use because of the way it sounds.

You've also just announced your Italian tour for the summer, how is it to be in such demand in your home country? It's great, again it is something unusual because the Italian crowds have just discovered us even more right now! Which I can't really explain but it's fantastic, better late than never! We were always in places like the U.K or the States or somewhere else in Europe so I'm really happy that things are changing and there is more attention towards us although our main market would always be out of Italy, I'm very happy, it's a pleasure.

How do you feel looking back on Broken Crown Halo? I think it is, probably, the best record we've ever done and I know that's the classic answer from an artist because the last record you made is always, at least 90% of the time, the one that represents you and the one you're still talking about. Things you still feel close to you at that point of your life, I think it was the most complete one because of the scenario of when we wrote it and the lyrics. It was a dark moment of the band and as always you are more inspired in a bad moment of your life when you are sad and melancholic. It is definitely my favourite record but we will try and make the next one even better!

Is it tinged with any sadness given it was the final time you would work with the two Cristianos? They were both still in the band at the time of course but now writing the new songs, nothing really changed because the writers are still in the band. Marco (Zelati) is the one who composes most of the music with the help of Maus, our guitar player. Andrea and I are responsible for the vocal lines and melodies so nothing has really changed. Of course we were sorry because we lost two brothers but we are still in touch, they left with no beef or negativity between us in any way. We are happy where we are right now and very determined because we are passionate about what we do, we still love our... Shall we call it job even though it's not really a job, and we are happy to have our new players, they've brought a breath of fresh air both inside and outside the band.

How do you go about creating the vocal lines and melodies with Andrea? Basically what happens is Marco writes the music or Maus writes some ideas and they work together on the music. When a form of a demo is ready, we'll get the MP3s with the music and we'll throw ideas down with everything we have in mind getting inspired by the musical composition. Then we meet in Marco's house, he has a basement where he has his own studio and we will record all the parts that we've found, basically working together and more and more ideas will come out. As soon as we are all happy and have the same vibe then we'll work on that direction. Sometimes we immediately cut something out that we don't like if it doesn't have a good vibe and we focus on a few songs. We don't write 60 songs then take 10 or 12 for an album, we always focus on songs vocally, musically and lyrically. That's pretty much the process, in general, obviously some songs are born in a totally different way, from a riff or a vocal chorus and then we write the music around it but in general we start from music.

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The band have a unique dynamic having a male and female vocal, how do you think that has set you apart from other bands in the genre? I think we were already different, we were coming from Europe and it was more common to have a female in the line-up, there were some bands that already had a combination in the line-up. It was more of a â&#x20AC;&#x153;beauty and the beastâ&#x20AC;? concept. The woman was always singing very melodically with the angelic voice and the guy was always growling. If it isn't the first then, one of the first bands singing this way at pretty much the same time and the same way because it is not set that I have to sing melodic and Andrea has to growl, we were just switching parts. Sometimes I write parts that Andrea ends up singing or vice versa so it feels good that now there are more bands singing our style.

You mentioned working on new material, where are you in the process? Well even though we have a lot of music, it changes a lot during the demoing and sometimes in the studio so we are still deciding which songs to keep and getting an idea of the style of the record. Nothing is decided and nothing is 100% clear so it is too early to talk about it!

You are back on British shores at Donnington next month, how much are you looking forward to taking the stage there again? I am totally looking forward to it! I love to play at Donnington, we already played there at least three or four times but every time, it was a blast! I don't know if it's just the vibe because we feel at home every time we are there or because we love the U.K so much but we always get this great footage of the crowd as there is a constant exchange of energy between us and our crowd. Download is one of the best organisations for both artist and crowd, I am very, very happy to be going back for this show, it'll be a blast!

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Can we expect to see you back in the UK for a full tour in the near future? There are no plans for now as we want to concentrate on the new record. We're going to play some of the festivals in Europe, we have our Italian gigs that are going to be over the summer but we really want to focus on the new record. We aren't able to write on the road because we get distracted and there is so much going on so we've decided to keep a low profile but I don't know, from November on, we are still deciding what the plan will be. For the moment I have no idea!

Lacuna Coil have been around for the best part of 20 years now, when you look back at what you have achieved, where do you go in the future? Honestly? I don't know! I think it will be next year because I consider 96 to be the year that Lacuna Coil was born. For it to be nearly 20 years is so weird because we're not tired of the music or bores, we don't feel old, we've kept it fresh with every record. We didn't stay the same level all these years and it's gotten better with every album. As one of the older bands in our genre I'm just happy at where we are at. I'm very proud, we're still going so I will never feel arrived at the top, there will always be something to learn, always a lot of work to keep on creating something cool!

The Face of Beauty was founded by Linn Win. Linn Win (me) is a college student. After experiencing my first warped tour, I decided I wanted to start a band. When I got to college after that summer, I started looking for band members. Unfortunately, there weren't any serious musicians who were dedicated or who were into the same style of music as me. I had a whole bunch of musical ideas so I recorded them and worked with a couple of different audio engineers which resulted in my first EP titled "From Within". I started playing guitar at the age of 12 and have been playing ever since. Some of my influences as a musician are John Petrucci from Dream Theater, Andy James, Motionless In White, Of Mice and Men, Suicide Silence, and Periphery to name only a few.

This EP was only the beginning for The Face of Beauty. I'm working on a full length album that will include some cool guitar stuff. I'm currently working on recruiting members for the project in order to play this live, which is what I want to do most. From there, I just hope to keep building up The Face of Beauty and hopefully become successful in the music industry.

CONTACT: thefaceofbeauty.bandcamp.com/releases facebook.com/tfobmusic Instagram & Twitter @tfobmusic

Interview with Matt

“After losing Adam Gontier fans were spectacle about how the band would maintain what they have achieved so far. However, Three Days Grace have gone on to blow people’s expectations out of the water with the introduction of Matt Walst on vocals, who has helped the band create one of their most important records to date ‘Human’!” Human has just dropped, so how excited are you to now have it released? We're happy, to spend so much time on a record and release it to the fans, it's exciting. Then to have such a good response from the fans and the people, we couldn't be much happier.

This is the first album with you on the vocals, you've been singing with the band for a while but how was it getting into the studio? It was pretty cool to get writing with the guys, I wrote on the first Three Days Grace record, a long time ago in 2003 and it was actually with the same producer, Gavin Brown. So we went back with that producer, we hadn't worked with him for a couple of years so it was nice, like another new beginning for the band and everybody. It was really nice to work with Gavin again and go back to the old thing.

You wrote a bit on the first record, how far back do you go with these guys? Well my brother plays bass of course, he's about six years older so I grew up watching the guys. I would have been like, 11 or 12 so I've known the guys my whole life, Neil actually recorded my first song on a four track tape recorder back in the day so I've been a part of this thing for a long time.

Painkiller was released just over a year ago, it did well and reached #1 on Billboards rock chart. How much of a boost was that ahead of the other songs that would follow? We couldn't be happier with that, we wanted to get some songs out there before the album was done and give us some time to tour, to record and take our time on the new album. We had that idea before anything so we wanted to get it out there for people to listen and hear what the new Three Days Grace sound was all about.

Was the song a good indicator in advance of what fans could expect from the album? For sure, I think the album's pretty diverse. There are slower songs, faster songs, different subject matter and I think that makes for a good album. If every song was exactly the same then it would get a little boring after a while.

When I listened to the album I felt there was a modern feel but I also thought there was a lot of classic rock elements there Well the equipment that we used is very old school, we didn't use a lot of Midi, only real organs and real piano, all analogue pedals and stuff like that. So I think, where the classic rock sound comes from is that kind of gear. A lot of bands these days will use digital stuff, we wouldn't do that. Our producer was very old school in that sense.

There is a lot of digital being used today, what does using analogue give to the sound? I think it's down to one thing and that is, it sounds more real than most things. It's real and not digitally produced.

I thought the new album did have a modern sound but it also had a very organic sound, do you think it (digital) is something that takes away from some music nowadays? I think it really matters what you're going for, I like digital stuff too. With electronic music, some of it is huge and that's how they get that huge sound, through keyboards and what not. It's two things, if you want to sound like a real band that's on stage or have that live feel to it then analogue is the way to go but if you want to sound larger than life, which is what a lot of digital stuff is then we can go that route. They both have their pluses and minuses for sure.

The albums cover and the title suggest certain themes, can you talk through the story of the album? It's just about feeling numb to the world and numbed out to all the electronics. People communicate by text or Facebook and all that stuff, I think it's really taken away from actually communicating with someone and telling them how you feel. I think technology has taken away from almost being human and the way humans are meant to communicate with each other, I think at points it numbs us and we don't socialise any more, we just text each other or message on Facebook. It used to be if you wanted to talk with them you'd have to meet them or at least talk over the phone. We don't even do that much any more.

Can you talk us through a bit of the artwork? I can't remember the guys name but we found a cool picture of a man who was half kind of robot, and half human. We just thought that was what we were really trying to talk about through the album and the same thing of feeling like being a machine sometimes and life can be very, ground hog dayish.

You have been touring for a while before the albums release, how many of the new songs have you been playing live? I think we've played four or five live, the three releases and two extra ones. One we plan on releasing next hopefully.

Is it difficult playing the new songs live before the album is released? It's good, I think a lot of bands should consider doing it. It gave us time to work on the other songs and writing the album while we had songs out and people getting a vibe for what we were going for.

Touring is of course a massive part of being a band, when writing songs do you ever think “man this is going to be a beast live?” Oh yeah! We don't put a lot of heart into songs we can't play live. A lot of bands just pile up, and pile up with shakers and keyboard parts and sometimes, less is actually more. It's easier to understand for people, when you have a lot of stuff going on in the background, it really mops up everything else. When we're in the studio we definitely write, to play live.

Are there any songs you haven't played live yet that you feel will shine live? I think the song Tell Me Why on the album would really go over well live. Even if it was an acoustic break down you go over really well.

“If every song was exactly the same then it would get a little boring after a while” I'm sure every song will have its special qualities for you but which ones are particularly special? ‘I Think So What’ means a lot to me because it's celebrating being different and saying who cares to the world about what people think about you. I think a lot of people are scared about if I do this, what will people think about me? It is kind of giving the finger to the world and saying this is me being myself and if you don't like it? Go away!

You are back in Europe on the festival trail in the Summer, how are the festival tours for you? I really love playing festivals, there are just so many different acts and every one brings something different to the table. You've really got to put your best foot forward because it isn't a really long set and as I said before, I feel like less is more so if you get your hour or 45 minutes you can really put your best foot forward and put more into it than playing 90 minutes and having to stretch out your energy over that period of time. You get your spot and you kick some ass!

You'll be hitting the States pretty hard after that, when can we expect to see you in the U.K for a tour? I'm not sure! Hopefully soon!

Interview with Dani

Cradle of Filth “Their upcoming album ‘Hammer of the Witches’ is a brilliant listen that displays the bands fantastic take on extreme metal! We are excited to be joined by Dani Filth who goes into depth about this new output, whilst discussing how the band has remained crucial to the metal scene over the years to end up becoming one of the most influential acts ever!” The new album is on the way, what can you tell us about it ahead of its July 10th release? It's out on Nuclear Blast, it is our 11th album to date. I can only speak from experience having dealt with a considerable amount of journalists thus far who have called it a return to form but I don't like that word. It makes it sound like we’re away but I'd definitely say there was more emphasis on twin guitar harmonies and lead work which is maybe due to the fact of getting two new guitarists! It's fast, it's melodic, very atmospheric and the majority of people I've spoken to have said it's our best work in 10-15 years.

What is the creative process behind making a Cradle of Filth album? For this one, we had to get new guitarists because one of them who was living in America had some personal issues and couldn't make the tour and the other old guitarist had a severe neck injury and had to have quite a serious operation on their spinal column. Hence we had to find two new guitarists and from there the band was garnering lots of really favourable reviews for our performances and it was feeling really sleek. So last year between summer festivals, we did a full Russian tour and a tour with my other band, Devilment, we just started writing from about May through to the beginning of December. We were recording in a studio that was quite local to me but not to every one else because the band are spread across the known galaxy! We've got two people in the Czech Republic, Scottish bass player, two English, one of which being me, Richard lives in Derby which isn't close and Lindsay Schoolcraft, our keyboard and backing vocalist is from Canada. So every one flew in and we had a little hotel (ask aymer) sort of thing they all stayed in. It wasn't a huge studio, it was quite low key but it was convenient and seeing as we were 11 hour days, every day bar weekends it was called Grindstone Studios and that was literally what we did, putting our nose to the grindstone. The producer.........became pretty much another member in that, and he drove us to the brink of insanity!

The art of making an album has changed a great deal since The Principle of Evil Made Flesh, how has the recording of an album changed for you over the years? Principal was our debut album and it was done quite quickly, I think we spent three or four weeks on it. I know through the course of our career, we've been in a lot of residential studios. In fact, one reason I think there aren't as many residential studios around any more is that there isn't as much money in music, the government have been forcing these kind of Simon Cowell inspired studios in universities, and that's kind of putting local studios out of business. With the technology these days, every one thinks they’re a producer, they do it in their bedroom and what have you. Some of the residential we used to be in, I remember doing a show in Birmingham with Devilment and it was quite close to where I'd spent months at the studio. I went looking for it for nostalgias sake and it was gone, literally gone. It was UB40's studio, Deck International and there wasn't even a brick, they'd taken the whole thing away. Also we used to record in a great place in the south of England, in Batle called Park Gate which was amazing. I think The Cure were the last guys to work there and that's gone as well so over the course of the years the main thing I've found is the residentials, they are all shutting down. With the exception of somewhere like The Chapel in Lincolnshire which seems to be doing a roaring trade.

The album sees the addition of Ashok and Richard Shaw, what have they brought? They are both really competent guitarists, they are both tutors and even they were like “we've been pushed to the bloody extreme by the producer” which is a good thing. That brought a lot of harmony, and interaction between them so you've got that Murray/Smith, Hanneman/King vibe going on. A lot of melody, speed, a lot of fast intricate picking and a finely tuned balance between that and the atmosphere that Cradle has on its records. The orchestration, the keyboards, female vocals, and yeah, it's a finely oiled and well tuned machine.

Do you think from a sound point of view looking back at the single guitar albums that is something you've missed? Yeah I think it is something we've missed, we were always a dual guitar band live but the last few albums have been written by our former guitarist and he liked it that way. I'd always argued it that we were a two guitar band and I think that is partly why people have said this (new album) is a return to form. The reason they went in that faster melodic direction was that we were playing a lot of the older material on the tour that we drafted them both in for. It wasn't like “right we're going to do this because the fans demand it”, obviously we do listen to our fans but it was a natural progression. Every body contributed to the album quite equally and we wrote prolifically, we actually turned down three songs that we had brought to the studio finished or the producer did because he wanted us to have quality over quantity. One of which was one of my favourite songs but I just went with everyone elses opinion which proves that it isn't a dysfunctional, bloody dictatorship!

You mentioned Lindsey coming in, the female vocal has been a big part of your music, how has it been working with her? She's great! She is a very colourful character and she sort of melds the band in her own way being the only female, but like I said we all get on really famously. It's kind of cool because we did things on tour that we didn't really do for a while like doing tons of sightseeing. She really came into her own on the video she designed with a load of ideas, my wife designed and made the male costumes but she did her own and came up with a load of symbolism. She really gets into it and it's good to get that drive and enthusiasm in the band again.

What is the story behind the video for Right Wing of the Garden Tryptich? It was shot at a former U.S army base near to where I live in Suffolk, it's RAF Bentwaters and it is the largest unused storage facility in Europe apparently. It was really cool, they do a lot of filming there, they had Top Gear there, and I think they did a lot of shots for Fast and the Furious 6 there. It's quite eerie, I knew it when it was operational before the end of the cold war shut it down and it wasn't needed any more, where we did the bulk of the video was inside a air force engine testing bay. A vast place, with blast doors and dangerous looking red buttons everywhere, they all got pushed straight away! The second part of the video, the narrative that runs throughout was a bondage performer called Jeselta and that was shot in a photography studio near Duxford.

As always with a COF album, the artwork is always eye grabbing, who created it and what does it represent? The artwork was done by a Latvian artist called Arthur Berzinsh and strangely enough I found him on the internet, I was marvelling over his work and when I put it to Martin (Skaroupka, drums) he was like “I know that, I told you about him a couple of years ago” and I was like “oh yeah, wow!”. That was good news because he knew about us and he'd had the thumbs up from the band, he agreed to do it. We've worked with some really prolific artists over the years but I'd say this guy is really the pinnacle of what we've achieved with artists. It represents the title, it's like a walk through. One would be forgiven for thinking it was a conceptual record because the artwork is very stylised, very ornate. The title of the album comes from Malleus Maleficarum, which was like a guide book, an evil guide book to root out witchcraft and witches and then punish them. It is an evil book that led thousands of women to their deaths, primarily women any way because it is very mysoginistic in the book, blaming women for the original sin and what have you. In fact the Catholic church denounced the book after about three years but it just garnered popularity for about two or three hundred years, it was really quite a nasty book! Hammer of the Witches is the translation but that was a hammer, like a judges gammel to crush the witchcraft cult or the alleged witchcraft cult and our interpratation of it is to favour the under dog. Our Hammer of the Witches is for retribution, I guess you could say it's about revenge but it is also about revolution as well.

You have been heavily involved with Devilment recently, a very different project of course but did stepping away and doing that give you fresh impetus or outlook on Cradle of Filth when you returned to it? Yeah I think so, they have a rehearsal tonight which I might just be able to get back to London for. They're from London of course, a very localised band unlike Cradle of Filth which like I say, are from all over the place so that kind of helps. I play football with the drummer and regularly hangout, we're all close friends. I mean, I'm closer to the Cradle guys and spend a lot of time with them. I probably spend as much time with them as I do my wife and child because of the longevity of the band and length of tours. Devilment kind of serves as a pressure valve because it is different and the point is not doing a band that's exactly the same, it gives me the chance to vent my creativity elsewhere. Some people might argue the fact that you've just doubled your work load, which is true, but it is good fun, I do like doing this job. We just finished a video with Devilment which we did at the weekend, it was self financed but we called in a lot of favours with people from universities and a bunch of performers that work at festivals. We got this scrap yard which we turned into an apocalyptic war zone for the day!

What plans do you have for taking the album on the road? We have the summer festivals, eight or nine I think of the really big ones and then our booking agent, the Agency Group are in discussions at the moment. There is the opportunity to go out with a really big band which is being sort of hummed and hawed over with the legalities and that rubbish but I think I would prefer, if that doesn't come to fruition, a full headline tour of Europe which is what the plan is regardless whether we do it now or later. There are plans for Europe, we'll go back to Russia, South America straight off and the Americas at the beginning of next year because we had a few issue with our visas on the last trip so this time we're hoping to go back and do a much, much bigger, more extensive tour. So yeah, a lot of touring.

Is the song itself a good representation of what they can expect on the album? Well I think people expect a single to be something that pushes and is the most clement and catchy I guess, I think people were surprised it was so aggressive but I would say that it is a very good example of the rest of the record although every song is so different from one another that I don't think you could really clinch it in one track. The second production video, the lyrical video, is a track called 'Blackest Magick in Practice', the reason we didn't choose that as the main song is it has this sort of tragic overtone to it so it's quite sad, a bit lovelorn but that encapsulates the spirit of the album. It's kind of the weepy song one the record but I don't think you'd get away with that as the first track, if people are worried and thinking “fingers crossed the rest of the album is as intricate and atmospheric” then they needn’t worry.

“We've been through a lot”

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You began Cradle of Filth back in 1991, what are your memories of forming the band? I actually started it with a guy called Paul Ryan when I was in sixth form and he is actually our booking agent now, he's moved up the ladder sort of in unison with what I was doing so we met and became friends again a couple of years back so that's tied that up quite nicely. I just remember my wife and I, obviously we weren't married then but we've been together for as long as the band basically, we lived in this big, gothic, kind of manor house that was divided into flats in the village. It was a magical time because being that age, you didn't have all the pressures of having a mortgage and the sort of things that make musicians sick to the stomach. Things were going on, there was that second wave of Black Metal and we were sort of caught up in the fervour but not so much that we did anything stupid. Not that it would have mattered because British churches are made out of stone and don't burn anyway! We weren't caught up in that religious sort of fervour and excitement but it was a magical time time.

People have often lumped the band in with Satanism but there has never to my mind been a great deal of mention of Satan in your music...... No, I think Satan represents adversity, we are well steeped in the occult and I'm fascinated with that but no, we haven't. I think that is one of the reasons why we've never been one of these bands that has been constantly harangued by religious groups or protested at. Strangely enough, last year we did a month long tour of Russia at the same time as Cannibal Corpse had all the problems with their shows being cancelled by this group called Gods Will. They did, I think nine shows and had six cancelled and we did about 19 shows and had one cancelled. It wasn't really cancelled, they were protesting at one of the venues and so the promoter could have put it on but he was worried about the police turning up and so he moved it to a smaller venue of his choosing. When we got there, there wasn't even the power to put it on! The stage was about the same size as a drum kit so, rather than run away with our tails between our legs, we decided to do a signing, a little bit of a jam, a Q&A with an interpretor and the kids were happy with that.

ound the band, it's like a ust stop at the music.â&#x20AC;?

For a band as extreme as yourselves, your longevity has been very impressive, what do you put your ability to be heading towards a 25th anniversary down to? I don't know, it is very hard to form an opinion from inside the canal but I suppose the longevity can be put down to that the songs are good, we've got a big following. There is an imagery around the band, it's like a lifestyle and doesn't just stop at the music. The videos we undertake are very important, we try and explore every facet of the art and we've done important things over the years be it the Living with the Enemy documentary, me being on Nevermind the Buzzcocks, I think I'm about to present a Kerrang award, being friends with Bam Magera. You know, there are things that have obviously helped the band and given people a better understanding of the band. We've written some pretty killer records as well and worked really hard at everything. That's what I reckon anyway!

When you look back at the history of Cradle of Filth, what do you feel has been your defining moment? There's been a lot, we've been through a lot. There's been some massive highs, a few lows but you expect that. 2003 was great, the release of Damnation and a Day on Sony, it was actually released in 2002 I believe but 2003 we took it out on the road. We headlined the B stage at the American Ozzfest, this was where Slipknot, Disturbed, Rammstein, Marilyn Manson had been before and we were taking out Killswitch Engage, Shadows Fall and Chimaira in support between on the dates we couldn't do. It was ten weeks and as you can imagine, summer in America was a massive touring party, which was just excellent. It was such a success and we went back a few months later with Type O Negative and Moonspell supporting us as well so it was a really big year, a big leap for us. Although being on a major label had its ups, it also had a lot of downs. Obviously the fact that they didn't bother to show up for any of the tour! I would say that.

“Want to know what it’s like to hit the road and tour as a photographer for Frank Turner? Well then you’re in the right place, because Ben Morse has worked himself up through the ranks to turn his hobby into a livelihood!” When did you first realize that photography/directing was something you wanted to do with your life? It sounds like a cliché, but ever since I was a kid. I grew up in a tiny village in southern England. There was nothing to do, and the nearest decent town was a half hour away. I spent all my pocket money on a second hand big TV for my bedroom and a VHS deck. I would tape every movie I could find, and work through directors and actors the way most kids worked through bands.

Who was your first major client, and what was that whole experience like for you at the time? That would be Frank Turner. I'd done film and TV crewing a couple of years before, and it didn't take - I didn't have the personality to handle it - but I approached Frank via email, and when he said yes to me and my friends directing a promo for him I couldn't believe it. Now, this was 2008ish, so long before tour busses or household names. I spent the weeks before massively over-preparing, and not sleeping. Which is a habit I've never grown out of. On the day, the experience was intense, tough, irritating and exhausting, but the constants were the people I put around me, and Frank - all of whom were calm and supportive throughout.

How would you go about comparing photography and directing, for example which one do you find harder to accomplish? I come to photography essentially as an idiot. Everything I learned about framing and composition comes from film. You don't see many portrait photos from me as it feels un-natural to me. With that said, I'm entirely self taught on how to operate cameras. It's not something photographers tend to talk about, but the mechanics of how to actually control a camera - aperture, f stops and ISO settings - are pretty simple to master. You can boil it all down to one pocket guide. How to apply them, the opportunity to shoot, and how you treat the image once it's taken are the real "x factors" to photo. With that said, I'm still learning and love to discover new photographers and how their style relates to how I shoot. Directing for me is something very special. It's a combination of factors that scratches a very specific itch. And it does so at different levels. If it's a no or low budget shoot, you have less time to get artistic. You're more concerned with finding crew, or operating the camera, maybe trying to make natural light work or ensuring you aren't going to get thrown out of wherever you're shooting. The more money there is to a production, the more the director gets to play. When you choose a DP, a specific look for what you're shooting, you can focus on camera movement, structure, and how to tell your story more. And on shoots like that I'm a kid in a playground. It's exciting and stimulating, and you have to lead a crew, and are responsible to everyone from the talent on screen through the crew to the guys who are paying. I get off on being responsible and ensuring everyone is happy. Which is a bit weird, now I type it. the TL;DR answer: Directing first, photography to me is slightly more limited. Both are wonderful.

How did you first end up working with Frank Turner, and what's it been like to work with him over the years? I stalked him. Which is to say, I got in touch over myspace (remember that? Ha!) along with other musicians I liked. It's how I started in film and tv crew - I just called and emailed every day until someone said yes. Frank was a surprise - he was already gaining popularity and I thought the moment would have passed. I pitched smart and offered to shoot for free (figuring the showreel material would pay for itself. I still don't know if showreels get people work, so perhaps that was idiocy on my part) and he said yes, because Frank is Frank, and approachable to everyone. The end result was, if I am being charitable, utter rubbish. But it allowed me to learn and to get a sense for what I wanted to do with my life, and how to do it. The result is too planned, too safe, with no pace. If any of this interview has a point, it's this: My approach to all photography and video is that you serve the story. Your job is to represent the content. Frank is a rough edged, energetic lively guy. So my shooting style both photographically and in video work has developed (when I work with him at least) to reflect that. Lots of handheld, lots of candid stuff - a style that hopefully compliments the way he puts himself in the world. My style can be very different when working with other artists.

What was it like to head out on tour with him, and how did you go about putting together the Tape Deck Heart tour documentary? I presume you're referring to the Arena Tour documentary from the start of last year. It's part of my ongoing work with Frank. I've toured with him on and off for seven or eight years. Sometimes the brief is to get shots for tour posters, sometimes it's "general documentation" and other times it's specific - in this case "holy shit look at the size of venues we're playing, let's get something down to document the madness". That tour was huge, and we had a little behind the scenes drama as busses broke down, so for half of it I was on a different bus to the band which can create problems. Because the way I go about putting things together is to be around the whole time, and recognise when the potential arises for interesting footage. If that's on stage, that's obvious. But sometimes it's 2am on the tour bus, or at breakfast as people meet. Essentially, you keep your gear with you as much as possible, ensure you've got charged batteries and empty memory cards, and be ready. Then when you get home take a deep breath and start building a story from what you've got. With that project I found it was nice to contrast the huge scale of the show with intimate and personal moments from soundcheck.

Can you tell us about some of your latest projects, and who else you are currently working with? Hahaha... no, I can't! Suffice to say I like new challenges. And working with Frank has led to me knocking on some very big doors and recently they've started to open. You will see in a few weeks the product of some of that. It's an exciting time. I've got a master project that I've been working on for a long time that isn't ready to be talked about yet either. On that note- I'm a big fan of delayed gratification. The internet makes things too easy, and most big publicity campaigns work by dripfeeding tasters and little pieces of things for far too long. I'd rather drop something finished into the world with a tiny bit of warning. It's far more satisfying for the viewer, and it's so rare to be surprised these days. So for a lot of my work, I don't talk until I have to. In a broader sense, I'm working with lots of great artists through XtraMile, who continue to be one of my biggest supporters. They're a small label and their ability to find good talent is second to none. As such I get to hang out with bands like Will Varley, Against Me!, Ben Marwood, To Kill A King and Billy The Kid. It's insane how many talented driven artists I meet, and it's thanks to them. Outside that I work with lots of independent musicians - Emily Barker recently had me down to document her album creation, and she liked the pictures so much she made a book of them. I'm also pushing out of music and into commercial stuff. For the right client, I can provide a totally different approach that's more personal and considered. It's not thrilling work at times, but it's a different way of using my skills that pays well. I used to be a full time teacher, so every now and then I get asked to teach and love talking to students about work in the arts.

Can you tell us about some of the equipment you use, as well as maybe how long it takes to find what you feel comfortable working with on a daily basis? I shoot with Canon cameras. I am not loyal to any one brand, and as far as I can see Nikon and now Sony cameras all do the same thing to the same level. I just bought an entry level Canon when I got started, and grew with them so they make sense to me. I'm actually really interested in the Sony A7 ii as it's half the size of most DSLRs and does the same job by all accounts. Anything that makes my gear smaller and lighter is a GOOD THING - I have back troubles and I'm sure lugging gear doesn't help. My go bag has a Canon 5D3, a 24-70 2.8 lens, and a long range lens (for festivals). I also shoot video on a C100 now, which is bigger but leads to much smoother "run and gun" footage, and of course a go pro. The rest of the bag is lens wipes, cloths, sharpies and gaff tape. Because those are the essentials.

What's the hardest part about what you do? Balance. In order to do good work, you need to maintain a critical mind and some discipline. You also need to match ambition and vision with budget and practicality. Constantly being clear and patient in communicating this (particularly when the person you're working with is having an off day and isn't doing the same) is very frustrating. As a for instance, tour is amazing. I'm currently in North Carolina on a day off. And half of me loves that, the other half worries that I'm not out following one of the band on their day off and I'm being lazy. I've also just had to remind a band that for ÂŁ500, I probably can't shoot them a video that looks like a Foo Fighters video. You might *need* those photos by friday, but if you're only telling me now, that could be tricky as I have other clients. That sort of thing. I learned while teaching that just because you are trained to communicate clearly and concisely, it doesn't mean everyone else is. At times that frustrates me as I forget it too. We're all only human. With that said, that's it. That's the only problem and it's a by-product of having the most insanely fun life I could hope for.

Alternatively, what's the most rewarding part about what you do? Adventure. Life is about opportunity and potential. I've shot basketball on deck of a cruise ship overlooking caribbean islands, I've stayed up for two days straight across three time zones, drunk at Vinnie Jones' LA Mansion and met two of my favourite celebrities, all this year. I never know what's coming next. There was a time when I found that terrifying. But even as a teacher I would advise students to find what they love and run at it, because if you stick at it long enough and work hard, things will eventually happen. Maybe not to the schedule you want, and maybe not in the way you envisioned, but things will happen if you stay focused. The most rewarding part of what I do is finding out daily that advice was rock solid, because I'm living it.

For anyone else looking to do what you do with their life, then what advice would you give to them? Develop a critical mind and a sense of self reliance. You need to be able to learn new skills quickly and efficiently. The internet is great for that. After that, you're going to get pulled in all sorts of different directions, and be met with a lot of challenges. People will be demanding, rude and try to fleece you. Others will be insanely generous in ways that you don't understand and you will feel guilty. You need to be able to step back, take a breath and have the courage to stick to your guns.

â&#x20AC;&#x153;Life is about opportunity and potentialâ&#x20AC;? Other advice: Be useful, be discreet, be professional. Remember that you are there to make other people look good, not yourself. Bill Murray gave a great interview quote about people wanting to be rich and famous. He said "try just being rich. See if that doesn't hit 95% of what you want". I'd love my work to be discussed and liked, and when people ask me about it, it's the most flattering thing on earth. But I don't want to be famous, and I see a lot of people in my line of work who do. It always ends up getting in their way. I'd rather be behind the guys who get the attention, making that happen. Finally, surround yourself with good people. It takes time to calibrate what that looks like, and you'll get it wrong occasionally, but good friends are creative, supportive and helpful. If you meet people like that, stick with them and be as good to them as they are to you. That way everyone wins.

Thunder Driver was formed in the fall of 2004 in the quiet northeast suburbs of Chicago, IL. They are the bastard sons of KISS, AC/DC, and Motorhead, and this band is anything but quiet as their midwest roots would suggest. Their goal from the start was to turn modern music on it's ear and give the audience the band, songs, and performance they've always deserved. With full speed ahead the band is a power trio rock n' roll juggernaut that strives to capture the true essence of what music is all about. Being true to the music while putting on a great, high energy live show. Thunder Driver flaunts a LOUD guitar attack with blistering solos and a pounding backbeat that satisfies every rock fan from young to old. For the past decade Thunder Driver has played with many great artists such as Trouble, Rival, The Last Vegas, Kings X, Jake E. Lee's Red Dragon Cartel, The Supersuckers, and many more, along with many popular venues including The Double Door, The Liars Club, Cobra Lounge, Reggies Rock Club, The Melody Inn as well as many other locations across the country.

CONTACT: thunderdriver1.bandcamp.com facebook.com/thunderdriver twitter: @THUNDERDRIVER16 Instagram: @THUNDERDRIVER1ER1

With one album "Atomic Rock" under their belt, they decided that the Rock N' Roll world was ready yet another shake up. On May 1st 2015 Thunder Driver released their second full length album "TMFD". The album is comprised of 10 tracks that keep you hooked from the first guitar chord to the last symbol crash. They have been spreading the word of Rock N' Roll for all of those tired of mainstream corporate music. Most importantly they are a band FOR THE PEOPLE! Both albums are available for download through ITunes, Amazon, Spotify, and Bandcamp. Or come out to a show and buy the physical copy and help support real music. Look out! The Driver's Comin for YOU!!

“Ahead of his appearance at this years London Film & Comic Con we catch up with the comic book artist Mike Perkins! Read on to find out how he progressed through the industry to end up working at the mighty Marvel!” When did you first realise that you wanted to be a comic book artist? From a very early age. I was looking through and trying to read comics from probably the age of 2 and knew that I wanted to draw my own comics. When I was 6 years old the first issue of Captain Britain was released and I think that’s probably when the realization that I could pursue it professionally first began to solidify in my mind…only re-enforced by the subsequent release of 2000 AD.

Who was your first major client, and what was that like for you at the time? My first major client would be the aforementioned 2000 AD – for whom I illustrated a Future Shock short story….with my second job for them being a Judge Dredd strip for which I was wholly unprepared and just a little bit nervous. This was a huge step for me – primarily because 2000 AD was always the biggest influence on my approach to illustration.

How did you end up working on Superman vs. The Terminator: Death to the Future, and what was it like to ink for this unique crossover? I had been inking Phil Winslade’s pencils at DC and Steve Pugh needed a helping hand on the project and requested me. It’s always interesting tackling someone else’s pencils – you always learn something new…a different approach.

You also got to work on another fantastic crossover idea in the name of Aliens vs. Predator, so what was this whole experience like for you, and what did you enjoy the most about working in this iconic Sci-Fi world? The Alien is such a brilliantly visualized xenomorph and, as such, is always exciting to illustrate. Just the sheer design sense utilized in creating that monster gives you such a thrill to be working on it. Combine that with the Predator and you’ve really got some iconic eye candy to capture and lay down on the paper.

How did you first end up working in the Marvel Universe? I was working for Crossgen comics in Florida and when they went under Marvel stepped in and offered me an exclusive contract with them. I’d previously worked for Marvel UK but that was an entirely different kettle of fish (illustrating Biker Mice from Mars and Wind in The Willows). My first work for them was a Spider-Man Unlimited short story, swiftly followed by a District X fill-in.

A lot of people know you from your work on Captain America, so how did you first end up working on this huge Marvel character, and what was it like to create your own approach on him? Steve Epting, who had launched the new Captain America series, needed some assistance in inking his work. We had gotten on well together at Crossgen and he had always liked the inking I was producing over Butch Guice’s pencils on Ruse so he suggested me for the job. I inked Steve on issue 8 and the editorial crew wanted me to ink him permanently. At the time (after 3 years of solely inking at CrossGen) I was trying to re-establish myself as a penciller/inker and I turned it down. They counter-offered with the opportunity of helping out on the inks when needed…as well as penciling and inking alternate arcs. Needless to say I was enthused by this opportunity.

Also, what's it been like for you to see this character get so big in films in recent years? Having worked on the Winter Soldier arc it was such a huge thrill to see that story turned into such an engrossing film. Epting may have been the daddy of Winter Soldier but I was definitely a proud uncle.

What other characters did you really enjoy working with in the Marvel universe, and why? There are so many fantastic Marvel characters it’s difficult to pin down those favourites. I love a lot of the 70’s heroes and I was lucky enough to have worked on House of M: Avengers which utilized a whole lot of those characters…in an actual 70’s setting. I definitely managed to scratch that particular itch. The owner of one of the best costumes in comics – and a character close to my own heart – is Union Jack. The miniseries I worked on with Christos Gage remains a highlight as does the one-shot special of Annihilation: Conquest. The Thor one-shot I produced with Mike Carey shines out for me as we were able to tackle it as an evergreen tale and, as such, chose to place it within a time of Vikings. I’d love to be able to illustrate Thor again.

What was it like to work on The Stand: Captain Trips (an adaption of a Stephen King's novel with the same name), and can you give us a couple of personal highlights from your time on this project? To work on such a long-form project, and to illustrate the whole 31 issue run of the adaptation, was such a dream come true for me and was only made better from the emails I received from Mr. King himself – primarily telling me that the character designs were perfect (going so far as to say the design for Fran was exactly how he saw the character when he first envisioned her for the novel) and then sending sporadic missives proclaiming that he was like a kid in a candy shop every time a new issue hit the stands.

Can you tell us a bit about what you have been working on most recently? I have always had a hankering – a true desire – to illustrate a Deathlok series since first experiencing the half human/half cyborg at an early age…and every editor at Marvel knew of this calling for me. With his appearance in the Agents of Shield TV show it was deemed that the time was right for a new Deathlok and I guess they recalled the constant reminders of my love for the character – the unsubtle hints I would pester them with – and offered me the chance to approach the character anew – establishing him within the Marvel Universe as an assassin who believed himself to be working for Doctors without Borders…until his conditioning starts to break down on him.

What does a typical day involve for you as a comic book artist? I’m fairly structured in my approach to work and I get up early (6.00am) in order to get a good head of steam. I’ll take a break at 11.00ish for 20 minutes/half an hour and then get straight back to the drawing board – working until 5.00pm…ish…which brings us to the next question…

What's the hardest part about what you do, and why? ….putting down the pencils and brush. I work from home so it’s always easy to just slip in and do and extra hour or so…although I have found out that it’s always best to have at least one day off! (That’s per week….not per year!)

For anyone out there looking to become a comic book artist, what advice would you give to them? Practice and refine. Get your work out there. It’s actually easier to be seen now more than ever due to the internet. Blog your work – show your progress – show you can keep a schedule and accomplish deadlines. Initiate a fitness plan. There will come a day when you’re constantly at the drawing board and you have to keep your body as fit as your mind. Learn the business side of the business!

What else can we expect to see from Mike Perkins in 2015? My primary concern at the moment is my work on Deathlok…but also look out for a creator-owned project of mine making an appearance towards the end of the year.

The Getaway Year simply won’t stop expanding — two years after being discovered by multiplatinum producer Jim Wirt (Hoobastank, Jack's Mannequin, Gwen Stefani) and evolving from his solo project singer/songwriter Adam McKinney welcomed a partnership with multiinstrumental-guru Vincent Farmer (and enlarging their repertoire to include poppunk/alternative). The band is now making enormous walls of sound with drummer Kyle Radtke and Matt Wylie on bass.

In five short months of being together as a lineup The Getaway Year’s wild live shows and love-basedmovement has had everyone eagerly awaiting their infectious debut EP album, “Streetlights and Party Nights,”. Produced by Paul Leavitt (All Time Low, Yellowcard, The Used) and Corey Miller (B.o.b) it is out now! CONTACT: TheGetawayYear@gmail.com tgymovement.com

Interview with Gavin, Chris, Steve Mayles & Steve Hurst “For those that love old school games such as Donkey Kong and BanjoKazooie then you will enjoy this feature, as we catch up with some of the creators behind these classics to discuss their new company Playtonic Games, as well as what we can expect from their upcoming title Yooka-Laylee (the kickstarter alone raised over a million dollars...)” Can you tell us about the formation of Playtonic Games? Gavin - The team really wanted to get back to working the way we used to on the type of games we used to make. It’s where our passion lies and what lured us in to the industry in the first place and it became apparent the only way we were going to achieve this was to start afresh and go for it ourselves. We’ve recreated an environment that mimics when we were at our most creative and productive, one that eschews modern day game dev trappings and puts collaboration and creativity first.

How did you get to the name Playtonic Games, and what does it mean to you? Gavin - It came to me when I was thinking about how much I love games and especially ones that simply focus on fantastic gameplay above all else. Platonic being a kind of love combined with ‘play’ which is what we love to do and create for others became Playtonic. We then saw the benefit in it having a dual meaning around ‘tonics’ as drinks too and the thought of us being a ‘Play-tonic’ became a visual ID for the company and something we’ll look to incorporate in to our games in the future too e.g. as Power-ups. It’s the name that keeps on giving.

Can you tell us a bit about the current main team members in Playtonic Games? Gavin - The entire Dev team are all Rare vets and share the same baptism of fire in the industry. When we joined Rare it was because those were the types of games we loved and wanted to be a part of. We have Chris Sutherland; lead programmer from the Banjo series and the Donkey Kong Country. Lead Artists Steve Mayles (Characters), Steven Hurst (Backgrounds) from the DKC and Banjo series and Mark Stevenson (Characters and backgrounds for DKC, DK64 and Kameo, Jens Restemeier; programmer on DKC/Perfect Dark Zero, Andy Robinson; former editor of CVG online and is now our writer & editor and myself (Gavin Price) Studio and Creative director and previously worked on Banjo-Tooie, Ghoulies, Banjo: Nuts and Bolts and Viva Piñata.

Can you give us some of your personal highlights from working on the BanjoKazooie/Donkey Kong Country games? Chris - For Donkey Kong Country, I think it was the moment we realised it was going to be a big hit, which was when we attended the Summer CES in 1994; we had a feeling it would be big but you never quite know for sure until you see the public reaction. Nintendo had been talking up their next machine, ‘Project Reality’ (it became the Nintendo 64) and when they showed footage of DKC at the conference, people assumed it was on the new upcoming machine, and they were amazed when it was revealed it was actually on the existing Super Nintendo console.

Steve M - DKC – The reveal at Nintendo’s press conference at CES 1994 was a day to remember for me. People really thought DKC was an early revel of an Ultra 64 title, and were duly impressed. When Nintendo dropped the bombshell that it was running on a SNES and would be available to buy later in the year, it blew everyone’s minds. The tiny contingent from Rare were so proud! In fact the whole CES show was amazing. Nintendo knew we were making them a very special game and pulled out all the stops with an amazing stand.

Seeing the pre-rendered characters animating for the first time on the SNES was the moment I thought ‘Nobody has got anything close to this’ In graphical terms other people were still walking and we were zooming by in cars! I remember hoping no-one would beat us to the punch, as we did have many months to go before we would reveal the game at CES. Banjo Kazooie – er, not very original, but the E3 reveal in 1997! To work on something for months on end and then to see it in the hands of its intended audience is super-rewarding. So long as the punters like it of course! In terms of development, designing the characters and the moves was very rewarding. Things moved so fast and were so creatively driven in those days. Just like now at Playtonic in fact!

Steve H – as Steve M says, the 1997 E3 reveal of Banjo was a great moment. There was such an exciting buzz around the team as we knew we had something special and it was great to see such a wonderful reaction to it at the show.

How did the idea for a kickstarter for Yooka-Laylee initially come about? Gavin - After announcing our formation and plans, fans went crazy mad for what we wanted to create and suggested doing a kickstarter so we could make the game even bigger than originally planned but also hit more platforms they wanted and quicker too. We knew of Kickstarter ourselves but never really considered it as we were unsure of how many people would back us there and didn’t want to assume anything, so we originally planned to complete the game using personal finances and loans. But we’ve got to say the response has been incredible, Kickstarter gives gamers the power versus the traditional publisher model which often leads to loss of IP.

The game went on to become 'the fastest video game in Kickstarter history to reach US$1 million', so how rewarding was that for you, and how exciting has this whole experience been like for you guys so far? Gavin - Exhilarating and also full of its own headaches (though we don’t mind them in the grand scheme of things). Stretch goals we’d planned to last the entire campaign got smashed very quickly so we had to re-plan the campaign somewhat, we’ve had thousands of emails of support and questions we’re trying to get through ASAP too. The run up to the campaign launch itself is probably the most nervous I’ve ever felt in my life. But now the hard work is paying off and the support of the fans is sending a message throughout the industry…

Chris - People started pledging money the instant we launched the Kickstarter campaign – in fact, between the few seconds when we launched and when I loaded the page up there were already pledges pouring in; I never saw the £ figure at zero, so at first I thought something must be wrong!

Steve M - It’s wonderful to receive such affirming support from people! We have so many great ideas/characters/worlds planned and can’t wait to start bringing them to life. The first few hours of the Kickstarter was one of those ‘great moments in gaming’ for all of us I think. Here’s to many more with Playtonic!

Steve H – I remember everybody sitting around with a stunned/incredulous/excited look on their face as we watched the kickstarter figure going up and up. It was amazing to receive such a positive affirmation of what we wanted to achieve and the outpouring of support was on a scale I don`t think I`ve ever seen before!

What can you tell us about the main narrative behind Yooka-Laylee? Gavin - The fine details for the overall story are being kept a secret for now, the right thing we feel we need to do is get the humour and setup just right and make sure the characters you meet within provide entertainment alone from talking to them with the references and innuendo we’re known for.

â&#x20AC;&#x153;It was amazing to receive such a positive affirmation of what we wanted to achieveâ&#x20AC;?

We've read that mine cart (Donkey Kong influenced) sequences will be involved in Yooka-Laylee, so how exciting have those parts of the game been like to work on for you? Gavin - Very exciting, it used to be every game had a mine cart level and then like 3D platformers themselves, they seemed to vanish and we realised we missed them all too late. We want to create different styles of these levels and I think it will be a nice surprise for players when they see how much love we’re putting in to these sections and making them unique.

How did you go about creating the 3D environment for Yooka-Laylee, and what do you think fans can expect when they start playing the game? Gavin - From a design POV, it’s all about having the level become its own narrative built around the mechanics and moves of Yooka and Laylee and so players can ‘read’ it and be encouraged to try different things and explore every nook and cranny. Then I pass it over to Steven Hurst who sets to work on the visuals…

Steve H – It`s wonderful having full creative control again over how the environments should look. The design I get from Gav is pretty much a blank canvas for me to create anything I like really! With that in mind I`ve tried to include a few visual touchstones to the styles of games we`ve created in the past, but at the same time bring them up to date with all the new techniques and effects that people expect in a modern game.

What is it you love so much about the platforming game genre, and what games do you think have really influenced the creation process of Yooka-Laylee? Gavin - The potential for so much variety and mechanical fun is what I personally love about the genre. It’s got this initial level of inclusivity that draws all types of gamers in and then gets its hooks in to you and drives you onwards and upwards to finish the game and unearth its secrets. Our platform games kind of straddle between Mario and Zelda titles in terms of action vs exploration but even other games like Metroid and our own previous works influence different parts of the game such as unlocking more moves and the worlds feeling like they are their own characters.

When you've got the initial idea ready, then what are the actual steps behind putting a game together? Gavin - On our team creative collaboration and trust are key so ideas continually form all around, we chat about them whilst tapping away on the game, we swivel our chairs around when the debate gets going and talk stuff through from every angle. Someone then goes a bit further and tries it out and we all have a play, talk some more and iterate where needed. It’s a very organic process compared to the triple-AAA environment when huge docs must be written upfront and signed off by various committees and departments before anything can actually start being worked on.

Steve M – As Gav says, it’s night and day different from working on a AAA title. I think you could have similar working practices on AAA, but it would be a lot more difficult to control. You’d need a really strong ‘vision holder’ to run the team and you’d want minimal interference from inexperienced people who mean well, but really haven’t got a clue what they are talking about! That’s the sort of thing that wastes months by focusing on the wrong issues.

Once Yooka-Laylee is released, then what would you like to see Playtonic Games accomplish next? Gavin - Now that would be telling, but we’ve already disclosed that the thought we’re putting in to the characters into this game from basic enemies, to allies, main villain and NPC’s will all play a part in our ‘Playtonic’ universe that gives us freedom to attempt any genre in future and surprise players with characters taking on different roles throughout our future projects.

Altamadum

Altamadum was born in the fall of 2007 in Thunder Bay, ON, Canada. Founding members Cameron Thomas (Lead Guitar) and Brendan Byers (Drums) met James Cole (bass) during high school and the three began playing together, mostly instrumental covers. In early 2008, the trio approached another classmate, Joey Parker who would join on performing vocals & rhythm guitar. Altamadum and Parker would separate in the summer of 2013. In the fall of 2009, Sam Mucha (Lead vocals/Rhythm guitar), was approached for taking over lead vocal duties. Mucha's first live appearance with the band would take place on St. Patrickâ&#x20AC;&#x2122;s Day 2010. Within a year of Mucha joining Altamadum, the band would win its genre in a local "Last Band Standing" competition, firmly cementing their name in the local music scene. Following this, Cole's uncle Russ Elder, owner of ThunderSound Studio, offered to help the band evolve their sound and the band found a new home in the Studio where they would go on to record their two full-length CD's; "We Are..." (2013) & "Levels" (2014). The band also brought in Richard Lawrence to handle all media responsibilities including website management, social media sites, & promotions. Following the release of "Levels" Altamadum embarked on a tour of Ontario in the summer of 2014. In support of the 'Levels' album, Altamadum has released two music videos for the singles "Frozen In Stone" and "Lost In Space". A third video containing a montage of pictures from the summer tour was released to the track "Immortal". Currently, Altamadum is working with various international artists to explore different avenues of music. The group is now writing material for a third full-length album set to be released in 2016, with singles and videos planned for the fall of 2015.

/altamadum

â&#x20AC;&#x153;This is exciting, our first ever article on a BMX rider! Get stuck in to find out how Tom Justice turned his addiction to the sport into a career, as well as what we can expect to see from him at his upcoming appearance at Nass Festival!â&#x20AC;?

When did you first realise that BMX was what you wanted to do with your life? I started to ride bmx at 15, this became a massive part of my life from day 1. It was a getaway from "normality" and helped with stress relief. I didn't think for a minute that this would be something I'd ever be good enough at to make a living from!

What was your first major event as a BMX rider, and how was this whole experience for you? My first big event was Nass 2009, I entered park and dirt! It was a really daunting experience as I had never riden in front of this many people before, and the riders that I was competing against were the people that I looked up to in BMX! Riding against people like Mark Webb! Yeah that was nerve wracking! But what an awesome experience!

How long does it take to learn a trick? Learning new tricks!! I either get lucky and get it first go, or it will take me forever!

What's the hardest trick you've ever had to learn, and why? The hardest trick that everyone seems to be able to do with their eyes closed these days, are barspins! I never got my head round them, so if anybody see's me doing one, it's quite a big moment!

â&#x20AC;&#x153;I wouldn't say my style of riding has really altered over the past few years, I just like to go big and get my tricks as clicked as my body will let me!â&#x20AC;? What riders have influenced you the most since starting out, and why? Mark Webb was one of my biggest influences when I started out bmx, he was and still is one of the best riders in the world. Chris Doyle is another one, he's a got so much style and goes to the moon!

How would you say your BMX style has progressed/changed over the last couple of year? I wouldn't say my style of riding has really altered over the past few years, I just like to go big and get my tricks as clicked as my body will let me!

Can you tell us about some of the main events you've been up to this year, as well as some personal highlights from your time on the road? I was out in Estonia for a simple session back in April which was awesome! Again, riding with people you looked up to back in the day is still a crazy feeling! I went out there just wanting to make finals and I was so stoked to do it, Estonia is such a beautiful place too! I've just got back from the fise contest in Montpellier, another amazing place to visit, weather was savage, and the riding level was off this planet...the tricks people can do on bikes nowadays is unreal!

â&#x20AC;&#x153;I didn't thin that this woul I'd ever be goo make a liv

What's it like to actually be a part of a competition then, is it ever hard to go up against your friends, or maybe there's something else about it that you find particularly challenging? It's a great feeling being part of a bmx competition. The atmosphere gets me stoked to go out there and go crazy on my bike. I never think of it as competing against friends, it's just a big session, riding with great people, Iâ&#x20AC;&#x2122;m there to support them too!

For

How excited are you for your upcoming slot at Nass Festival, and what can attending fans expect?

I always look forward to Nass festival, it's just something a bit different to a normal contest, as there's the music festival side of it too which is sick. It's one of very few park contests in the UK, so it's a privilege to be a part of.

I've spo

nk for a minute d be something od enough at to ving from!â&#x20AC;?

r any upcoming BMX riders out there, what advice would you give them? advice for anyone that wants to ride bmx...... Go out there and do your own thing, enjoy yourself and smile!!

hat else can we expect to see from Tom Justice in 2015?

got a few comps that I'll be going to throughout Europe, I'll also be filming an edit later on in the summer for my onsors. Other than that I'm a typical bmxer, unorganised, and I take things as they come!

WITHOUT WALLS The band consists of 4 members; Adam Bentley (Guitar), PJ Corallo (Drums), Johnuel Hasney (Guitar) and Matthew Kniffin (Bass). Based out of the beautiful city of Boston, Massachusetts we are currently attending Berklee College Of Music to pursue the dream of a musical lifestyle and career. The band began as Adam Bentley’s DIY solo project and as it grew over months and months it led to writing collaborations with Johnuel (ex-Failure in Vanity) and PJ (ex-Roseld). Soon after, Johnuel brought Matt Kniffin onto the team, who is currently in a bass & drums duo titled “Soundscape”. Together, we recorded an album in Adam’s bedroom, which eventually became our debut LP formally titled “Prodigy” (released digitally on February 10th 2015). We’ve been fortunate enough to have two incredibly talented guest performers on this album; Jaleel Faulk drumming on the track “New Life” and Al Joseph playing a guitar a solo on “Liberation”. We are currently booking shows in the New England/Tri State area for this summer and all thru next year, as we are currently in the pre-production process of our untitled EP (More announcements on that soon!). We all have a perfectionist mentally and are driven by two common goals; to make the best music we can, and to grow and expand as a band. We all can’t wait to see what the future holds for us and we truly appreciate all of the support we’ve already been receiving. Visit our pages at: www.facebook.com/withoutwallsmusic www.instagram.com/withoutwallsmusic/ http://withoutwallsofficial.bandcamp.com/releases (digital album) www.Twitter.com/Musicnowalls

â&#x20AC;&#x153;We chat to Andy Diggle who tells us what it has been like to work for Marvel AND DC Comics, as well as how he goes about writing for iconic characters on a daily basis!â&#x20AC;?

When did you first realize that comic book writing was something that you wanted to do with your life? Probably the summer of 1981, when I discovered 2000AD at the age of 10. That year between The Empire Strikes Back and Raiders of The Lost Ark, with 2000AD sandwiched in between them - they pretty much rewired my brain for life. I remember thinking, I want to make people feel the way this stuff makes me feel. I've been trying to do that ever since.

Who was your first major client, and what was that like for you at the time? I started out working as an editorial office assistant at 2000AD, which was a big deal for me as I'd been a lifelong fan. Eventually I worked my way up to a full editor. I guess my first client was myself - I wrote the first 10-page Lenny Zero story for free, to save some money on the editorial budget so I could hire Frank Miller to do a cover.

What was like to work on the 2000AD, and how did you go about taking your own approach on this iconic title? It was pretty daunting to be honest. I thought 2000AD had badly lost its way in the 90s, sales were down, and it was hovering close to cancellation. The publishers were these marketing-drone idiots who didn't understand their own readers - Egmont mostly published Disney kiddie titles. So the first thing I did as editor was write a manifesto, a call to arms for all our writers and artists. It was well received by everyone except Pat Mills, who said he "probably wiped his arse with it." That guy was a nightmare to work with.

So how did you end up moving to Marvel, and what was it like to work on Thunderbolts? I pitched a few things to DC's Vertigo imprint, and they offered me Lady Constantine, a four-issue spin-off from Neil Gaiman's Sandman. That led to a Swamp Thing mini series and then The Losers, which was eventually turned into a movie. After a few years exclusive to DC, I felt like a change of scene so I pitched in with Marvel. They offered me Thunderbolts, which I'd never even heard of, but I figured if it's good enough for Warren Ellis, it's good enough for me. It turned out to be a lot of fun.

You also got to work with Hawkeye, so how was that, and what would you say was the most challenging part about working this character? The version of Hawkeye I wrote was actually the villain Bullseye in disguise, so that was a ton of fun. I got to write a gleefully kill-crazy psychopath pretending to be a hero. I'm surprised they let me get away with some of that stuff, to be honest.

You then went on to work with Daredevil, so what did you enjoy the most about working with him, and we must ask, what do you think of the most recent TV show!? I was very flattered to be asked, but Marvel wanted to tie Daredevil into the wider Marvel Universe with a big crossover event called Shadowland. That was a miserable experience. Daredevil had always had a little corner all to himself to play in, but dragging him into an editorially-mandated crossover event with dozens of secondary heroes was no fun and I suspect it showed. I think I was just the wrong writer for that kind of Daredevil story. I really dug the TV show though.

How did working at DC compare to working at Marvel? They both have pros and cons. Marvel are much, much better at story planning. You know the lay of the land for your story world months or even years ahead. DC, not so much. On the other hand, DC are much better about royalties and stuff like that. Really the experience depends on the editor. The very best and very worst editors I've worked with were both at the same company at the same time. (I won't say which!)

You got to work on Star Wars Tales, so what was it like to work in this absorbing Sci-Fi world? That was just a throwaway 8-page Boba Fett story. It was a fun little job that gave me another chance to work with the mighty, mighty Henry Flint.

â&#x20AC;&#x153;You want to give the reader a good experience but you can't pander to themâ&#x20AC;? Can you tell us about the Uncanny crime comic you worked on in recent years, as well as how it compares to anything you've done before? It's a crime-noir thing with a little tinge of the supernatural, drawn by Aaron Campbell. It's about this con-man called Weaver who has the ability to steal other people's skills and expertise for a short burst of time. I think it'd make a pretty good TV show. Somebody should get on that!

What's it like to actually be a writer then? How do you go about creating a story, and do you ever feel any pressure from your fans when you're working on important parts? You want to give the reader a good experience but you can't pander to them. That means sometimes the story has to go a way maybe they don't want it to. Imagine how boring Game of Thrones would be if nothing bad ever happened to popular characters. You got to put them through the grinder, that's where the drama comes from.

How excited are you for your upcoming appearance at London Film & Comic Con, and what can attending fans expect? They can expect to see me sat looking hung-over at a table strewn with comics. I'm looking forward to earning that hangover. People should come and say hi, and bring me coffee, pastries and ibuprofen.

What else can we expect to see from Andy Diggle in 2015? Hoping to announce a couple of new series later this year - one creator-owned, one not. Both very fun projects. Plus Control, the crime comic I'm writing with my wife Angela, with art by Ben Oliver, will hopefully be appearing this year. Watch this space!

Muse Why anyone would ever need reasons to see this incredible band is beyond me, their achievements speak for themselves, they’ve had hit after hit after hit, their live shows are stuff of amazement and legend and Muse have actually been voted the best band in the world. Even if you’re not a fan of the space rockers just check out their set because they are sure to bring along a massive spectacle. Also they’ve promised to play heavier songs so be prepared for the likes of New Born, Hyper Music and obviously songs off their latest album Drones.

Enter Shikari The release of Mindsweep earlier this year saw Enter Shikari again outdo themselves. Shortly after its release they embarked on a UK tour and from there have gone to sell out most venues in America. They’re returning to Donnington to headline the second stage and you can be sure they will bring along a lot of the heavier material from their back catalogue. So be prepared for the St Albans boys to do what they do best and that is destroy any stage they happen to come across.

Rise Against Rise Against have always been a band that stand by their morales, it’s straight up punk rock and they’re not afraid to get in peoples faces and say ‘fuck you!’. Their latest album Black Market was released to praise, since then they’ve been plugging it anywhere they go and doing a damn good job. With hits such as ‘Like the Angel’ and ‘Prayer of the Refugee’ this band are definitely set to storm the main stage at Download.

A If you’re going to Download and you were born after Starbucks by A was released then you shouldn’t be going because you’re too young. For those of you who aren’t too young to remember; A burst onto the music scene with their very Feeder sound back in 2002. They’re one of those nostalgia bands that will help everyone remember a simpler time before social media and smart phones. Grab your tamagotchis and yoyos and hit up the 4th stage to experience A!

Slipknot Iowa nu-metal legends Slipknot will once again be headlining the biggest rock festival in the UK, those attending will get an incredible opening night to their weekend. Fans should expect a manic, memorable and energetic performance with frontman Corey Taylor delivering a frantic and ferocious vocal performance and expect deafening drums and some classic riffs. This year marks the 20th anniversary of the band since they formed in Des Moines so they will undoubtedly be emotional and very appreciative to still be headlining such a big festival in the rock scene. Slipknot’s live performances have been recognised with numerous awards including Grammy nominations and one win for Best Metal Performance in 2006. The set list promises to be epic with a huge catalogue of hits to choose from and some of the most successful metal songs of all time, tracks like ‘Duality’, ‘Before I Forget’, ‘Psychosocial’ & ‘Left Behind’ will cause a frenzy in the massive crowd and collective chaos in the form of never ending crowd surfers and gigantic circle pits. Slipknot have always proven to be a winner as a festival headliner and Download should be no different.

A Day To Remember It’s credit to A Day To Remember that they are preparing to to be the 3rd highest band on the bill on the Saturday at Download 2015, after originally starting off as a metalcore band they have become the most successful band to combine the genres of pop punk and hardcore punk. The Florida based band saw a huge rise in popularity after the success of their albums ‘Homesick’ and ‘What Separates Me From You’, their success has made them a perennial favourite of music festivals all around the world. A Day To Remember bring a lot of energy to their live performances and frontman Jeremy McKinnon will probably run over thousands of people in a giant plastic ball, which has been a feature in many of their live performances. The band has some very heavy and crowd moving tracks like ‘The Plot To Bomb The Panhandle’ and ‘2nd Sucks’ which will cause uproar and get the crowd warmed up for Faith No More and headliners Muse on the Saturday.

Every Time I Die US veteran metalcore/mathcore band Every Time I Die are an extremely hard working act, the Buffalo unit formed back in 1998 and released their debut album in 2001. Currently signed to Epitaph Records they released their most successful full length in 2014 ranking 22nd on the Billboard 200 in the US, their best days as a band appear to still be in the near future and beyond. Fans of the likes of The Dillinger Escape Plan and Glassjaw will love Every Time I Die, although the two main stages will take up most attendants of the festival, if you want to see a highly energetic and enthralling live performance then go no further than the 3rd stage on the Saturday to see ETID. They should prove to be an awesome warm up band for the headliner on their stage Andrew W.K., the crowd should expect a ferocious and chaotic set and a whole new experience.

Kiss What is there left to say about Kiss that hasn't been said a million times by a million journalists and probably before many readers were even born? The simple answer is probably not much so I'll keep it short. In the past 40 plus years they have reinvented themselves as the times have dictated and continued to grow becoming, even now, one of the must see, blood spitting, fire breathing, essential bands in the world. You wanted the best, Download got the best, the hottest band in the world, Kiss!

Dragonforce From the moment I heard Sonic Firestorm I have been hooked, and I recommend that you never miss the opportunity to see this band live. It would have perhaps dulled my enjoyment of them live if they couldn't replicate what they did in the studio on the stage but they can. They are one of the most enjoyable bands to see live, and a big part of this is because they have so much fun up there and it rolls right into the audience to make a party atmosphere.

Faith No More Faith No More are one of the unsung heroes, and their influence on the music of the early 1990s cannot be understated. When someone like Krist Noveslic says that this band â&#x20AC;&#x153;paved the wayâ&#x20AC;? for the band he was in, and the big hitters of Metallica and Guns N Roses say they were one of their favourites then their reach is clear. Their headline set in 2009 was a thing of beauty and now we have the unexpected arrival of a new album to freshen things up, this will be one of the highlights of the weekend.

Lamb of God This is a band that has had more than its fair share of tough times, front-man Randy Blythes well documented troubles was one of the biggest stories in recent rock n roll memory. The hiatus forced on the band has seen them return with a renewed fire in their bellies and the first tour back saw them making up for the time lost by demolishing every venue they arrived in. By the time the dust settles on some of the biggest pits the weekend will see, one more crushing notch will be added to their Download history.

Motley Crue It has been a long road for the Crue, it has been eventful and never dull. Through addictions, tragedy, drugs, booze and hookers, although it nearly killed them on numerous occasions, they have come through it alive. That road is coming to an end and December 31st of this year will see them bring the curtain down on it all. Whenever a band says “this is it” there is always and with good reason, certain doubts but Neil, Sixx, Marrs and Lee seem pretty certain this is the end. Whatever happens, 31 years after their first appearance here, this is looking like their farewell to Donnington, be there to witness a piece of history in the making.

Slash Having witnessed Slash With Myles Kennedy a couple of times now myself, including at their debut appearance at Download in 2012, in which they headlined the second stage, you can expect slick super cool vibes and traits from the world class guitar virtuoso that is Slash, and the impressive powerhouse that is Myles Kennedy – these two musicians are seriously commendable just on their own, but combined, they are unstoppable and unmissable! Creating a wild fire buzz in the crowds with everyone dancing and screaming along to their infectious sounds, aided by Slash’s bandmates, The Conspirators! It’s no wonder they have been asked back and now are higher on the bill, storming the main stage on the Sunday, where they belong!

Black Stone Cherry Having headlined the second stage back in 2013 and doing an excellent job, they are back to do it again with their extremely infectious and classy Southern Hard Rock on the opening day of the festival! They are certainly no strangers to the festival, having played Download five times now, making them a crowd favourite! No doubt you will be treated to their latest offerings from ‘Magic Mountain’ which ranked highly in the UK Charts! The band clearly love Download as they released a special CD of live exclusive songs from their set in 2013, so who knows what you can expect this time?!

Marilyn Manson Let’s face it everyone is itching to see Marilyn Manson whether you have seen him previously or you’re witnessing him for the first time; you know you will be in for an intriguing and memorable experience when he takes to the Encore Stage to headline! Marilyn Manson actually played the first ever Download Festival back in 2003, as well as performing in 2007 and 2009! He released his ninth album this year, ‘The Pale Emperor’ which was a massive commercial success, seeing him revisit his roots and make an even more sinister sound. So are you prepared to behold the wonder that is Marilyn Manson?!

Defeater Massachusetts’ Defeater have their own brand of melodic hardcore, their music addresses emotional subjects and they’ve created some very passionate and strong music. Defeater have been on numerous tours in the UK so there should be no shortage of support for a band reviving the ‘emo’ genre in recent times along with a host of many other bands; the likes of La Dispute and Pianos Become The Teeth. Defeater’s music has been praised as being incredibly powerful and very emotional. Defeater capture the emotion of their music in their live performances, they get a great reception from crowds all across the globe and I’m sure they will put on a haunting and mind blowing performance as one of the first bands to perform at the festival on the Friday. If you’re expecting to find that one band you don’t know about that has the potential to blow you away via pure emotion and complete captivation, then Defeater should be on your list of acts to see on the weekend.

Madball New York hardcore legends Madball will take to the stage on the Sunday at Download 2015, they are widely regarded as the biggest influence on the modern bands in the hardcore scene in both the US and in the UK. I’d expect them to play all the old classics, mainly from their debut album ‘Set It Off’ which was highly important in the development of the New York Hardcore scene in the 1990’s. They deliver an exciting and vintage performance. Being one of the first bands to perform on Sunday morning, hopefully people can recover quickly from an early hangover and get into groove for Madball. This band is highly influential and I can only hope they get the reception they deserve.

Parkway Drive Parkway Drive haven’t played live in over six months, the longest since their inception 12 years ago, so to say the kings of metalcore are going to come back with a bang would be an understatement. For those of you that have attended a Parkway Drive show, you’ll know the aussie outfit doesn’t hold back when it comes to their live shows. Their live return marks a period of recording their upcoming fifth studio record which they’re bound to debut a new track or two from. If you haven’t seen Parkway Drive before, Download is the time and the place to fix that, back in 2013 the guys thrived in the festival atmosphere and stormed through their short set. If that’s not enough of a reason to go see these guys, you can expect a lot of crowd surfing and inflatables courtesy of the aussie mob. You can catch Parkway Drive on the Main Stage on the Saturday of the festival.

Mallory Knox Hailing from Cambridge, the stunning Mallory Knox have seen incredible success throughout 2015. Jumping onto the second leg of the World Tour with Pierce The Veil and Sleeping with Sirens in the US and the release of the stellar “Asymmetry” at the back end of 2014, you can expect their Download performance to be a special one. Huge tracks such as “Ghost In The Mirror” and “Shout At The Moon” are bound to get the festival singalongs started and with the guys jumping on these huge tours lately we can’t wait to see what they’ve got in store for the main stage at Download.

Fightstar Fightstar are back. After a four year hiatus, vocalist Charlie Simpson announced the band were to begin recording their fourth record. Everyone pretty much exploded when the news was announced and to have them headlining the third stage on Friday at Download couldn’t be a better live return. “Floods” and the massive “Paint Your Target” are sure to get the Download crowd moving in every corner. You can also expect Charlie Simpson and co to debut a new track from their forthcoming record, with this being their first performance in four years, you can expect something very special from these guys. This is not one to miss.

Funeral For A Friend Funeral For A Friend haven’t shied away from the scene since their major label breakaway in 2010. Five years on and three albums in Funeral For A Friend have proved that they are still the genre defining band that they were over 11 years ago. Playing the main stage on the Saturday alongside Parkway Drive and Mallory Knox fans can expect an eclectic mix of tracks old and new. Expect nothing but a full wave of unrelenting DIY post-hardcore.

36 Crazyfists Everyone’s favourite Alaskan metal band is back and hitting the main stage! Having had a long break of silence, they released their highly anticipated first album in five years this year, through new label Spinefarm Records, titled ‘Time and Trauma’. This is their best and most innovative work to date, and earned them rave reviews and reasserted their well needed unique brand of metal which we have all greatly missed! So make sure you don’t ‘miss’ their triumphant return to the stage! This will be their fifth time to take to the festival’s stage, clearly they are doing something right!!

Caducus is a five piece melodic metal band based out of Louisville, KY. Compared to bands like In This Moment, Lacuna Coil and Evanescence, they are grabbing the Louisville music scene by the throat. Recently releasing their debut EP, String Me Up, Caducus is gaining buzz with radio play and press across the globe. Their first single and title track, String Me Up, hit the airwaves in November and made instant waves. In fact, WIRR 103.5 in Winnipeg, Manitoba, Canada named Caducus in their top 30 female fronted metal bands worldwide, and also their May 2015 band of the month. Singer and primary songwriter Michala Bouska is no stranger to the music scene, and she definitely leaves a lasting impression on every person that crosses her path. Along with drummer Steve McDougale, guitarist Chuck Stoess, guitarist Jason Cheatham and bassist Al Oliver, Caducus is working hard to be heard by everyone, everywhere. Their live show can only be summed up by their lyrics, "Once we begin, there's no safeword."

Therapy – Disquiet Northern Ireland’s popular alt rockers return with another album to add to their impressive collection, ‘Still Hurts’ being their fourteenth release now, and they show that even after twenty five years they are still going strong.. Opening song and single, ‘Still Hurts’ has an air of insanity and urgency in an overall dark entire but remains highly melodic also. This is a corker of a song to open on and to represent what lies ahead... ‘Tides’ has a more positive and softer sound, although the lyrics are a stark contrast to this, but it works well, and again through the melodies and instruments is very memorable, and is sure to come ‘crashing’ into your head upon its first listen! Keeping up the mainstream infectious offerings we have been given so far, ‘Good News Is No News’ may just be the champion for this. Melancholy seeps out especially in the glum verses and eerie guitars, and then the beaming positive sounding chorus kicks in, along with the energetic uplifting instrumental sections, this makes this a definite must hear! ‘Idiot Cousin’ is raw and dark and feels very grunge inspired, making for a brilliant underground anthem which the masses can revel in! ‘Insecurity’ has a brilliant driving riff and old school metal vibe helping to establish this album’s many sides and musical diversity. We reach the end of it all in the greatly titled, ‘Deathstimate’ which as you can imagine is a somewhat morbid and gloomy epic affair, with doom sludge guitars it feels like a definitive way to close the album. The album completely embodies the very meaning of the definition ‘disquiet’, so I think they achieved what they set out to do, and perhaps even exceeded this, considering they had a lot of pressure to produce an album that would appease old and new fans alike. We are treated to a bit of everything grunge, punk, classic metal and mainstream metal! They certainly proove that after 25 years of making music they haven’t lost their touch or edge, and have plenty of creativity left in them! While it could be said to be a sequel or having similarities to their other albums, such as the band's million-selling 1994 album Troublegum, as well as elements of their entire back catalogue, it pays homage to the band well over their long career. But even just at face value for people unfamiliar with their past work, this is a sterling album for metal fans to enjoy, and boy do you get a variety of rock and its sub genres – what isn’t there to like?! So stick this on and play it loud! CL

As It Is - Never Happy, Ever After I think every generation has their favourite pop punk band, I’m not going to say mine as it would display my age and no one ever wants to admit that. The catchy lyrics and upbeat rhythms that As It Is produce should certainly make them one of those bands that people will look back on with fond memories. This band are determined to show that they’re not just a one trick pony. From the start of Speak Soft I thought I had this band figured out but the vocals completely change on the latest single Cheapshots and Setbacks, giving this song a good kick in the teeth. Drowning in Doubt again mixes up the dynamic created and starts with a slow pace and slowly picks up until a full anthem is created. Dial Tones has a hint of The Story So Far and again surpasses all expectations for this band, they provide music for a lot of genres and it’s not to hard to imagine that this is only the beginning for these four guys from Brighton, who will quickly reimagine pop punk for the UK. Following up with an acoustic number in the form of My Oceans Were Lakes. RO

Jake and the Jellyfish - Dead Weight Sometimes bands can throw you, at the opening of this album you would think you had a rockabilly perhaps Social Distortion type of rock. Then you think you are going to get a Pogues/Flogging Molly type of band but before too long there is a healthy whack of funky reggae getting chucked in. The thing is, at various points they are moulded together and rather than sound disjointed or all over the place as you might expect, it works and not just in a well crafted way but in a way that it all just sounds like it was always that way. As though this is a style that has always been around, only it hasn't. These Leeds lads have smashed it from top to bottom, the flow of the bass and drums is the backbone and the partnership of Caff and Steve is as tight as a vice and allows the guitars to do what they need to do without any fear especially during the ska or folk heavy sections. The idea of a violin among a punk heavy track such as 'Don't Follow the Leader' isn't the first thing you would expect to hit you but it adds something very different and is a whole hook in itself as it swaggers and bops through. As a big fan of folk music and punk, I have a keen enjoyment of the two, so this style is what I enjoy most from them but I am dangling like a worm on a hook throughout the chopping board of range they have. This follow up to Credit Cards and Overdrafts is an album that deserves high praise, this is a band that with the right breaks, could and should go far. AN

The Maine - American Candy In every bands life there’s always that album that makes it clear that a band have grown up and they’re not the kids they used to be. Save Rock and Roll was Fall Out Boy’s mature piece. Now The Maine are following this tradition, American Candy is definitely this band’s most grown up album to date. Gone are the fast pop punk beats that got this band to where they are today, it’s clear from the song My Hair that this is a totally different direction they’re going in, the almost poppy rhythms they’re producing would make The Wanted salivate. The first single English Girls is upbeat and more rocky than the previous track but it still doesn’t quite capture that spark that previous efforts have had. 24 Floors has a very Snow Patrol vibe to it and is definitely the best track on the album, it has honest lyrics and beautiful music to accompany it. Another Night on Mars starts with an amazing piano intro the likes of which you’d hear in old style movies and goes on to become a great sing along that will get audiences up and down across the land. As the album descends into the final songs it feels more like listening to The Feeling than The Maine, it’s understandable that everyone has to grow up but this sound is completely different to anything previously. The genius behind this is is that the fans have grown up as well and the majority will love this for what it is. The Maine know that the times are gone when they can produce catchy pop punk and get away with it. American Candy is a work of art to be appreciated by fans old and new. This is the album where the boys become men and it is done spectacularly. RO

Rubric - The Game It appears the spirit of Jazz [insert Mighty Boosh appropriate joke] is alive and well in the heart of England. Rubric have seen to that with this incredible four tracked EP. The funky bass beats these guys produce will instantly have you loving what these guys do, combine that with the fresh guitar rhythms and you’ve got a damn good dynamic for something amazing. Once this EP starts it’s hard to turn it off. From The Game introducing you to this band and what they’re about showcasing their quality sound. Following through all the way to Matter of Rapport, this EP just gets better and better. At some points this band can sound like Reverand and the Makers and at other times they sound like old school Arctic Monkeys. I think a lot of people will agree that is a great combination of sounds. It’s so refreshing to have some genuinely new music on the scene, Rubric’s EP is a a drop of rain in a dry desert of pop music and terrible singers accompanied by a backing track. I can’t wait to see what these guys produce in the future. RO

Millencolin - True Brew It is a typically hard hitting start from the Swedes who can very much be described as veterans of the scene after nearly 25 years together. There were reservations from some after 2008’s Machine 15 with the exploration of their sound but this one should have the faithful singing from the same hymn sheet once again. 'Egocentric Man' gives a certain nod to Bad Religion in terms of sound, it is an aggressive beginning before 'Chameleon' brings a more melodic enviroment to the proceedings. It is catchy with vocals that are razor sharp and spit out at some rate of knots, with two such different tracks it is difficult to see which direction the album will be pulled in.

“There are some delicious melodies being fired out from this record” The answer is very much to the grittier side, 'Autopilot Mode' continues the quick fire words but drops out the radio friendly pop punk elements of the previous song. It is quick and crisp and although there is a slight poppier sound to 'Bring Me Home' it is still hitting hard and fast, almost jabbing through in a boxing fashion. There are some delicious melodies being fired out from this record, showing that they have lost none of their zeal over the years, they often teeter on the brink of pop punk but closer inspection of the lyrics shows that there is no softening up of Millencolin even after all these years. This is one of the hardest work bands around so expect plenty of chances to see these songs live, they have the potential to be some real show stoppers. AN

Bad Mary In the world of pop music, technology in the palm of our hands that would have outdone the first space shuttle and reality TV it’s hard to imagine a time when things were different. When you heard real bands on the radio, well Bad Mary want to recreate those beautiful times. Hailing from over the pond this outfit draw influences from the classics of Blondie, Green Day and The Ramones. They manage to bring that music back to everyone’s attention and say ‘we haven’t forgotten about the greats and neither should you’. Bad Mary capture something perfect with their style of punk rock interspersed with jazzy upbeat melodies. Their lyrics are meaningful and well thought out and the music behind it is oozing positivity and enjoyment. This band do something that a lot of bands seem to be missing these days, they sound like they’re having fun and enjoying what they do, many artists are that smothered by backing tracks and dubstep that it’s hard to distinguish any sort of personality. It’s hard to distinguish any kind of favourite or best track on this album, all of the songs are brilliant in their own right from the depressing story in Losing Control to the out of this world (sorry for the pun) Space Girl and the catchy Forget About It. Bad Mary deserve all the appreciation they get, they’ve produced a brilliantly fun album and in the process have put across this feeling that they are having fun with what they do. Anyone who likes old school punk and hard indie should check these guys and girl out as they are fantastic. RO

Zebrahead - The Early Years – Revisited This album is pure nostalgia, it reminds me of the first time I heard Zebrahead, I had no idea that punk and ska could exist together, let alone intersperse it with an element of hip hop (I was quite deprived). The rapping done by Ali Tabatabaee is second to none and impressive, the funky beats provided by the rest of the Zebrahead family are amazing and they’ve just made some amazing songs. If you’ve never given your ears the pleasure of listening to Zebrahead then this album will be the perfect place to start. It showcases only the best songs they’ve released over more than a decade and will draw old fans in as well as new. The album gives nods to the classics as well as newer songs.

“If you’ve never given your ears the pleasure of listening to Zebrahead then this album will be the perfect place to start.” The album starts with Check and as this best of album only has room for the greats, continues on in that fashion. Playmate of the Year, Now or Never, Rescue Me and Hello Tomorrow are just a few to mention. I think what have made Zebrahead untouchable from the late 90s is that no one else can reproduce their incredible sound, it’s so diverse and different to anything that anyone has ever done. Yes there have been bands who have tried but they have failed because they just don’t have the right formula. It’s proven just by how long they’ve been going. Over 10 years and they’ve not changed anything about themselves and still manage to sell records and do shows all over the world. This is a band who deserve respect and you show these guys respect with dick jokes and beers so that’s not hard. RO

And So I Watch You From Afar – Heirs Ditch the morning coffee and start your day with a listen to “Heirs” the latest album from Belfast experimental rockers And So I Watch You From Afar. I hadn’t hard too much on these guys before listening to this album, all I knew was they brilliantly cram everything they can into each track, making for an aural listen like nothing else. Sitting at a solid ten tracks, “Heirs” is a collection of the best of thirty tracks recorded in their Northern Ireland home. Comparing to the bands earlier material the first few tracks feel all too familiar, and the warped guitar shreds dominate the intro all too well. It’s not until “Redesigned a Million Times Before” kicks in that the record turns itself around. Layered guitars form an incredible pop-rock/post-rock melody that ASIWYFA have championed over the years. Highlights include “Fucking Lifer” which comes in at a ridiculously punchy pace and “People Not Sleeping” beforehand cements the bands epic and fun sound. What’s more is “Heirs” carries the theme of adaptation and influence, although it may sound familiar at the start it’s later on where “Heirs” proves to be something special. GD

In Hearts Wake – Skydancer Hailing from Byron Bay, Australia, In Hearts Wake pride themselves on their roots. Coming from a town which holds a strong hardcore community, In Hearts Wake are labelled as a metalcore act, but rather than taking labels into the matter the band stay strong to their roots with their inspiring lyricism acting as a voice for change in communities such as this. In 2014 In Hearts Wake released the brilliant “Earthwalker” a record which sung the evils of industrialisation and environmental. Cleverly the guys recorded a companion record alongside this titled “Skydancer” and you’ve really got to admire these guys for what they’ve created with this double album project. At the core this is a pretty recognisable metalcore album, whether it be from vocalist Jake Taylor ripping through tracks “Cottonmouth” and “Badlands”, down to the clean vocal singalongs throughout the record. What is most admirable on “Skydancer” Is the musicianship and care put into the overall themes. Bringing in help from Johnathan Vigil of The Ghost Inside and J Hurley and Ben Marvin from Hacktivist both lending their unique vocal talents to the records. “Erase” see’s the Hacktivist boys lending their nu-metal flows with brilliant precision.

“What is most admirable on “Skydancer” Is the musicianship and care put into the overall theme” “Skydancer” is a natural progression from “Earthwalker”, what has been created at the same time is arguably better than its predecessor. With a few questionable parts, this audacious project is a refreshing thing to see in a genre which is full of products instead of bands. In Hearts Wake are the voice for a new generation and “Skydancer” is the record to push them in this direction. GD

Superheaven - Ours Is Chrome Superheaven are back with their 2nd full length album ‘Ours Is Chrome’ two years after releasing their debut LP ‘Jar’. One of the more quieter bands in the scene, they possess a very strong and bold sound that reminds people of the deep, dark alternative rock that has proved very popular in the past. The album begins with the easy listening ‘I’ve Been Bored’ which is an unusually subdued beginning to a Superheaven release, it has a simple riff and the vocals seem to be more lively than on previous works; they have a nice edge to them which matches up nicely against the calm and smooth instrumentals - a pleasant start to the record. ‘Next to Nothing’ reminds me so much of the likes of Basement just a touch heavier, again it’s a simple and no fuss number with a soothing guitar riff and the lazy vocal style; a criticism is that the song may be too repetitive for a four minute track. I love the instrumentals in ‘Room’ - echoing in the background, very similar to most grunge influenced emo bands in the 1990’s, there are elements to this track that remind me of older Balance and Composure when they are more aggressive in their approach. The chorus is pretty catchy and the track is not as repetitive as ‘Next to Nothing’. It gets heavier in ‘All The Pain’ - the guitars are so loud and punchy and the chorus does come at you from nowhere; the reason could be that this track is actually a combination of two of the bands songs they wrote, it’s that type of song that you have to nod your head along with. ‘Leach’ is probably my favourite song on the record. It’s just such an anthem and a complete classic, I know their fans are probably sick of the Nirvana comparisons but the instrumentals in this song just scream that grungy, heavy sound of 1990’s; the use of guitar feedback just gives it that classic Superheaven twist that you expect. ‘Downswing’ is an unusual number, it doesn’t have the usual flow and predictability of Superheaven’s sound, it has some pop elements in its style which would be considered very unusual of this band, it’s nice to see them being versatile instead of staying with what they're comfortable with.

“‘Leach’ is probably my favourite song on the record. It’s just such an anthem and a complete classic” ‘Blur’ returns to the relaxed, slow and heavy style that has been associated with Superheaven, the versatility and experimentation of guitar tones is another encouraging and welcoming feature, this track may not be explosive or blow you away but it’s perfect for the continuity of the record. ‘Gushin’ Blood’ is another number that has more of a pop punk element to it than the deliberate grunge sound of their previous works - that hard in your face guitar riff will never lose its place in any of Superheaven’s songs however. ‘Dig Into Me’ shows that the band have focused on the vocal elements of this record more than they ever have before. This particular track has a highly contagious and appealing chorus along with some memorable hooks that blend perfectly with the forceful guitars and highly potent drums. I thought I accidentally shuffled to a Xibalba or Weekend Nachos song when ‘From The Chest Down’ came on when I saw it was still Superheaven I was excited, this track begins with an incredibly boisterous bass line which eventually quiets down for the vocals to be introduced - I’ve always enjoyed listening to Superheaven with the volume loud to appreciate the instrumental work, after the big introduction the song is fairly subdued but the emotional subject of the song influences through the enchanting guitar riff that concludes the track. The record finishes on a high note with ‘Poor Aileen’ which opens with an incredible distorted guitar riff, the chorus is particularly good on this track and very reminiscent of some of the songs on their record ‘Jar’, this track has a great flow and very impressive timing providing a relaxed and satisfying conclusion to a very intriguing, progressive and impressive effort by Superheaven. JP

The Story So Far - Self Titled The Story So Far are back with third full length album. The band achieved incredible success with their aggressive and emotional pop punk style, that has become loved by thousands of fans worldwide. The album begins with ‘Smile’ which reminds me so much of their last album ‘What You Don’t See’. The guitars and speed are much the same, Parker Cannon’s unique vocals sound superb on this track, it’s very contagious with its hooks and chorus and a highly encouraging start to the record. ‘Heavy Gloom’ offers something different, beginning with a fuzzy bassline and funky riff, and I have to give the group credit for creating great synchronicity between the vocals and the instrumental. ‘Distaste’ shows good skills between the guitarists with the combination of a high pitched tone and a much heavier tone, the bridge is well executed and sounds good but I feel I need to hear Parker’s vocals being more the center of attention to create a greater effect. ‘Solo’ answers my request with more of an emphasis on Parker’s vocals, the musical style of the song reminds me of Transit but with more aggressive vocals, I actually think the track is slightly rushed towards the end, but it does however flow nicely into ‘Mock’ which is one of my favourites on the record, I find the lyrics incredibly enjoyable and easy to listen to - I especially enjoy the opening of the second verse “Make things worse. I always seem to make things worse, cause I can't seem to shake this curse”, the riffs are great on this track and the guitar feedback to conclude is a nice touch.

“Parker’s tireless and strong lyrics always create powerful emotion” ‘How You Are’ reminds me of the band’s highly aggressive angsty attitude that was portrayed on their first record ‘Under Soil And Dirt’, Parker’s tireless and strong lyrics always create powerful emotion and it’s no different on this track. ‘Nerve’ is an absolute classic, the fast paced lyrics in the verses create almost a rapping effect which sounds great with the slick riff and well paced drum beat, the first chorus on this track is typical of The Story So Far with Parker crying out vocals, a really good song. After the rush of ‘Nerve’, the band show a whole different side to their musical influence with ‘Phantom’ the track is similar to the likes of American Football and Tigers Jaw, it acts as a nice kind of interlude between the fast paced tracks and shows off something different and unexpected. The album comes to a conclusion with two much louder and bolder tracks in ‘Scowl’ and ‘Stalemate’. ‘Scowl’ is another song I find similar to the nature of tracks on ‘What You Don’t See’. ‘Stalemate’ begins with a nice riff before we finally hear some gang vocals on this album, something that is rare in The Story So Far’s music, the lyrics of “I won’t calm down I’ll never let it be” are reflected in Parker’s typical belligerent in this track and the rest of the record. As I mentioned before the record has a lot of similar sounding songs which may make fellow critics describe it as monotonous. However, I look at the record as another solid release in an already shining discography, it won’t do anything to disappoint fans and only encourage them to keep supporting the band on their continuous success as one of the kings of modern pop punk. JP

Count Me Out - Do It Yourself! Count Me Out are a brand new band hailing from South East Wales, hoping to follow in the footsteps of the likes of Save Your Breath and Neck Deep who have achieved success in the pop punk scene. Do It Yourself! is the first release by the band giving an insight into what we should expect from them in the future. The first of three tracks on the EP is ‘Me&You’, the band’s first single. The track begins with a pacey drum beat with a raw funky guitar riff. The vocals are very clear but sometimes feel a little rushed trying to keep up with the fast nature of the instruments, the chorus is very catchy and reminds me very much of the likes of Tonight Alive, the track concludes with a bold breakdown and Four Year Strong esque riff, a nice touch and conclusion to the opening track. ‘Think Twice’ begins with a nice riff and the vocals sound more in sync with the instrumentation, and the addition of gang vocals brings a different element not heard in pop punk for a while. Similarly to the first track, it has a nice chorus and the hook of ‘you run your mouth, like you run this town’ sounds particularly effective. ‘Regrets’ has a Story So Far sounding introduction, the gang vocals sound unclear but the main vocals remain impressive and again the band put emphasis on making catchy and creative verses and a solid chorus, the drums are my favourite element in this track with good timing creating a solid pop punk tune. Overall it’s a raw, authentic first glimpse into Count Me Out. It was brave of them to do their own recording at home and it’s translated into a good effort on this EP, more shows and more writing will only solidify the band more and then I’d expect them to become more popular in the Welsh rock music scene. It will be interesting to see how they progress and what they have in store for the future. JP

Hidden History – Mysterion As we all know, music is ever-changing. What was once incredibly popular is done away with the next day to make room for something new. But for absolutely sure, there will always be room for good hard rock. Hidden History are showing to everyone that, even though at the moment they may be a small-time band from Seattle, they have all the makings of greatness that have marked so many of their influences before them. If you have ever listened to Muse, Breaking Benjamin, Three Days Grace, or even Linkin Park and liked any of it, you will definitely like this album. The fat riffs are in there, mixed with some decent electronica work. The electro elements are not always particularly overt, but the way Hidden History sometimes mix them in with the rest of the music, as opposed to the intros to Callous Heart or Mirror where they show them off a bit more, is fairly sublime.

“Mysterion is a fantastic album” The vocals sound like a mix of One-X era Adam Gontier (ex-Three Days Grace) and the screamier side of Benjamin Burnley (Breaking Benjamin) circa 2006. The blend of melodic, soulful vocals when it suits the music, and the brief screaming moments when the tempo and aggression picks up is as close to perfect as you can really get. On the whole, Mysterion is a fantastic album, one that any of the bands already mentioned here would have been proud to have made themselves. AL

RUBRIC

Coming out of Cincinnati, Ohio, Rockstead brings a blend of progressive-reggae and high energy rock to form their unique sound. With inspiration branching from bands such as Sublime, 311, and The Expendables, these four high school friends formed the band in 2011. Since then, Rockstead’s musical reach has steadily begun to grow along with their loyal fan base. Their first successful studio album “Wake Up and Live” was released in 2012 and launched them on their musical careers.

EP release date: August 2015 CONTACT: facebook.com/rocksteadmusic rocksteadmusic.com rocksteadband@gmail.com

Over the past two years the band has been maturing and honing in on their musical abilities aiding in the creation of their new EP “Rise”, due out in late August 2015. The EP’s heavy-hitting drums from John Albertson and groovy bass lines from Victor Falco are what drive the Rockstead beat. Tanner Briscoe’s eccentric lead guitar and Jake Burns’ one of a kind vocals set Rockstead apart from all other bands in their genre. With their music, Rockstead aims to promote conscious thinking, positivity, and the bonds between people that sounds create. Much love.

Acoda – Truth Seeker Alt/Rock metal quartet from Northamptonshire return with a fresh line-up and their sophomore album, ‘Truth Seeker’ and they are ready to enlighten the world! First song, ‘Make It Up As You Go’ grabs you from the get-go, with its endless brilliant rhythms and melodies, all polished wonderfully creating wonderful tones and ambience, fuelled by emotion, swagger, energy and slick bouncy riffs driving it – this is a striking start to the album! ‘Whispers Like Roars’ shows their more aggressive side, with screamed vocals and more progressive elements, the strong varied vocals and harmonies along with the huge guitar hooks, make this a stand out track! There is a great depth and adventure explored in the instruments and all-encompassing sounds, something the band seem to effortlessly master throughout! ‘Talk It Out’ continues the high quality thus far, particularly displaying the bands impressive vocal capabilities, especially the clean lead soaring vocals from Damon; having at least three members contributing creates extra textures and variety, and showing just how talented they are collectively. ‘Won’t Go Running’ again demonstrates this well, with the different vocals helping portray the emotions and feel of the song, especially with such brutally honest lyrics such as, ‘I’ll Scratch your back, you stab mine”. Although slower paced it still holds its power through its cunning composition and keeps things diverse. ‘Round The Sun’ is the heaviest offering with high impact and melodic guitars, again embracing their more post hard-core side, and the result is simply irresistible with its huge atmosphere and presence which will reach to your very core, and not to mention the most infectious chorus making it a superb rock anthem! ‘Just Another Day’ flows on perfectly from the previous track, again with the band playing up to their rougher edges. They display astounding energy, which shines through hitting you hard! ‘Face Everything’ immediately has a more uplifting sound with an electrifying chorus and highlights their strong brit-rock characteristics and song writing abilities. Final song, ‘Hymnyin’ takes on a slow isolated approach initially, which is very effective with Damon’s vocals taking the spotlight displaying melancholy and soulful vocals, and then the massive atmospheric instruments creep in and fierce back up vocals, all leading up to a massive climax with gang vocals fading out, in what I can only describe as epic and dramatic! It feels as though Acoda have found their true selves in this refreshing dynamic and addictive collection of songs! They have created an immense sound through musical freedom and exploration, not being tied back by the confines of just one rock sub-genre, and they have mastered this balance perfectly, with the overall effect being dark and broody but with rebellious free spirited undertones also. The simple ‘truth’ is that this is a brilliant album which needs to be heard, and is certain to rise the band to the ranks they deserve! CL

Religion of Tomorrow – Next Time Judging from this single it is abundantly clear that emotional rock music is still very much alive and wasn’t completely killed off by the last Staind album. Whilst Next Time may not be winning many awards for new musical innovation any time soon, it is nonetheless still an enjoyable single to listen to. Religion of Tomorrow have evidently got a very good understanding of how to balance the quiet verse moments with the much louder, heavier chorus sections, something they demonstrate excellently in this song. There is plenty of other music like this, and to be honest there isn’t much in this style that hasn’t been done before, but as a song on its own, Next Time is still a pretty decent listen. AL

Folding The Pages – Lisa May EP Opening with the title track, ‘Lisa May’ (Calling Your Name) which is a powerful melodic acoustic number, where Mike Carroll shows of his impressive range of vocals, which are delivered beautifully and emotionally, making it a heartfelt love song, with an extremely catchy chorus which is bound to ‘call’ to you! The instruments kick in towards the closing of the song, adding emphasis and making it even more robust. ‘Where To Go’ has a different feel, with deep toned sombre vocal verses with more strength in the hard hitting chorus which sounds like a plea of desperation! This is very strong and effective and shows the bands diversity. ‘What To Do With You’ starts of rather isolated with stripped back vocals and well placed drum beats and then it strikes hard, with demanding vocals and memorable riffs – demonstrating a fine example of alternative rock at its best! ‘Until I Die Tonight’ like the opener is another big acoustic offering, injected with lots of passion and emotion aided by the use of the piano to help this ballad shine more – this is very moving and delicate and again highlights the lead vocalists talents! ‘Watching The Time Pass’ is the fastest paced one so far with great time signatures and rhythms, giving it a somewhat punk vibe at times, mixed with their striking alt rock sound with Mike’s vocals matching the instruments in harmony! Final song, ‘None Of This Will Go Away’ is edgy angsty and pessimistic, and perhaps is the best song so far, it hits hard and for that reason, I can see it being an alt rock anthem for its efforts! This is a solid diverse and passion fuelled EP which displays the bands unique alt rock sound and offers something different to the genre, which may well fill the gap it needed! I strongly urge you to give this a listen, and let their mix of strong and feisty yet emotive tones drift into your head! CL

Dance Gavin Dance - Instant Gratification Most bands tend to have their fair share of line up changes but for this band, it seems to have been a steady flow of members coming and going, they do however this time manage to keep a solid vocal line up for the first time in eight years. That solidity doesn't shift over to the album though. It is a pretty standard, by the numbers post hardcore record, full of nice, catchy melodies but they are nothing that hasn't been heard plenty of times before. I am selling the melodies short in fairness, the guitar work is what stands out on this album and are really the one thing making me continue to listen. Alongside that is some very impressive rhythms from drummer Matt Mingus, throughout the album he steers the ship with interesting twists and beats that are able to hold my attention well The vocal changes are exactly where and when you would expect them to be, taking away any chance of dynamic while the clean vocals just irritated me. They just sound as though they are trying to hard to be more emotional than everyone else and it makes it hard to listen to. That said though, Jon Mess does manage to pull it back a little for me with some tearing it up “unclean” vocal roars. All in all, it is predictable with its perfect, over produced sound and unfortunately, very forgettable. AN

Nai Harvest – Hairball Nai Harvest are a band who have come quite a long way in a pretty short amount of time, the only qualifying factor being that they seem to have gone quite far into the past. In their short yet already reasonably impressive career they seem to have gone from being an emo band, to being a 90’s rock band. The odd thing about this album is that, even though it sounds like an early Oasis album, albeit with a bit more punk rock grittiness and flare, it doesn’t sound dated. It could well be simply down to the modern production, but Hairball could not sound any more fresh or current, even though the ingredients that have gone into making it are nothing particularly new. Stand-out songs like Melanie and All the Time are good examples of how Nai Harvest are able to do things simply, but effectively. The whole album is reminiscent of early Oasis or Stereophonics, complete with all the quality song-writing and bouncy riffs that practically force you to bounce your head along to them. AL

Death Cab For Cutie - Kintsugi Death Cab for Cutie have never been a band that I have ever taken much interest in and I was sceptical and less than enthused when this album landed in my review pile. However, I always say you must give everything a chance and despite thinking “urgh” with the first electronic seconds of the opener, I'm glad I did as I find myself pleasantly surprised by what followed. Benjamin Gibbards bouncy vocal 'No Room in Frame' grabbed me with its rhythmic tie in with the drums, the song gradually brings in more instruments, its builds hint at an explosion that never comes and you know what? It works perfectly, keeping you hanging on for something that you would expect but never comes is great song writing when you still feel completely satisfied by it. I am not a big fan of the synth sound that has increasingly started to creep in a lot of bands sound but the sounds that creep into this album don't bother me as much. They are very prominent at times but they are nicely dropped in to the mix allowing them to bring what they need to without being overwhelming, cutting away nicely when the fuzzed up guitar breaks in on songs such as 'Black Sun'.

“This is very much an album that feeds on emotion” This is very much an album that feeds on emotion and Gibbards does a great job of making it as low key as he does, it isn't instantly noticeable as he almost narrates the words. His voice shines as a result. It is a catchy album, atmospheric and always interesting. The stand out comes in the form of 'You've Haunted Me All My Life', the guitars set the atmosphere so well, the backing music adds to it and as I mentioned, nothing overwhelms the main passages of guitar and vocal. This song is stunning. With Kintsugi, Death Cab For Cutie have a fine record, it won't have me digging through their back catalogue but this one is one that will sit nicely in my collection. AN

Red City Radio - Self-titled The third full length offering from Oklahama punk rockers Red City Radio comes with a certain expectation after their previous efforts, this is the time to stand up. Starting with a straight forward riff that carries a nice vibe especially when the vocal kicks in, 'Whatcha Got' has a simple technique but it sounds so big. The gravelly tones of the vocal is filled with an underlying emotion. I love vocals like that, subtle and unobtrusive but clearly have something special there, someone like Chuck Ragan is what springs to mind, it is a superb opening. At just over two minutes, it is short and sweet but they have my attention and that is exactly what you need from an opener. From there it is plain sailing, 'Rest Easy' carries it on with some nice hooks, catchy bass lines and the continuation of the vocal talents possessed by Garret Dale who is taking the full on vocal duties and smashing it.

â&#x20AC;&#x153;This is Red City Radio's finest hour â&#x20AC;&#x153; There is nothing outlandish on this record, the majority of it is kept fairly simple on the whole but when those hooks are thrown out they are top notch. With song writing like this, technicality isn't the be all and end all, they do a great job of letting the melody speak up for them and that makes it as good as any progressive, technical band out there. The songs have such an infectious quality to them and will have many finding it hard not to croon along to them. This is Red City Radio's finest hour and one they should savour. AN

Hard Rock/Alternative band from Hannibal, Missouri. NEW ALBUM OUT SOON! AVAILABLE HERE: www.ffr.rocks

Graveyard Johnnys - Dead Transmission This album starts slowly but it builds nothing but suspense and when it does kick in with its off beat, almost country rhythms it has you gripped and feeling the need to move your body with it. 'The Poison' is the perfect opener, showcasing everything this band are about in the first five minutes and in Joe Grogan, you have the ideal voice to take you on the ride. One thing that immediately jumps out is the raw production, it gives the sound a more organic and natural feel for a style that should never sound squeaky clean and over produced, the balance is bang on here giving it another boost. With the title track, a more punk fuelled energy kicks in with a heavy chorus that is memorable and is crowd friendly enough to find the words easy enough to pick up. The tender side comes out to great effect with the open chord heavy 'One Day Or Forever', it is again catchy and makes me think of what would happen if Less Than Jake and Flogging Molly had an offspring. It also shows a different vocal range for Grogan and makes for a nice half way reminder that this is no one trick pony band. 'Ready to Roll' is crisp, short banger with 50s inspired rhythms and a 70s punk attitude before 'I won't Wait' returns to the harder hitting style of earlier on the album. There is something very later years Johnny Cash about 'Mothers', an emotionally delivered tribute to exactly what the title says. It is an obviously heart felt song that is full of rich tones and tender words, it is a surprising moment on the album but it is something else that shows you can't predict what the album will do. To close out though, there is no tenderness as they inject the fuzz, attitude with 'Little Witch' to give the album a real ball kicker to end with. This South Wales four piece are a breath of fresh air, taking the vibes of 50's rockabilly, melting it down with good old fashioned punk, they do it without the well worn cliches of many of the other bands in this style. This album should be Graveyard Johnnys break through moment. AN

Se7en Dead - Get Damned Starting with a groovy, thrash like riff there are various genres packed into Se7en Dead's sound, from the Guns n Roses like solos and rhythms to the hair metal style bounces and lower pitch, grunge style vocals. It makes for some tempo changes between songs with the slower drumming countering the faster guitars to make them all meet in the middle on 'Am I Alive' before turning the dynamic around with 'Animal Instinct'. 'Get Damned' adds a more grinding, grunge sound in large parts while 'Sirens' begins as though it were a Black Sabbath tribute. The sirens reminiscent of the War Pigs opening before a very Children of the Grave like galloping riff descending into a more thrashy type vibe but keeping a sludgy element to it. The E.P is enjoyable but while influences will always find their way into a bands music there is a feeling that their own stamp is needed to really make it their own and make their sound pop. The ability to craft and write a good, multi layered song is not in doubt, neither is the musicianship, the hooks are plentiful and the riffing is crisp and groovy but there are plenty of bands who do it just as well so the need to do something to stand out is more essential than ever in the over saturated markets of today. This is a band who have potential, I have no doubt that these songs will rip it up live and with a middle section like the one on 'Shine On Me' and opening of closer, 'Shrangri La, will get the floors sweaty and bouncing. If that can find that extra boost to their sound, then they could be on to something. AN

Three Days Grace - Human It’s been a rocky road for Three Days Grace, a break up and reformation in the 90’s and if that wasn’t bad enough in 2013 lead singer Adam Gontier left because of a ‘non life threatening issue’. Since then they’ve enlisted the help of Matt Walst to try and keep this band alive and that he has. Car Crash introduces this album with a low tempo melody slowly building to a dynamic crunch at the climax to really give this album the edge before it’s even begun. Following up is the hugely addictive Fallen Angel a song with a chorus that will not leave your mind for at least a couple of weeks. Human Race begins with an almost orchestral piece and slips into a classic rock ballad that forces you to dance along to it. This shows that Three Days Grace haven’t lost what they had and might have even found something a bit different. The introduction of Matt Walst has certainly given this band a Papa Roach vibe to them and it’s not to crazy to think that this could be the album to get them back to the top. This is just a rock album through and through, Landmine is nothing short of a catchy rollercoaster of insane riffs and incredible vocals combined with the fun lyrics makes this a stand out on this album. Nothing’s Fair in Love and War is definitely the best song musically on this album, the rhythms produced are amazing and it just adds an essence to the whole collective that just oozes brilliance. Three Days Grace have come back with a vengeance with Human, the introduction of the new vocalist has given this band new life. That combined with the compelling lyrics and excellent rhythms that they’ve always produced make this an album for any fan of classic rock music. RO

London Has Fallen - Fracture Upon first reflection I wasn’t impressed by London Has Fallen, only when I realised it’s just two people making all this noise did I learn to truly appreciate it. The sounds that are produced are incredible, the vocals provided soley by Alecia Gates are stunning and this is a talented duo that are set for big things. The music itself is extremely varied, at some points it can sound like a backing track assisting your favourite pop artist and at others it has a sound that would be a lot more suited to a punk rock band. Where We Went Wrong are great examples of the latter. The increased pace in drum beats and quirky catchy guitar riffs would definitely suit Rise Against or Billy Talent. Break Me follows on with this similar fashion but half way through the track we hear amazing heavier vocals from Cameron Gorham, who up until now had been silent on all other tracks. The screaming he produced was so unexpected that it really made this song amazing. Burn slows down the album a little bit but demonstrates just how talented these two people are, the lyrics aren’t insanely brilliant or imaginative and we’ve all heard them before or at least something similar (can’t shut us down, cause we’ll burn them to the ground) however the guitar solo at the end makes up for this song in its entirety. With ten songs that are all different in their own right and two remixes thrown in for good measure, Fracture from London Has Fallen is a great album and is one for the music appreciators out there. The people who can listen and hear exactly what is going on. Some songs are better than others but that’s the price we pay for a real alternative album. RO

Chunk! No, Captain Chunk! - Get Lost, Find Yourself If you’re completely at a loss and you think ‘well I like French pop punk but I just want a bit of metal thrown in’ well then look no further because Chunk! No, Captain Chunk are back with their latest album Get Lost, Find Yourself. The french pop punks fuse their music with metal breakdowns and impressive vocals and quite simply they’ve created another masterpiece of an album. With the introductory song Playing Dead and The Other Line both being released as singles they lay the ground for what this album is about and what you can expect but it’s laden with many other hits. The slowed down pace of What Goes Around contrasted with the heavier much more metal infused Pull You Under shows that these guys aren’t just a one trick pony with little to offer. Obviously the typical acoustic number would have to be involved at some point, this comes in the form of the titular track and I can see this being a huge anthem at their live shows. The vocals are more than impressive, one moment it sounds like you’re listening to All Time Low and then suddenly it’s like you’ve fallen into a Slipknot like transe when the guitars suddenly drop creating a whole new sound. I think that’s why this band are so successful, they blend two different sounds together and create a match made in heaven. Get Lost, Find Yourself is a spectacular album from another one of pop punk’s rising stars, and for anyone who loves pop punk or metal then I would definitely recommend giving them a go. RO

The Early November - Imbue With the current state of the music industry I’m always impressed when bands have been going for nearly sixteen years, it seems that great bands are dropping left, right and centre these days. Thankfully this is not the case for The Early November. Their new album Imbue is proof that they are as good as they ever were, the vocals on the first song and single Narrow Mouth are impressive and well connected with the song. The beat that accompanies it is just enough to wet the appetite for the rest of the album. ‘You like it better that way’ is the storming chorus from Better This Way, a slower kind of ballad and alternative medley. It only goes heavier when the aforementioned catchy chorus kicks in, if these guys are playing festivals this summer, then that will be the song everyone will go for. The Negatives begins with a slow guitar tune along with the soothing smooth vocals from Ace Enders, eventually the song turns more like The Early November and is given the catchy treatment to help it along. I could go through the whole album from start to finish and explain that all the songs are great but instead it would be better for you to go and check them all out. The Early November’s Imbue is one of those albums that any song you listen to will instantly sink its hooks into you and not let go until you surrender. From Narrow Mouth all the way to Digital Age. It somehow manages to cross the borders between alternative rock, pop punk and a little bit indie, the ending result is something spectacular that anyone will love. RO

Fireworks, Dave Hause & American Graffiti @ Clwb Ifor Bach 20/5/15 Fireworks returned to Clwb Ifor Bach for possibly their last ever performance in Wales, a young and upcoming band called American Graffiti were up first, I was very impressed with their gruff and mature punk sound that reminded me a lot of the likes of Spraynard and Latterman. The band delivered a very solid and consistent set playing songs of their brand new EP, they seemed to have a great connection and you could tell they put a lot of work into writing their music. What was less impressive however was their stage presence in between songs, they seemed disinterested in interacting with the crowd - if they can address this then they will definitely be worth another watch in the future. Next up was former The Steal bassist Dave Hause with his indie acoustic rock, the room was quiet for most of the set which showed how interesting Dave is as a live artist. He played some old songs and he even threw in a Weakerthans cover which was impressive. I thoroughly enjoyed his performance and have always thought acoustic acts perform well in an enclosed and small environment. It was a enjoyable and calming experience and Dave performed very well.

Fireworks began their set with an eerie and chilling introduction performing the song ‘Oh, Common Life’ and then kicked into gear for the rest of the set with an excellent mix of all three of their full lengths, the crowd was fairly quiet and standstill for the newer songs but the older tracks like ‘Geography, Vonnegut and Me’ and when they closed with ‘Detroit’ the crowd were much more positive and showed a lot more energy. They played several songs from the wonderful album ‘Oh, Common Life’ including the infectious ‘Glowing Crosses’, by the end of the set the band seemed to use up every ounce of energy which showed how tireless their performance was. I hope the hiatus doesn’t last long because Fireworks are a great band and a much more dynamic act in the US pop punk scene. JP

Transit, Such Gold & Crooks @ Clwb Ifor Bach 22/5/15 I got in the venue just in time to catch the start of Crooks set, from Cheltenham I had not heard of the band before this show. I was intrigued by their own brand of emotional hardcore, very similar to the likes of More Than Life, Modern Life Is War and Verse. What surprised me even more was the brilliant reaction they got from a few people in the crowd who sang along on nearly every song in the set, some songs had very good instrumentation. Definitely a band worth checking out if you’re struggling to find a decent emo/hardcore band in the UK. The first leg of the co-headliner saw Such Gold take to the stage, and when they do, they instantly display a lot of energy. The setlist was a superb mix of old, slightly old and new songs from their most recent LP ‘The New Sidewalk’, I have always enjoyed Ben Kotin’s vocals on record and it impressed me even more that he was able to sustain such aggressive vocals for the entire set. I was particularly excited when they played classics like ‘Gut Rot’ and ‘Two Year Plan’. Their newer songs also went down well with the crowd, especially the likes of ‘Nauseating’ and ‘Engulfed In Flames’. The whole band were tight throughout the set and they had time to talk to the crowd which made them even more engaged in the performance, they also promised to return to the UK which I will definitely be looking forward to. To conclude the show, Transit came on amongst much anticipation. The set was probably the best I’ve ever seen downstairs in Clwb Ifor Bach, the setlist like Such Gold’s was an excellent blend of recent and older songs. The band had an incredible connection with the crowd including lead singer Joe Boynton venturing into the crowd numerous times, including a successful attempt to dance on the ceiling, Lionel Richie would be proud. What I noticed was that Transit’s newer softer sound projects much better on the live stage than it does on record. Tracks like ‘So Long, So Long’ and ‘Skipping Stone’ which closed the set were performed well and seemed to have much more effect on the live stage. The band stopped at one point to say that it was their favourite show on the tour - I wouldn’t be surprised if it was as the band had so much fun. It was one of the best sets I’ve seen in a small venue in Cardiff for a long time! JP

Hoobastank / P.O.D. / Alien Ant Farm @ Bristol Motion 14/05/15 If you're fan of alternative rock from the early 00's then you really shouldn't of missed this tour. Hoobastank, P.O.D. and Alien Ant Farm haven't been to the UK in a long time, so to have them all performing in one night is absolutely awesome... Alien Ant Farm take to the stage and instantly take us back in time with their performance of 'Wish', a hard hitting track that has the audience moving straight away. As the performance goes on we get to see more tracks from their classic album 'Anthology' such as 'Movies' 'Courage' & 'Attitude' which all remind us why this band deserve to be as big as they are. They fused inmaterial from their second album 'Truant' such as 'Glow' & 'These Days' which were both perfectly performed, and contributed to already brilliant set. From their most recent album 'Always and Forever' the band hit us with 'Let Em Know' which is a huge song on all levels, and shows that AAF can still pen a massive rock anthem. The icing to the cake is of course their set closer 'Smooth Criminal' which at this point, they could probably perform in their sleep. A brilliant conclusion to an epic display of rock. Next up, it's P.O.D. who are here to share their awesome take on rock. On the 2nd track of their set the band perform one of their biggest songs to date 'Boom', which has the everyone jumping as soon as it starts. We get to witness 'Lost in Forever' 'This Goes Out to You' & 'Panic & Run' which keep the crowd going crazy, and all show that the band have more than what it takes to put on a brilliant live show. In the middle of the set they give everyone in attendance a little bit of time to rest, as they perform 'Youth of the Nation', an awesome slow song that has everyone in the room singing at the top of their lungs. The highlights for me would have to be the emotionally charged song 'Will You' as well as 'Alive' which are both just fantastic to watch and listen to in a live atmosphere.

â&#x20AC;&#x153;Hoobastank, P.O.D. and Alien Ant Farm haven't been to the UK in a long time, so to have them all performing in one night is absolutely awesomeâ&#x20AC;? Hoobastank launch into one of their heavier tracks 'Out Of Control' which gets the crowd in motion straight away. They carry on with a pretty much relentless set by playing 'Same Direction' 'Running Away' 'Just One' & 'Pieces' which are all just ace to watch, and have the crowd singing at a max level. It was also great to see that visually the band were clearly more than happy to be on tour in the UK, I mean after around ten years (yeah, it's been that long!) you'd think that they just don't like touring here. After explaining why they hadn't been here for a while (promoter problems) combined with the high energy show they put on overall, it just went on to create an incredible atmosphere to be a part of. They continue their set with 'Remember Me' & 'This Is Gunna Hurt' which both contribute to the already superb set list. If you watch or used to watch alternative rock music channels a lot, then you will of course know the mass sing along anthem 'The Reason' which the band perform with ease while getting an overwhelming response from their fans. To end, they hit us with 'Crawling In The Dark', which simply leaves the audience wanting more as soon as it stops. AD

Dustin Kensrue @ The Glee Club Cardiff 03/05/15 If you're here tonight, then you probably know Dustin from Thrice, if not then you just have an amazing taste in music, and for some reason haven't discovered Thrice just yet. Right now he is on the road promoting his impressive new output 'Carry the Fire' which if you don't own then I strongly advise you purchase right now. I'm normally used to seeing mosh pits, and just general chaos with the type of gigs I attend, so tonight was a welcome change as I got a chance to just sit down and in a completely chilled out atmosphere and watch the show. Of course, we are treated to a bunch of new songs from 'Carry the Fire' like 'Back To Back' & 'There's Something Dark Inside Of Me' which all have the crowd captivated. For the Thrice fans in the venue tonight Dustin mixes in his own personal versions of 'A Song for Milly Michaelson' 'Words in the Water' & 'Come All You Weary' which for me, are just extremely impressive to see showcased in that alternative way. Taken from his first acoustic release 'Please Come Home' Dustin plays 'Pistol' & 'I Knew You Before' which both provide great balance to the set. One of my favourite songs of the new album which he shared tonight was 'Gallows' as it's a brilliant song that shows just how much potential Dustin has a solo artist. Throughout the set Dustin performs each track with confidence and professionalism, and I think that if he continues to put on live shows like this, then this side of career will continue to shine, and personally I can't wait to see what he does next. AD

And So I Watch You From Afar @ Bristol Motion 30/04/15 Currently on the road promoting their outstanding new album 'Heirs' I head down to the Bristol leg of the tour to see 'And So I Watch You From Afar' in action. Blasting straight into a new song 'Run Home' the crowd are already absorbed by the bands powerful live show, and even though the song has just come out, the band play with a confidence that make it feel like it has been in the set list forever. Taken from their impressive album 'Gangs' they play 'BEAUTIFULUNIVERSEMASTERCHAMPION' a hypnotizing track that has everyone moving, and I'm sure even the spectators stood further towards the back would find it hard to at least not tap their feet. You know at the end of Star Wars when they tend to have a massive celebration, well 'Like A Mouse' is probably a song that could easily soundtrack that event, it's a chaotic and yet hopeful tune that leaves you stunned. The band play another song of 'Heirs' entitled 'Tryer, You' which with its gradual build throughout is extremely awesome to witness, and as it kicks in you should be thinking 'why don't I own this album yet'? To finish they give the audience 'The Voiceless', which is just like everything else performed tonight is great to watch, and does a perfect job at concluding their dynamic and impressive show.

â&#x20AC;&#x153;It looks like an Academy or Arena sized tour will be next on the cards for this extremely talented bunch of musiciansâ&#x20AC;? The last time I saw 'And So I Watch You From Afar' was in the Thekla Bristol, and from this, I knew that these guys had more than what it takes to put on an electric live show. Tonight it was awesome to see that they had raised the bar in every way since the last time I saw them, and with this venue being twice as big then it looks like an Academy or Arena sized tour will be next on the cards for this extremely talented bunch of musicians.

Aneurysm

So here I am, back at the awesome Hit The Deck Festival! The first band of the day I catch is You Blew It who give the audience an interesting fusion of emo/pop rock/indie rock, which goes down really well, and a particular highlight for me would be 'Medal of Honor' which I strongly advise you have a listen to now. Known for his role as Kevin in the hugely popular American Pie series, this factor alone was enough to bring in a big enough crowd for the Thomas Nicolas Band at this early time in the day. If you're fans of classic alternative rock bands such as Foo Fighters, and maybe even Jimmy Eat World, then you'll enjoy these guys. They give the audience a great mix of tracks including 'All The Way' and 'Terrified' get a good response, and confirm that Thomas Nicholas can pretty much do anything he sets his mind to. At the moment As It Is are rising at a rapid speed throughout the Pop Punk scene, and with their interesting take on the genre, as well as their live performance that was shown today, then this shouldn't come as a surprise to anyone. Their frontman Patty is constantly in the crowds face to make sure that the crowd interaction stays at 100%. The best track of their slot was 'Dial Tones' which had a huge reaction, and will certainly go on to be a big song in their set for a long time to come. I always enjoy watching Decade live, and for me I find them completely different to any other band out there. They are a bit of pop punk, they are a bit of rock, and they also remind of bands that came out of UK rock scene in the early 00's, which is of course a great thing. They get the audience jumping from the first track and with songs like 'Brainfreeze' and 'I Don't Care' they prove with ease why they are one of the best upcoming bands right now. The Swellers are currently on their last ever tour, which is a massive shame, because to put it simply, these guys are ace. Blasting through their performance they treat us to tracks like 'Should' and '2009' which are both just awesome to watch live. Finishing on 'The Best I Ever Had' they leave everyone wanting more, and for me personally, I wish I had watched this band more than once, as judging from their performance tonight this band will truly be missed. I head back to the main stage in the 02 Academy to catch Cancer Bats. Before they had even started you could tell it was going to get rowdy. The audience were squashed together, and the atmosphere was high. Of course, as soon as they take to the stage the crowd erupts, and the mosh pits get in full motion. The band treat us to songs such as 'Bricks & Mortar' 'Hail Destroyer' which both have the crowd singing as loud as they possibly can. Personally I enjoyed their newer track 'Satellites' as it gives a nice dynamic balance to the bands pretty intense set list, and also their brilliant cover of 'Sabotage' which had an electric response as even those who weren't not familiar with the band could get involved. If you read the last issue of Stencil Mag then you'll know that Lawrence Taylor, the lead singer of While She Sleeps had some serious health problems with his throat over the last couple of years, but after getting through this the band confirmed that they are now itching to get back into the live music world. So with this in mind, knowing that the band were this eager to perform, then you knew they were going to give it their all, and after watching their set it was safe to say that they did not let anyone down. As soon as they started their show they had this awesome backdrop and light set up, which can only really be describe as eerie, but from it the band got the crowd going wild, and the mosh pits once again came to live. My highlights from the set overall would include 'Four Walls' & 'This Is the Six' which both show that future is looking extremely good for this unique act. The first time I saw The Xcerts was in this very room (02 Academy 2) back in 2010, as one of the first support bands of the night. So what a pleasure it was to watch them play to a packed out room, as the 2nd to headline act at one of the coolest festivals in the UK, with the hard work these guys constantly put in, then they deserve this moment. The band perform a bunch of tunes from their brilliant new album 'There Is Only You' such as 'Kids on Drugs' 'Pop Song' & 'Shaking In The Water' which all fit really well in their set, and feel like classics already. Mixing in epic older tracks like 'Slackerpop' goes on to create one of the best sets of the day, and if they can keep putting on performances like this, then we have no doubt that there'll be headlining festivals like this in the not to distant future.

The Early November are here to headline the 2nd stage, and although most of the band were replaced for tonight's performance, it didn't stop them from giving us an epic show full of indie rock anthems. The band take us back to the early 00's with classics such as 'Decoration' 'The Mountain Range in My Living Room' & 'Baby Blue' which are all just mesmerizing to watch live, as their lead singer Ace Enders (cool name!) can still hit every note with ease. They also mix in tunes from their more recent albums (after they came back from their hiatus in 2011) including 'Narrow Mouth' & 'Tell Me Why' which are both extremely good songs, and confirm that the band still have more than what it takes to create an addictive indie rock song. So overall, a dynamic set that showed us just why The Early November earned the dedicated fan base that they have since their formation, but also an indication that if they can keep putting new tracks out like they have over the last couple of years then there really is no limit to what they chose to accomplish next. I've seen Skindred a handful of times over the years, and they are always great to watch live. They never mess about, and they always like everyone in the room to be moving. Trust me, if you're standing still, their lead singer Benji might end up pointing at you until you start a one man mosh pit, so if you're here to see them, then basically you best be ready to get involved. They kick straight in with 'Kill The Power' which has everyone singing along to its catchy chorus instantly. As they carry on with the set songs like 'Pressure' & 'Ninja' have the whole crowd, from the front to the back jumping. They also did a really great job of adding in covers such as 'Jump Around' and 'Duality' which both just sent the audience into an absolute frenzy. No Skindred set would be complete without the Newport helicopter (everyone takes their top of, and spins it around to pretend they are a helicopter?), which goes on to add a bit more crazyness, to the already crazy atmosphere! The band finish with one of their biggest tracks 'Warning', and if you're standing still, or chilling on Facebook while they're playing, then you're missing out, as this a track got a huge response from the audience, and everywhere you looked there was simply carnage. A perfect end, to one of the best live bands in the UK right now. These guys can easily headline even bigger festivals in the UK, and if they have the chance, then I'd love to see it happen.

Hit The Deck Festival is one of the coolest 'small' festivals in the UK. They always provide a massive array of genres and styles with each stage they put on at the event. You are always going to find an amazing new band if you go, and you're always going to have a great time watching the bigger bands as well. It has an amazing atmosphere, and I for one will always be in attendance. AD

We are a 5 piece 'Party Punk Rock' band from Bristol consisting of; David Hackett - Vocals / Josh Mortazavi Guitar / George Smith - Guitar / Conor Feeney - Bass / Will Earl - Drums. We started off as 'Albion' in late 2013 and played local shows around Bristol for a year until we realised 'Albion' wasn't doing our music any justice. Once we found our style we decided to change the name to 'A Year Today' at the end of 2014 and release our debut EP 'We Are The Young' under the new name. We recorded the 4 track EP which consisted of 'I Remember My First Beer', 'Oh Captain', '2607' and 'We Are The Young' with Todd Campbell at Stompbox Studios over in Pontyclunn, Wales in October 2014. Once mixed and mastered we planned a release show at The Exchange in Bristol on Saturday 21st March which we sold out in advance. We released the EP on Spotify, Bandcamp, Soundcloud and sell physical releases through our Big Cartel and live shows. After the launch we started our first UK tour in April where we headed to; Bristol, Reading, Leeds, Newcastle & Oxford with bands 'Day Old Hate' & 'The Kaos'. We're heading back into the studio in June to record our next single 'If At First You Don't Suceed, Lie Again' which will also be part of the release show in Bristol at The Louisiana on 17th July. We have a few festivals to announce over the next month or two and we will also be heading back out on the road at the end of September which we can't wait to announce. Debut EP: We Are The Young (OUT NOW!) Next Single: If At First You Don't Suceed, Lie Again / Release Date: 10th July 2015 Release party at The Louisiana, Bristol - Friday 17th July 2015

Self-Titled Album "Beaten Broken Beautiful" OUT NOW! "A comic book for your ear holes. Vivid, grave, colorful songs that use death as the best metaphor for life." We recorded these songs to document a point in our careers; the beginning. We were young, we hated our jobs, and we loved comic books and geeky movies, so it reflected into this EP that we're proud of. As for the future, we're not planning on stopping. We've been around our state and we have a ton of fresh material that's even more creative and stronger than the last.

We head to Leeds, Wolverhampton & Hatfield to give our biggest Slam Dunk review yet!

Slam Dunk is probably one of the best festivals the UK has to offer, with it only being one day in three different cities the guys over at Slam Dunk HQ do an incredible job of cramming in some of the best bands over several different genres into this all day event and with the organisation of the festival itself, there could not be a better festival to get yourself down to. Plus you can save yourself the trouble of camping and the fees of a full three-day festival and still get the chance to see some of your favourite acts. With all that set in the centre of the lovely Leeds you can’t really ask for a much better weekend.

Being As An Ocean were up on the Impericon Stage. With an absolutely packed out room BAAO relentlessly stormed through their set with tracks such as The Hardest Part... and L'exquisite Douleur. Stirring the room with their unique blend of melodic hardcore and spoken word, frontman Joel Quartuccio didn't hesitate to get involved with the crowd in what looked like a long awaited family reunion. After a break following crowdsurfing restrictions at the event Being As An Ocean played out their set with This Loneliness Won't Be The Death of Me, leaving a lasting impression on Slam Dunk. Capacity issues with some venues involved in Slam Dunk North prevented us from seeing a few bands, which left the impression that perhaps tickets were oversold. But with a little patience it was time to catch the Neck Deep guys for a no holds barred assault of stellar UK pop-punk. Storming through familiar Wishful Thinking tracks such as Damsel In Distress, Neck Deep had most of Millennium Square in the palm of their hands. ND also treated festival-goers to a performance of their new banger Can’t Kick Up The Roots turning Slam Dunk main stage into a frenzy. UK pop-punk is in very safe hands indeed. Eventually the Monster Stage opened up and after a bit of hectic queuing we were ready to see what Bury Tomorrow had to offer Slam Dunk. Opening up with Royal Blood it was clear what Bury Tomorrow came here to do and that was to cause absolute mayhem. Covering every inch of the stage there was no doubt in my mind that frontman Daniel Winter-Bates has improved his vocal range with much more power behind it. Lionheart was the highlight with the crowd getting ever more chaotic, and with Bury Tomorrow’s take on metalcore, UK heavy music is on point. Back over at the main stage a quite large crowd was gathering for the Lower Than Atlantis boys. "Hi Leeds, you little fuckers" Mike Duce said excitedly as they all gathered on stage. It was clear from the onset that LTA were going to have a hell of a lot of fun and that's just what they did. English Kids In America was clearly the track everyone had been waiting for with arms flung into the air. Breaking up the set with Another Sad Song saw a rest point for the crowd as frontman Mike Duce introduced the track "Is everyone having a good time? Good, we're about to play a sad song." With material that spanned their last three-records, Lower Than Atlantis treated millennium square to a set that seeped through the festival, pulling festival-goers from different corners of the site.

While She Sleeps were arguably one of the most anticipated bands at the festival. With new record "Brainwashed" hitting new heights in British music and with the guys renowned for their chaotic shows, Sleeps were sure to cause a stir. Opening with Brainwashed had the already rammed Monster Stage move from wall to wall. Powering through This Is The Six, Crows and Four Walls among fan favourite Seven Hills, While She Sleeps brought their crusade and claimed Slam Dunk as their own.

â&#x20AC;&#x153;It is clear to see that You Me At Six are still on top of their gameâ&#x20AC;? Slam Dunk is a special place for You Me At Six. With it being their first ever festival performance and then headlining it years later. The guys arrived back to yet again headline, armed with a setlist that spanned all of their records back to Take Off Your Colours. They opened with The Truth Is A Terrible Thing and Save It For The Bedroom which were both performed to a perfect standard. With the opening setting the tone of what is to come from their hefty hour and a half long set, You Me At Six showed Slam Dunk that they are one of Britains best bands in the last decade. Tracks Reckless and Kiss and Tell shot the crowd into a sea of arms. Closing Slam Dunk with a heartfelt thank you to the organisers and the incredible Underdog overpowered by onlookers, it is clear to see that You Me At Six are still on top of their game. GD

I see hair of green, lots of snapbacks too, I see them blue, like a million and two and I think to myself...oh it’s Slam Dunk time. Yes one of the UK’s best alternative festivals had reared its ugly head for a three day session with some of the biggest names on the scene at the moment. First up after enduring a massive queue for As It Is, a band I was particularly intrigued to see, their album was awesome and they’ve been hogging the spotlight on Kerrang! For a while. The lead singer even mentions the Kerrang! Award for best British band ‘even though we’re not all British’ he says in an American accent. Cheapshots and Setbacks had the crowd screaming for more. I did go for Knuckle Puck next, I’ve heard great things but for me something fell short. The energy was there and the music was great but one downfall of Slam Dunk in Wolverhampton is the stages are pretty much next to each other so the incredible vocals from The Color Morale drew me in like a syren call in the ocean and before I knew it I was watching them tear up the monster stage. People were climbing a nearby tree and diving into the quite small crowd in a haze of craziness. I don’t recall any names of the songs but they know how to put on a show. Staying at the Monster stage, up next was a band that are making waves for themselves wherever they go. Beartooth fronted by the singer from American metalcore act Attack! Attack! Provide the crowd with metal crossed with pop punk and create an atmosphere that is needed across all stages. This is a band that have left the past behind them and are ready to face the future, In Between and Body Bag were the real show stealers. If you wanted to head over to the Desperados stage to catch Big D and the Kids Table you would have to go through the Wulfrun Hall and go down as if you were going into a dungeon or cellar. However when I eventually got there Big D managed to blow me away (there’s a joke in there somewhere). This ska rock outfit were driving the crowd wild and were demonstrating what a true entertainer needs to do. The lead was engaging and the rest of the band looked like they were plugged in at the wall the amount they were moving. Truly entertaining. With a quick run upstairs I managed to catch the last song of We Are The Ocean as they belted out a brilliant Waiting Room. Back downstairs to the dungeon I go to catch Lightyear, another ska inspired outfit but one that made me wonder ‘how are they getting on with so many members on stage’ it seemed like everyone was on top of everyone else but somehow it worked. At one point a horse even joined them on stage. I was truly saddened when they announced they were splitting up, however they joked that it had happened 5 times before so I live in hope. Don’t go Lightyear! For me festivals like this are about seeing the acts I wouldn’t usually see, I’d have never gone out of my way to see Miriachi El Bronx but I just couldn’t resist going to see a band making spanish music out of heavy songs. The result was exactly how you’d expect, the crowd were loving it, the band were loving it and there was even a conga line snaking its way around. This is why I love Slam Dunk. Up next a favourite for me, the one, the only Zebrahead (Zeebrahead) this band have been going for so many years and in all respect haven’t got much further in their musical career. However this doesn’t deter this ska punk band and their shows are just brilliant. The effort they put in is great and the best thing about being a gimick band is you can have fun. This includes getting people on stage to drink, having someone dressed in a santa outfit and of course the typical ‘everyone get down’ moment. Proving they’ve still got it with Anthem and Rescue Me they announce a tour and leave with everyone screaming.

In 2013 I caught Don Broco on their first headline tour, I loved them, three guys just doing their own thing making kick ass rock and now when I look at the stage I notice they’ve developed a keyboard player and their music has become more poppy than rocky. For me this a big disappointment, however the audience lapped up every moment!

“They completely destroyed their set and beat every other act I’d seen that day” Back over to the Monster stage to catch a band that will make you feel thirteen again, judging by the age of most people this was the prime reason for the large audience. Post hardcore veterans Finch were due to tear this up. They did not disappoint, from the moment they arrived on stage it was clear they wouldn’t want to be anywhere else. Kicking off with New Beginnings this band know that the audience is all about the old material. Letters to You gets a huge reaction, the noise dies down a bit when they do new material in the form of Two Guns to the Temple. Finch give an amazing fan experience and leave the stage knowing they’ve pleased a lot of people. I made my way to the Fresh Blood stage for Moose Blood who were scheduled to be on and in this tiny bar I saw...Baby Godzilla...or I saw the crowd completely seperated with the two guitarists in the middle losing their minds. Baby Godzilla sadly were on their last song and they completely destroyed their set and beat every other act I’d seen that day. The aforementioned Moose Blood who were up next would have been an excellent addition to this day with their style of smooth rock, however when you go up after Baby Godzilla you need to bring something special and Moose Blood just didn’t have it in them to follow. Not to say they weren’t great but the energy of the previous band just defeated this band before they’d even gone on. RO

A constantly evolving musical endeavor wanting to touch the ethereal and metaphysical plane. A mixed bag of various musical interests combined into one product/sound. Simply put, we play what we like. Sometimes clean and melodic...Other times discordant and loud. Space inspired progressive mandalorian metal from NY. FFO: Meshuggah, Deftones, Glass Cloud cdbaby.com/cd/circuitofsuns facebook.com/circuitofsuns

So a few weeks back I started to notice a game that was getting A LOT of press, including numerous gaming awards, adverts on TV that just look stunning and previews upon previews on gaming sights. I decided I would check out Witcher 3: The Wild Hunt. I must advise with this review I have played the game for about 15 hours and I’ve only just got out of the first city, that doesn’t sound impressive but this game is at least five times bigger than GTA so when you consider that I’m actually doing okay. So you are Geralt, you are a Witcher a legend of a man who battles demons, witches, half breeds and any other mythical and imaginary creature you can think of I fought a griffin! Your task across the game is to find a girl you once knew before she is killed by the wild hunt, a ghostly army on horses who freeze any town or person they come across (let it go, let it go). However that is the least interesting thing on the game. Not to say the main story isn’t fun or exciting, a lot of things about it are great but the real adventure comes when you and your trusty horse Roach go off track and find missions to do off your own back. The first side mission I found was a well that was being haunted by a woman and after some Supernaturalesque investigating I got to fight her and I got battered, just died straight away.

Then I found (the guy in Game told me when I bought it) the Beastiary in inventory, in which is detailed weaknesses for the enemy/enemies you may facing. This gave the game a whole different way to play, instead of simple hack and slash, which it had been up until then it suddenly had an element of skill and planning to involve the player in a way I’ve never seen. Suddenly I found myself planning every single attack, taking full advantage of the alchemy tool and when you defeat an enemy like that it just feels better.

Since this point I’ve gone on to take more ‘Witcher contracts’ and have been sent all over the place in order to achieve the good graces of peasants. The game also has mechanics of decisions to make, these decisions actually impact the world you inhabit and you have to make them quick so you can either be a dick or be the good guy...let’s face it no one wants to be the good guy. The visuals that accompany this game are spectacular, you can climb to the highest mountain or explore the vast sea. Even head down into deep and dark dungeons. Anywhere you go on this game and anything you see you will be impressed by the amount of time and effort that has been put in.The cut scenes are like something from a film and really help move the story along well and more than anything they’re just amazing. Of course it holds other perks such as upgrading your weapons and armour, creating bombs, potions and oils to defeat enemies. An upgrade system that works in branches, allowing you to decide what skills you would like to upgrade. All of this gives an experience that really makes you invest hours in the game. It creates the illusion that you are the Witcher and you need to do this. If you’re bored of racing games and football games I would ceratainly recommend Witcher 3: The Wild Hunt. Though I’ve only had a limited time on it I believe it will be a game that will hold my attention for many months to come, there are five areas to explore all absolutely gigantic in size and I’m only in the second place. With a boasted 1000 hours of gameplay I believe Witcher 3 will go down in history as one of the greatest RPGs created.

Som Imp res som pre Shailene Woodley returns as Tris Prior in her continuing battle against a strict faction-based system into which she is welcomed in none. Her initiation into this dystopian society didn't quite go as planned, as the hi-tech sorting hat failed to find her compatible with any of the five given houses. We find the gang just a few days after their flee from Dauntless faction and the explosive shootout against the Dauntless army, as they now hold sanctuary in peace-loving Amity. Tris, her lover Four, parttime enemy Peter and Erudite runaway brother Caleb, are having a hard time trying to nail down their emotions in such a tranquil environment and soon find themselves on the run again as Divergent-hater Jeanine Matthews (Kate Winslet) closes in. The movie, unlike its predecessor, does not follow the book's plot as well as before. Veronica Roth's successful trilogy is bound to have attained hardcore followers who may be left disappointed with Insurgent's somewhat lack of loyalty.

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me star-studded cameos feature in this movie also, Octavia Spencer (The Help) and Naomi Watts (The possible) are introduced but sadly don't stick around for long and neither play roles which reflect their spective abilities. This paired together with an overall storyline that fails to connect all of the dots, makes for me hard-to-follow filmmaking. Scenes lead to climaxes which are well-thought out but only to often are they edictable. Seldom did I find myself "ahh"-ing at a twist that I didn't see coming.

hough I don't like to, it is difficult not to compare The Divergent Series with The Hunger Games. Being eased on the big screen first gives Jennifer Lawrence and co the upper hand. But this hasn't stopped oodley and the gang from putting up a fight. The Hunger Games' district system is simpler and so flows tter within a film, allowing more focus on characters and storyline. The Faction system is complex, and quires more film reel to get to grips with the society. As protagonists go, theres not much to complain about, th Lawrence and Woodley have now proven that they can carry a movie which would have otherwise uggled without them.

this being said, I enjoyed it. The dynamic clash of Tris and Erudite leader Jeanine leads to some of the tter sequences in the movie. Tris' constant dip into virtual reality shows off some impressive CGI and again es Woodley the chance to blossom in an otherwise methodical journey. As good as the the first? Probably t. But it's not a bad build-up to what I have been told, is a pretty neat ending.

American Awesome Alliance is an American electronicore band from Orlando, Florida, formed in 2012 by Brannon Centeno and Christopher Lee. They have released four singles and one cover to date. Their cover of Let It Go from Disney’s Frozen garnered the band a lot of attention and was met with mostly positive reception from critics. They entered and won the Ernie Ball Battle of Bands 2014 for the St. Petersburg date of the Vans Warped Tour. The group has been featured by popular websites such as AltPress, MetalSucks, Stuff You Will Hate, and The New Fury. American Awesome Alliance is currently working on their highly anticipated debut album and are pioneering new, uncharted ground in the post-hardcore scene.

The new music video for “Magnum Cum Latte” is from the upcoming debut album, The Mass Extinction of Everything That Was and What Ever Will Be, available summer 2015! CONTACT: facebook.com/AmericanAwesomeAlliance jesea@highroadpublicity.com

ALKATINE From Left: Drew, Brady, Kurtis, Doug ALKATINE(AL-KUH-TEEN) A four piece hard Rock & Roll band formed in Calgary Alberta, Canada. Band members are Kurtis Lovas (Guitar), Drew Stefanik (Bass/Vocals), Brady Riplinger (Lead Vocals), and Doug Pocasangre Jr. (Drums) Alkatine has a loud, edgy, and always evolving sound that comes from their broad musical influences and is only amplified by their live performances and ecstatic stage presence. Sharing the stage with acts such as Stone Temple Pilots, Clutch, Headstones, Tea Party and more, Alkatine looks forward to many gigs and future opportunities to share their music with audiences both new and old. 2015 promises to be an exciting year of festivals, new songs, and in turn new fans to join the band wagon. Alkatine's 'Self Titled' Full Length album was released to the public in late July 2014. https://alkatine.bandcamp.com/ <<Purchase it here. 'MĂźnchausen Syndrome By Proxy', ' Six Gun Lullaby', and â&#x20AC;&#x2DC;Chain Of Command' are popular tracks off the album! Interact with band: Facebook.com/alkatine Twitter.com/alkatine Instagram.com/alkatineband