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Contents April 2016 Vandala 8 REVIEWS & EDITORIAL Charles Bradley - 'Changes' (Soul) Monster Truck ‘Sittin Heavy' (Rock/Hard Rock) Face To Face - 'Protection' (Punk) Twiztid - 'Mutant: Remixed And Re-Mastered' (Hip Hop/Rap) Crossworm - 'Drowning In Restricted Thought' (Hip-Hop/Electronica) Virus Syndicate - 'Symptomatic' (Hip Hop/Rap) Day Wave - Hard To Read (Alternative) Mernoryhouse - 1Soft Hate' (Pop)
18 LIVE MUSIC & PHOTOS Monster Truck and The Temperance Movement Bring High Energy Photo Highlights - The Trews & Rich Robinson Audio/Rocketry Entices Home Town Fan-Base with New Material Photo Highlights Dystopia Tour 2016 with Megadeth, Suicidal Tendencies, Children of Bodom, Havok Fire Up The Chainsaw - A Cannibal Corpse Show Photo Highlights Nightwish, Delain, Sonata Arctica
50 COVER STORY Frank Turner All the Kids are Talking Slang We caught up with Frank just before departing for his Canadian run about the new record, his recently published touring memoir and the importance of what it means to be an entertainer.
34 INTERVIEWS 40 Canadian Juggalo Invasion - Monoxide of Twiztid 58 Guitarist Richard Shaw of Cradle of Filth Talks North American Tour, and Favourite Moments 66 Did Somebody Say Symptomatic? Interview with Virus Syndicate 76 Grinding in the Free World An Interview with Avi Kulawy of Magrudergrind
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laum Reiviiew Charles Bradley - 'Changes' (Soul) By Dustin Griffin - 4.5/5 Dragons CHARLES BRADLEY
COUHIEWS
Charles Bradley is proof that you're never too old to make it. Here is a man who sounds as if he was born with his gravelly croon. The reincarnated spirit of James Brown, the razor sharp delivery of Otis Redding and the unhinged forcefulness of Sam Cooke when he really let it belt at some of his live shows. Despite releasing his first proper debut record in 2012 at the age of 64, Bradley tears down soul pins with his vocal bowling ball like he's been doing it all his life. And he probably has. You get the sense that Bradley was one of the great undiscovered voices in the annuls of pop music history before Daptone Records discovered him and wisely gave him a home and a career.
And now with Changes, his third album in four years, Bradley has a trilogy of albums that can rightly be called some of the most exciting in modern day soul music. Like Pokey LaFarge with western swing and J.D. McPherson with rockabilly, Bradley at first sounds as if he was born a few decades too late. He sounds as if he would've been a chart topper in the 70's alongside Brown and Redding et al. But I don't think this is the case. The 60's and 70's had Brown and Redding. It had a boatload of great soul music. Charles Bradley is our soul man. We need him here and now and if there is such a thing as destiny, then the reason he wasn't making soul records when he was 25 is because we needed his voice today. Not that there aren't a lot of quality soulful voices out there today, but I'd venture to say that Bradley's is the most authentic in the classical way. His is the most telling. As with all the soul greats, you can hear the hard times in his delivery. You can hear the things he's been through and you can feel the pain, the disappointment and the joy that those things have crafted within him when he attacks the mic. Take the title track off the new album: 'Changes' is a cover of a Black Sabbath song. A number of artists have covered it, but Bradley makes it his own in a way that gives it a gravitas it hasn't had before. Or the wickedly entertaining 'Ain't It A sin', with its old school funk. Overall I would say that Changes is a slower, more introspective album than his last two. There seems to be more emphasis on identity and its many faces and less on the jumpy bounce of love that Victim of Love had. But that just means his albums each have a theme. Still, 'Crazy For Your Love' is a nice simple song about falling in and out of love. And album closer 'Slow Love' is a fitting album sendoff, which is pretty self explanatory thematically. On the other side, 'Good To Be Back Home' is a nice way to open the album: a easy moving stroll through returning to ones roots. And 'You Think I Don't Know (But I Know)', one of my favorites on the album, is a song which manages to be both funky 08 VandalaMagazine.Com - April 2016
Album Remiew and easy moving at the same time. Charles Bradley is an exciting artist. Although he's only been on the scene, so to speak, for a couple of years, expect his star to continue to rise as his career rolls along. Changes is a great record. It doesn't have the immediacy of his last two albums, but rather than this meaning that Bradley has lost the fire, I think it just means that he has found his groove. And with one of the best backing bands in the business behind him in The Extraordinaire, this is record you need to get. www.thecharlesbradley.com www.facebook.com/thecharlesbradley
Monster Truck 1Sittin Heavy' (Rock/Hard Rock) By Chad Thomas Carsten - 4/5 Dragons Canada's Monster Truck comes out swinging full 43. force with a fistful of southern tinged hard rock for their sophomore release "Sittin Heavy" and the fist of this release connects straight to the rock n roll musical dome hard as a rock! This is w • 4 what real rock should sound like! Heavy, catchy, and the volume on full blast until the windows of your home shatter! This is the type of record that you play on repeat when you get together with all your rock n' roll buddies on a Friday evening to escape the 9-5 stress. The album serving as the al -Li soundtrack to an entire night of just playing poker, drinking and smoking while partying wild till the sun comes up and luckily somehow you and all your friends manage to still be able to escape the police from serving you a sound ordinance fine, because the police end up partying with you thanks to the positive music vibes Monster Truck brings forth. f
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"Sittin Heavy" calls back to the good or days of Lynard Skynard, Molly Hatchet, Foghat, and Grand Funk Railroad. If the guitar solos were female, they'd be strong-willed, confident, and so eye-popping gorgeous you wouldn't be able to keep your jaw from dropping straight to the floor on some classic Bob Clampett cartoon shit! The guitar solos are absolutely glorious and a play a major role in the sound that is Monster Truck. Classic rock fans will be air guitaring so hard to the tunes of "Sittin Heavy" that their sore fingers will magically be bleeding from the invisible strings. The riffs are that mind melting! So sit back, pop in this Monster Truck album and take a time warp back to when Rock 'n' Roll truly meant something. Major highlights include "Why Are You Not Rocking?" "For The People", "Sher A Witch", "Black Forest", "The Enforcer" and "Enjoy The Time". www.ilovemonstertruck.com www.facebook.comlilovemonstertruck April 2016 - VandaiaMagazine.Com 09
Reiviiew
Face To Face - 'Protection' (Punk) face to face
By Dustin Griffin - 3/5 Dragons I've been listening to Face To Face for a long time. Their 1996 self titled album was a constant companion throughout junior high and high school. And their fantastic 2002 album How To Ruin Everything has been one of my favourite punk rock album ever since its release. Every time Face To Face announce a new album, my anticipation meter is sky high. I thought what they did with 2013's Three Chords and a Half Truth was extraordinary. It showed a band in command of their craft. A band who were looking to expand and refine the poppy punk sound they had come to help define in the 90's and beyond.
Their return to Fat Wreck Chords for this new record was big news for punk fans. Face To Face started at Fat and you could say, as so many high profile bands (like Rise Against and Against Me!) do, that Fat is responsible for Face To Face's impressive career. They released their first album Don't Turn Away in 1992. So it was exciting for all of us, if only for purposes best served by nostalgia, to see what FTF would cook up with Fat for their return to the label. And it seems that what Face To Face have done as a result, rather than continue on in the vein set out by Three Chords, is to release a throwback. Throwback records are a thing not only in punk music, but in many different genres, whereby an artist goes back to their roots after a half dozen or so albums, to reconnect and reignite the fire that burned so hot at the beginning of their career. Sometimes it works, and sometimes it doesn't. Actually, it usually doesn't. With Face To Face and Protection, whether it worked or not will depend on the listener. If you've been jonesing for some classic early to mid 90's Face To Face ever since the early to mid 90's, then you'll love this record. If you're like me and have been impressed with the band's evolution and refinement, then this record will sound like a band taking two steps forward with their last two records, and one step back with this one. Don't get me wrong, the record is full of great tunes. Their lead single 'Bent But Not Broken' is good enough to be an anthem for the upcoming summer season. It will sound great blaring from car stereos and back porches on hot days. I guess the problem (and this will only be a problem for some of us) is that Protection sounds more like a Face To Face greatest hits record rather than a proper new release. Many of these songs sound overly familiar. I swear I've heard the chorus of the ferocious 'Fourteen Fifty-Nine' a couple of times over the years. The whoa's of the song 'Protection' sound very outdated, they bring me back to Warped Tour 2002. 'Say What You Want' also finds the band in danger of plagiarizing itself almost note for note. 10 VandalaMagazine.Com - April 2016
I get what the band are trying to do here. I get that in honour of returning to Fat Wreck, they wanted to tap into their past selves. For the most part, it just doesn't work for me. I'm not writing the record off or saying I won't ever listen to it. I'm sure there will be times when I'm feeling nostalgic and want to hear some new-old Face To Face, that the album will serve perfectly. Outside of that though, I'm hoping that their next record, regardless of what label releases it, finds the band back on the track set forth by Three Chords and a Half Truth. www.facetofacemusic.com www.facebook.comifacetoface
Twiztid - 'Mutant: Remixed And Re-Mastered' (Hip Hop/Rap) By Chad Thomas Carsten - 5/5 Dragons Did Twiztid somehow invent the entire concept of what truly defines the term remix?! With the way the Detroit, Michigan horror duo present themselves within the remix and re-mastered version of their 2005 Rap/Rock masterpiece "Mutant", it's as if Twizitd came out of the recording studio sporting science lab coats and in the palm of their hands contained the actual formula to how a remix album should be properly presented to the music world. This release is not just some pointless boring re-hash of a record that will make fans hit the snooze button and feel like they were cheated out of hard earned cash. No! It's far from being a bore. Quite the opposite, it's actually super exciting and beyond fresh! Twiztid has totally re-invented and completely re-imagined Mutant the way it should've originally sounded when Jamie and Paul first recorded the album for Psychopathic The remix for "Familiar" sounds akin to the glory days of 1970's style Rock 'n' Roll, back when The Steve Miller Band and Kiss ruled FM radio. If you're a fan of that era Rock 'n' Roll, your music soul will indeed smile inside and drift back in time to the 70's, even Tom Petty would be proud of "Familiar" if he first heard it way back when. The more hip-hop orientated tracks like "Triple Threat" and "Mannakin" went from being straight hip-hop bangers to full blown hard rock thrash attacks for the better, while hip-hop elites like "Star Dust" and "Madness" received newly revamped beats, as if the tracks were blended in a musical blender with their original counterparts. And what poured out was the perfect music smoothie with production that will endlessly satisfy the rap taste buds of Twiztid fans worldwide. Overall, the lyrical content inside the original Mutant album meshes wonderfully with the new production and only time will tell if the remixes will become well received by the fans, more so than the originals. This is a must have for any fan of Twiztid! www.twiztid.corn www.facebook.corn/Twiztid April 2016 - VandalaMagazine.Com 11
laum ReivAiew Crossworm - 'Drowning In Restricted Thought' (Hip-Hop/Electronica) By Chad Thomas Carsten - 5/5 Dragons Straight out of Grand, Rapids Michigan! The Godfather of dirtcore (Steve Weatherbie) is back with one of the most highly anticipated underground albums this year and that being his latest album "Drowning In Restricted Thought", a genre-busting effort that defies any sort of music limitation. It's hip-hop infused with electronics and industrial, yet it's more than those genre's with the way Crossworm is able to sing, scream and he's capable of bringing forth extraordinarily infectious poppy hooks inside the songs that will capture the hearts of new fans the first time they put on a pair of headphones to listen. The impressive part is Crossworm recorded the album, produced, engineered, mix and mastered, and pressed it up all by himself. Its super clean sounding and well produced, which is very rare when it comes to the underground. A lot of the underground hip-hop albums that are self released end up having a lot of mixing and mastering issues, but Drowning In Restricted Thought is on par (if not better) than what most major label releases put out professionally. Which proves the dirtcore king is absolutely a maelstrom of musicality. The track "Just Another Day" is a piano driven metaphorical monster that is a self-awareness warning about the music industry and artists getting suckered into their lies and signing their soul away to the faux entertainment machine. "Just Another Day" is bouncy too. Listeners may end up grooving out in their living rooms with the track on full blast, while putting up their fists against the machine and the song playing endlessly on repeat. "Break" is a strong nod towards the production found within classic KMFDM and newer Linkin Park. It's as if the two bands somehow mated and gave birth to the single. The way Mr. Weatherbie screams the words beak away, may remind some of Chester Bennington and that's a good thing! It works and fans will no doubt be grinning ear-to-ear and blowing out their voice boxes trying to imitate Crossworm's powerful screams. The use of the synth vocoder inside "Break" is genius too! "He's got a gun, He says that we all gotta go. Decisions are clouding me. They got their guns, they're telling us to get on the ground. They told me don't make a sound" beautifully sings Crossworm for the track "Police State"; a hip-hop punk influenced anthem about the media starting a race war between the people of America and slowly trying to take away our freedom. "Police State" is somewhat a new age industrial take on N.W.A's "Fuck The Police". This could very well be a product that Trent Reznor and Dre Dre would've created in the early 1990's together; even Chuck D. of Public Enemy would be astonished by Crossworm's presentation of the current police state plaguing the United States today. The ending of the album is a complete surprise. Crossworm cleverly covers Katy Perry's "Extraterrestrial" and flawlessly nails the pop phenomenon head on! It's an amazing cover that's destined to shock the hell out of Katy Perry fans and fully demonstrates Crossworm's unique talent. The final verdict; Drowning In Restricted Thought is Crossworm's greatest release 12 VandalaMagazine.Com - April 2016
Album Remiew to date in the 15+ years he's been making dirtcore music. It's one of those albums that you can play all the way through without skipping anything. You'll regret sleeping on this release, so don't! www.crossworm.net
Virus Syndicate - 'Symptomatic' (Hip Hop/Rap) By Chad Thomas Carsten - 4/5 Dragons The Kings of British grime are back with their 4th LP "Symptomatic" and itTs their most d controversial album to date! Virus Syndicate (comprised of DJ Mark One and the emcees JSD, Goldfinger, and Nika D) aren't afraid to get cold feet and speak out against those in power around , the world, especially the corrupt. Other touchy subjects the grime kings tackle within Symptomatic are mental illness, drug addiction, and what exactly leads to a child becoming a full fledge serial killer when they're an adult. This VIRUS SYNDICATE release is stuffed full off intelligent wordplay, nuLA FR mr Imo al Alit original lyrical rhyming schemes that no other .r Nip I IIM artists have used before, mind-blowing fast raps, Lu u B*1 • slamming trap style beats, and unforgettable hooks that are bound to lead the mainstream hip-hop heads into the depths of an ancient abandoned dungeon corridor, where the wicked underground lurks in the darkness waiting to grab hold of their hip-hop souls and never let go. The track "Psychopath" is intense, yet the production is capable of making your head bob till your neck is nearly breaking. "Psychopath" directly targets the crazed lunatics who are in full control of the world and the harsh reality of the many world problems that consume our own personal lives that most choose to ignore. "Gimmie The Mic" aims at capturing the golden age of hip-hop (back when it scared the hell out of Tipper Gore and many other bullshit politicians that wanted to censor everything music wise in the 1980's) and does a great job at doing so by breathing life back into hip-hop with it's own unique aggressiveness. "Chaos & Commotion" is one of those tracks your recline back and chill to, letting the lyrics of virus Syndicate free your mind from your own mental stress, while the track "Shadow" is more towards letting all your pent up anger out by screaming at the top of your lunges with the song on full blast. Overall, if you're sick of mainstream hip-hop and want something more on the gritty and grimy side, then "Symptomatic" is exactly what you're looking for! www.facebook.comivirussyndicate
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laum Reiviiew Day Wave - 'Hard To Read' (Alternative) By Michael Smith - 4/5 Dragons Oakland musician Day Wave has crafted a dreamy and intriguing release with Hard To Read. The sound Jackson Phillips creates is similar to the heroine influenced music of peer Diiv, and you can feel the west coast haze in every word sung. The songs are sweet and are brimming with an adolescent sense of romance (the ups and downs). This album's wall of sound is gorgeous and very accessible to fans of many genres. Imagine driving to work, school, where ever, radio set to the local college radio station, and that song comes where you are are instantly transformed into and idealistic 20 something, and can't help but feel satisfied, those would be the tracks "Deadbeat Girl" and "Stuck". www.facebook.com/daywavemusic
Memoryhouse - 'Soft Hate' (Pop) By Michael Smith - 4.5/5 Dragons Soft Hate is the strongest effort from a group that has a very audacious library. The duo continues to make dramatic musical beauty with a waggish attitude. There are two different visual soundscapes that come to mind when listening to this album, the first being a desert landscape in the spring with a cool spring breeze blowing, lifting the sand with it, grains jouncing of of the needles of a nearby loan cacti, and there's you, just lying in the cool sun, soaking in the rays, and basking in the feeling of mental weightlessness. By just looking, voyeurs would assume you are burning up, but you've never felt more perfect. The second, though similar, takes place in a an open field, wind blowing, making the blades of grass dance, and you see a shot of the sun harmoniously setting to the atmosphere's beat. Basically the theme here is the beauty in tranquility that this album is laden with. www.mmry.house
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Lime Covemage. Eciwmtorft, Monster Truck and The Temperance Movement Bring High Energy Article by Ashton Clemmer and Photos by Dana Zuk If you were expecting cars being crushed, burnouts and heavily modified trucks flying through the air, you were at the wrong Monster Truck show. Tuesday March 1st, 2016, the newly renovated Union Hall in Edmonton Alberta played host to the rock band Monster Truck. The boys from Hamilton, ON had just released their newest album, Sittin' Heavy (2016) not ten days before the show causing great anticipation in fans to be some of the first to see songs from the new album live. Accompanied by rock n' roll band, The Temperance Movement, the evening was sure to be packed with high energy. As of late, it seems that concerts have been featuring two bands instead of three or four. This would be my first crack at a show only featuring two acts and I was curious to see how it would all pan out, I wasn't disappointed. The Temperance Movement kicked off the night to a decent sized audience as attendees were familiar with a few of their songs, due to some airtime the group gets on local radio stations. Take It Back, being one of the songs looked forward too the most by many, was played early on in the set and allowed the crowd to be fully drawn in to the band's performance. Though their music contained great energy, there wasn't much movement from the band as a whole, vocalist Phil Campbell must have a 1960's Rolling Stones-esque pre-show ritual, because he definitely had the moves like Jagger. Rocking away on the tambourine while he sang, and dancing around the stage made for some entertaining visuals. However the group does have a certain sound they stay true to which caused for a bit of blending between each song. There wasn't much diversity in the groups sound but that didn't seem to bother the audience who after the band's final tune, began chanting, "One more song." After what seemed like an insanely long wait, and plenty of chanting from eager fans, Monster Truck finally emerged onto the stage and went right into their hit single, Don't Tell Me How To Live from their most recent effort to begin their set list. Although the venue wasn't totally packed for the event, the people who were in attendance were really into the band and sang along with all of their songs. One thing that stood out to me the most about this show was how great it sounded. The vocals were crisp and clean, and the instruments didn't seem to cancel each other out, complimenting each other instead. There was a brief inconvenience with Brandon Bliss' keyboard mid set, but it allowed for the band to banter with the audience a bit. After a quick fix, Monster Truck got right back into it. The most energy on stage had to be from guitarist Jeremy Widerman who was displaying some heavy influence from Angus Young of AC/DC with his onstage mannerisms. Playing a Gibson SG and even throwing in some duck walks and similar "guitar spasms" while playing, certainly gave off an Angus vibe. He rarely kept still and took full advantage of the stage extension set up by the venue. Monster Truck is also a band that has found a formula, and sticks to it. This doesn't allow much diversity in the sound, and makes it seem like you're listening to one long song, but the sound they do have is enjoyed and is something they've mastered. Each member of the band, performs well and there's no doubt they put on a great show. Although there weren't vehicles flying through the air or cars being demolished, Monster Truck and The Temperance Movement put on a great show with an awesome effort that was enjoyed by a solid fan base, who will surely be excited to see them the next time they come to town. Photo highlights are on the next few pages and full gallery HERE. www.ilovemonstertruck.com and www.thetemperancemovement.com 18 VandalaMagazine.Com - April 2016
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Audio/Rocketry Entices Home Town Fan-Base with New Material Article Ashton Clemmer It was on short notice and few saw it coming, but on February 24th, 2016, The Buckingham posted on their Facebook page that they would be hosting Audio/Rocketry on Thursday, March 3rd, 2016. After doing a double take at the post and then seeing the event was just one week away, like many I cleared whatever was on my schedule for that day to ensure I could be at this event. Audio/Rocketry was headlining and with them they were accompanied by local Edmonton talent, Cayley Thomas, and Worst Days Down. The small Whyte Avenue pub/venue in the heart of the city filled up quickly as many of the people in attendance had been lifetime fans of Audio/Rocketry. The show started late which gave concert goers time to talk to one another and share stories about past experiences with the band. The more they talked the more anticipation seemed to rise. Worst Ways Down would be the first band of the night to play. They took to the compact stage and dove head first into fast paced, chest thumping music. Vocalist and guitarist Ben Sir, projects so much energy throughout every song, it's hard to keep your eyes off of him. His powerful voice and traditional punk sound, reminds you of the old school days, reflecting inspirations similar to The Flatliners, and still possessing a sound in their music they can call their own. Bassist Matt Murphy, and drummer Jerome Tovillo would be in for a long show as they would be performing later in the night, also being members of Audio/Rocketry. The group performed well, consistently emitting high energy and near the end of their set, Sir announced they had just finished recording a new album that was too be released very soon. The second performance of the night would be a solo act, from local talent Cayley Thomas. I had never heard of Cayley before this show but afterword she would be an artist hard for me to forget. With her keyboard, a beat maker, and a neon sign illuminating, "Weird Love", she commanded the attention of the audience quickly with a unique sound no one in the building expected to hear at a punk/folk show. Her music was slower, and though she had some technical difficulties impaired her performance slightly, Cayley's smile and bright personality lit the room while the issues were resolved. Her dominant voice, and sentimental lyrics gave her set a very intimate feel that patrons were completely drawn in by. During some banter she too announced that she had just finished recording a new album that was set to release in April of 2016 titled, Weird Love, also explaining the sign in front of her keyboard. Captivated by the emotional tone of Cayley's songs, she began encouraging the crowd to sing along with her while she played some cover tunes. After a short story about "Stripper-oke," she finished her set with an energetic rendition of Don't You Want Me by The Human League, while the entire bar sang right along with her. A short break ensued and the final act of the evening would be ready to take place momentarily, as the stage was set and all it needed was musicians to play it. All at once Audio/Rocketry walked in front of the lights and into the eyes of the many excited fans. Lead vocalist Joe Vickers greeted the audience, and with a smile on his face jumped into action as his all to familiar voice began to fill the venue. Audio/Rocketry began their set with intense energy that did not wither out, even when playing some of their slower songs. There must have been a theme for the night, because after a few songs Vickers acknowledged that they had played new material 24 VandalaMagazine.Com - April 2016
Lime Crowell-age. RolkAlaumk/A€Qustic that could be found on the upcoming album they too had just finished recording, without confirming a release date. Concert-goers enjoyed the new tunes performed by the group and were excited to be hearing the new workings from Audio/Rocketry. A fair share of the new music was performed, however the band was sure to include fan favourites such as On My Way, and Piloting a Vehicle of Audible Expression. When the song Hey Dynasty, Don't Forget.. was played, Vickers found himself being pulled into the crowd as many fans grabbed at the microphone for a chance to sing the popular lyrics, "... Promise me you'll call me when you come back to Edmonton..." mentioning the home-town. After more songs, stories, the night was closed out with the crowd favourite Two Chords from the album Eastward + Onward while the audience sang along to every word and cheered endlessly while Audio/Rocketry exited the stage. From what was heard of the upcoming album, it was a great sneak peak for fans in the band's hometown, who are now more eager than ever for its release. www.audiorocketry.bandcamp.com www.facebook.comlaudiorocketry-181297016682
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Fire Up The Chainsaw - A Cannibal Corpse Show Article by Sean Barrett For a lot of larger bands, living on the road does them something of a disservice: the law of diminishing returns dictates that, as they hit the same towns year after year, the people who saw them earlier on may not feel as compelled to return. In order for this to work, the band in question has to inspire such loyalty with their live show that it's never a miss able event, and each time is special. Cannibal Corpse is one such act. Beyond being the biggest, baddest, and best-selling death metal band in the genre's history, their years together on unthinkably long touring cycles have molded these maniacs into a well-oiled mash machine, slaying with precision and ease. Most every veteran of this scene will have a story or two of some crazy shit they've witnessed during one of their sets. What's more, they seem to have a keen sense of just which bands to bring along that'll propel the evening's festivities from "solid" to "are you f*cking kidding me?" This time around, those acts are Abysmal Dawn, Cryptopsy, and Obituary. A year and a half deep into touring for their latest album, A Skeletal Domain, they show no signs of slowing, and every sign of growing. Getting the party started is Abysmal Dawn, a band whose intricacy and intelligent delivery make them perfect representatives of the new school. Brutal as Artificial Brain, yet as high-concept as Archspire, their world seems to be one threatened by forces from beyond the mortal sphere. Alternating vocalists kept things interesting atop pummeling riffs which got the pit moving early, no small feat for an opening act. Up next, the Canadian legends known as Cryptopsy. One thing that right away struck me as odd was that, in spite of the fact that I never hear of them coming around, they play like they've never stopped playing. What jumped out at me more was that, even with how excited I was to see them and how much I've loved their albums, they exceeded my expectations and then some. Non-stop steamrollers of technically stunning riffs were ridden like war elephants by some of the most disgusting and disquieting gutturals and high shrieks I've ever had the pleasure of witnessing. Go see these cats. Seriously. And, then, the co-headliners: the Floridian death metal Os of Obituary. These dudes have been playing death metal in its birthplace since before it had a time, when it was a more extreme and morbid offshoot of thrash. This came through in the flavor of energy they brought to the stage. By the time they got up there, the crowd was shoulder-to-shoulder packed and moving like an ocean agitated by the type of party than can only be brought from a place where the sun shines brightly. All this brings us to the big daddy's themselves. With 14 full-length releases under their collective belt, Cannibal Corpse have quite a large pool from which to pull out a set list. They opted to start things off with the title track off of 2009's Evisceration Plague, which is new enough to be fresh, yet has been around long enough to have sunk into people's heads and hearts. Choice move, gents. They then brought things back to 2006 with "The Time To Kill Is Now" and "Death Walking Terror". Like Motorhead before them, the quality of their releases simply does not deteriorate. This too is the case for the insane energy they manage to pull out of crowds time and time again. By the second song, I noticed that the photo pass had been ripped from my wrist, but there was no time to look for it or even care because that circle pit kept a-movin'. George "Corpsegrinder" Fisher, as always, had a way of commanding the stage with feet planted firmly throughout, something from 32 VandalaMagazine.Com - April 2016
which today's amp-climbing front men can learn. Breaking only twice for crowd chit-chat (at which this dude excels hilariously, by the way), they powered through a set which ran the gamut from 1990 to 2014, leaving a trail of gore in its wake, before finishing with the one-two punch of "Make Them Suffer" and "Hammer Smashed Face", then encoring with "Devoured by Vermin". I type this a bruised and broken man, one whose mind, body, and soul has once more been visited by the deranged psychopathy of Cannibal Corpse.
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Inerikvotemv. Coamacl am ]u of Imvasiom Twiztid have had the rap game on lock for over 20 years and continue to grow a constant rabid fan base that has taken over the underground scene like a zombie plague. Twiztid show no signs of slowing down anytime soon and will probably keep touring for another 20 years. Once a new fan becomes familiar with the demented duo they become a die-hard fan for life. Twiztid just dropped the remix and remastered version of their 2005 classic Mutant. The remix of Mutant proves original creativity thrives deep within Twiztid. Their label Majik Ninja Entertainment is breathing new life back into the underground! Lately, Twiztid has been embracing the horror movie genre more than ever! What horror movie director would you say is the most influential for you artistic wise, presently? Monoxide: I'd say old school...would be John Carpenter. ...Old school, I am really into (older) Blumhouse. I like them dudes' man! Like...they get it! There is simplicity to both of them. There are extreme similarities. There is simplicity to it. I am a firm believer that less is more. How influential is John Carpenter? Monoxide: I identify with his kind of scary. Like, there are all kinds of scary. Ya know...there's gory, there's paranormal, there's aliens...but with those, that's the horror that I identify with. I've seen Unfriended, I've seen Babadook, and I've seen...what the other one...It Follows. Three of those are new ones. And that's not my kind of horror. So I'm like, "Ugh! Those are terrible!" But, if they agree to your kind of horror, you're like, "What are you talking about? That's the best thing I've ever seen!" Some like 45 second shots of the kitchen! Awesome! Terrifying! I actually had a debate with somebody about It Follows and they were like, "Oh! I thought it was really good!" And I was like, "What? Explain to me what was really good about it?" And they were like, "Oh, well...The plot was really good!" And I was like, "Yeah, I will give you that. But it has nothing to do with it being a good rnovie."The plot was great! So, he was like, "It was just like... It was weird!" I was like, "Weird?" "That's no reason to like the movie! That doesn't explain it."By the end, he was like, "Yeah, it did suck!" and I was like, "YEAH, IT DID!!" [Laughs] It just doesn't agree with me. Twiztid is coming back to Canada for all of March and part of April. What are you looking forward to the most about coming back to Canada, and what brought forth the decision to come back so soon? Monoxide: Number one, I'm looking forward to the most, is just crossing the border, just getting in there. That is always the top of our list, cause we just never know how that's going to go. And number two, we keep coming back, because it's getting bigger, like the movement is growing, and growing! And it's like; the way to keep it growing 42 VandalaMagazine.Com - April 2016
Iintertview? Momomicle of Twiotid is to feed it. And, the way to feed it is to bring our asses over there. Yeah, I'm sure you had to deal with a lot of bullshit cause of all the terrorism stuff going on and the traveling laws becoming stricter. Monoxide: It's hit or miss... It's hit or miss. Sometimes we go and it's no problem. Sometimes we go, and it's like, "Man! We were here for 7 hours!" It just depends I guess. And which way the sun is shining on you that day. It's cool that you guys were able to come back so soon, because normally when an artist does a tour another country, it takes years to be able to come back, but you guys came back within a year or two. Monoxide: Right! Because we want Canada to know we're not messing around! We need everybody... We love you! We need all the hugs we can get! Can we get into the deeper meaning on why you decided to name the tour, "Juggalo Invasion"? Monoxide: What better name... You know what I mean? Let's show Canada what it really is to be the Juggalo's. I mean, ya know? Because a lot of people have their own interpretations. Some people are like, "Oh... you ain't on Psychopathic Records! You're not a Juggalor Like, never get it twisted! We are The Juggalo! It shouldn't matter which label Twiztid is part of. Monoxide: Right! Yeah, as long as you're representing that wicket sh*t! Monoxide: Yeah! "Dude, you never say it in your music!" I'm like, "I'm a white man, and I don't say that in my music either!" I just thought that everybody knows it! [Laughs] Like, seriously I have to keep reminding everybody that I'm white? No! Why should I have to keep reminding everybody that I am a goddamn Juggalo! Ya know what I mean? Truth! What do you like most about performing on stage? Monoxide: Energy is everything! So I love people feeling the music the way it's supposed to be felt. The way that I or Jamie interpreted it to be felt. And, we get to let loose. Here it is! You're not in your car. You're not in your house. And they let loose! It's awesome! Especially when Twiztid made that surprise appearance during Juggalo Day weekend, man. that was crazy shit! Monoxide: Yeah, that was nuts! But believe it or not, I like making people laugh more and seeing them smile [laughs] I like hearing people laugh more than cheering I guess! Its funny to me! It's more... I don't know, its weird! Nothing wrong with laughter and smiling man! Laughter can help people defeat powerful diseases, ya know? Monoxide: Hell yeah! Any off the wall Tour stories you'd like to share about a certain Twiztid show that happened in 2015? You know, maybe a short, brief moment? Monoxide: We were doing VIP. We were... I want to say we were in Illinois somewhere...and a couple came up, and they were like, "We wanna give you something." April 2016 - Vandalaitlagazine.Com 43
3141;11310 I mmasiom And I was like, "okay..." And they handed me a jar, full of this liquid. It was like a mason jar. It had a brownish liquid in it. And, immediately, right out of my mind, was, "Oh, it's apple pie moonshine." Because, I could see what I thought were pieces of apple. Like, "That's an apple. Like, okay." And they were like, "No, its not moonshine... it's baby cat.., in formaldehyde. I took him right out of the mother!" I was like, "What the f*ck kinda sh*t is this??M"Ohhh! So, that was bizarre! And then I threatened Jamie the whole tour, that as soon as he anybody falls asleep, I'm going to pour the jar on him! But that was weird! It wasn't apples, it was cat heads/kitten! It was bizarre man! For those just starting on their first national tour, anything that a band shouldn't do on the road? Monoxide: There are a couple things. But, the one mistake that most people make, is that they think that weed is legal everywhere and they think they can smoke it everywhere. And you can't. So, be smart about your weed smoking, and you'll be fine. Twiztid dropped the new remix, and remastered version of Mutant, on March 4th. Can we dive into the details, and what inspired Twiztid to remake the 2005 classic? Monoxide: Because we gained up ownership of it. So we wanted to celebrate it, ya know what I mean? In a way that was kind of fun for everybody and that was the best way. Cause opposed to just rereleasing the record, we just felt like having fun with it. It's crazy! It sounds really good! Speaking of the remix, is there anything you wanted to do recording wise, from within the past, back 10 years ago, that you didn't have a chance to do back then, but now finally have the chance? Monoxide: You know the stuff that I want to to redo, we won't. It's more about, just being in tune with the music. So now, when I listen to it now, as opposed to 10 years ago, I can tell when somebody's out of key. Or, I can tell when somebody is going against the harmony for a groove. And it just makes me... ahhh! Makes me wanna scream! But, you know, that's just the process of just getting better, and better, and better... And that's just the craziest step, is we just keep getting better. You'll hear it on this record like with the choruses. The choruses are ridiculous man! We finally figured it out! [Laughs] What would you say did your personal favorite track that you remixed, and why is it your favorite? Monoxide: That's a tough one right there. That's tough! I think that I'm such a fan of Seven, that its ridiculous! I think I like the Triple Threat one though... if you're gonna put me on a goddamn island, I'm gonna pick Triple Threat. It has a whole different vibe, you know what I mean? It's got Blaze Ya Homie on it! So you know, I like that. But I thought it came out really good too! "Mannakin" even! I hated Mannakin! Hated it! I would never listen to it. Now? I'm like, "Oh shit, I enjoy this!" I was even like, "I 44 VandalaMagazine.Com - April 2016
Dultepview. MorioAde of Twiotid didn't like that song before... but it actually felt like a completely different song now!" Ya know, I hate a lot of stuff that people like though! [Laughs] Hey, you gotta be picky man! You're the artist! Monoxide: People have to remind me, "Just because you don't like it doesn't mean they won't like it." Can't argue with that. Speaking of remixes, you worked with Zoog Von Rock of Angelspit in the past to remix a few Twiztid songs. When are Twiztid and Angelspit ever going to get together, to do a full on, original track? You know, like a rock track with Zoog on the hook? Monoxide: I don't know man! I really don't. You know, it's all just about timing and scheduling. That's all. It's not something that is in any of our power. It's just that...it'll happen, it'll happen! It'd be fresh. People thought that was pretty cool, because you guys are in totally two different genres. To mesh together like that, it was so original. Monoxide: That's the beauty of Twiztid! We believe we can swing any way! Anywhere! I could see us opening up for Rob Zombie. I could see us f*cking opening up for Diplo. I just don't think that there's much we couldn't do! What were the first thoughts that rushed through your mind, when you found out you guys were nominated for the Favgoluvers Music Awards? Monoxide: Oh, that's just always dope! What was even doper than that, was seeing people that work with us getting nominated! You know what I mean? Like, our graphics art guy! You know what I mean? Stuff like that! Our whole company was damn near nominated! Which is like, "Yeah? See? They get it!" They don't know where they would have got that validation anywhere else. But, their ecstatic, we're ecstatic, even more for that! That's crazy man! It's crazy! And, what do you set to accomplish with Magic Ninja Entertainment, in the year 2016? Monoxide: Continuity and trust. Continuously releasing quality music, so that we can build a trust. And, they will understand when we say, "Hey, we're getting ready to sign another dude," they know that were not just grabbing a bunch of yucks. Lex The Hex Master was a damn good choice dude, for real! I'm waiting for that bomb on the video! It's gonna be sick! Monoxide: It's ridiculous! It came out really good! You know, he's just one man. But yeah, that's what I mean most people don't know him, we had no clue who that guy was, we never heard of him...which I like. Sor we get to organically build our career. We could rely on social media, and just do it that way, but, and it's just my opinion, but I believe that there's no longevity like that. They're not going to be around forever, and maybe they don't want to be around forever. Maybe they just don't give a shit! "Five more years, and I'm good!" [Laughs] Well, it's cool that you Twiztid have been building its own musical empire, which is something you've been wanting to do forever. It's cool that you guys set off on your own. It's for the better Twiztid just keeps putting out more content, and kicking ass! Ya know? It's beautiful! Monoxide: Trying man! You know, in the beginning, it was very confusing to people, why we left. But, as of today, they get it! They understand now. They're like, "Ahhh... okay...okay." April 2016 - Vandalaitlagazine.Com 45
Coamad am Juggalo Dom-ask:a History question for the fans. At the end of the track Hydro, the Green Book, it turns into a skit, with you and Jamie looking for marijuana, inside what sounds like a Vietnam war zone. What sparked the decision to do that skit, and who wrote the skit, and did the cow you try to save inside the skit survive? Monoxide: The cow? Yeah. Monoxide: Absolutely obliterated! And, that was just me and Jamie being high as shit! Like, "Ya know what? What if you had to go through, like a war zone to get weed? What if there was like something crazy like that and that was the only way you could get it?" And then from there, of course Fritz had all these crazy ideas of putting chickens, and cows, and he built this thing, and we just went in there with one take, and this is what happened. We didn't write it, we didn't practice it, and we didn't rehearse it. We just went in there, Fritz believed in what he created, and went over that, and we did that [Laughter] What war movie possible inspired the skit? Maybe like, Full Metal Jacket, or something? Monoxide: Yeah, right?! Yeah! That's a great one! I love that! I love war movies like that! Platoon. Dirty Dozen. Zero Dark Thirty is my SHIT! ''‘We got that mother f*cker!" [laughs] I love Zero Dark Thirty. There is another movie that I love, and I'm trying to think of the name of... But anyway. You've been working with Sid Haig, and a lot of other actors. Bruce Campbell I think would be awesome if you guys were able to work with him, since he's from Michigan. What movie actor would you like to work with, that you never had the chance? Monoxide: Yeah, that'd be dope! I mean, look, there's a ton of people! You know, I think Ethan Hawke is dope! I like Ethan Hawke! He's good! I would like to do a straight up comedy movie with Jason Mewes. That'd be dope man! Monoxide: That's my dude! He's hilarious! I'm a hard dude to make laugh, and there are very few people, but he's one of them' He can make me laugh my ass off! Dave Chappelle! That'd be a great guy to do a movie with! The final question. How soon will there be a follow up to "The Darkness"? Monoxide: Next Twiztid LP, will be out by The Gathering this year! Just putting the finishing touches on it! Canada will know the name of the new CD before everybody else, it will be included inside of their VIP bags. They will get a CD single of a song from said record, and they will know the title of it. So cool for Canada! Well thank you! I know we can't discuss the title, but can we get into a little bit of the lyrical content? What style did you guys decide to take, an even darker path? More experimental? Monoxide: Man it's tough! We've never done one like this. It's hard to explain. I believe it is the perfect combination of many different forms of music. It's far from just a rap D. Far from that. There's some gambles on the D. We love to take chances. We're just like, "Hey, let's see what happens!" There's some good gambles on here, & I honestly believe that every chord is like, "holy shnikeys!" But people will be impressed in the song writing, I believe on that. They will be like, "Whoa man! These guys are seriously getting better! See?" And that's what we love! 46 VandalaMagazine.Com - April 2016
Interwiew Momomde of Twiotid Any final shout outs and the future of Twiztid? Monoxide: Shout out to Swollen Members! Those are my dudes! Um, just want to make a shout out to all my Canadian folks, and my mind never stops! We are one of those bands, that there's something to pay attention to every single day. Either on the Snapchat, Instagram, Twitter, Facebook, all official Twiztid social networking! There's always something going on! We are very entertaining... we'll give you that! Canadian Tour Dates start March 22nd land continue into April then Twiztid will then head back to the USA for the rest of April. Joining them on tour is Boondox, Lex the Hex and more. Also be sure to grab their latest album 'Mutant, Remixed and Remastered. www.twiztid.corn www.facebook.com/Twiztid www.twiztid-shop.com
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All the Rids are Talking Slang Interviewblj Dustin 6riffin 50 VandalaMagazine.Com - April 2016
Comer Iateriviiew With Positive Songs for Negative People, Frank Turner has closed the sixth chapter of his recording career as a solo artist. In the wake of the dissolution of his post-hardcore quartet Million Dead, he has risen as a solo artist from an interesting Billy Bragg type folk punker to an internationally recognized artist with a loyal global following. His records sell well, even in this uncertain musical climate, his shows sell out and his music has an appeal that attracts an age berth you usually only see at punk shows with the Dropkick Murphy. He tours incessantly and has recently come through Canada, playing many smaller towns for the first time. We spoke with Frank from England just before departing for his Canadian run about the new record, his recently published touring memoir
and the importance of what It means to be an entertainer, Your new album's been out for a few months now but I wanted to ask if, when Million Dead ended, you envisioned that the next step of your career would see six albums? Frank: If you would've told me back then that I would have seen six albums I would've thought you were mental, but I guess I would've been pleasantly surprised. I mean I'm well aware of the fickle nature of the music industry and Million Dead ended pretty unceremoniously. But I wanted to keep making music, I wanted to keep touring and that was what informed the solo project. But there were plenty of moments along the way where I thought perhaps I'd run my course, either artistically, or in terms of the interest of the public, shall we say. But those have been brief moments of doubt and for the most part the project continues to work. Which is fantastic and I'm very grateful for it. This batch of songs sound incredibly fresh and energetic. This doesn't sound like a sixth album, it sounds more like a first album. Was this your focus while writing it, or was it a happy accident that it turned out that way? Frank: No that's very much what I was going for. Few and far between are the sixth albums that are ones I want to listen to. A lot of bands get to that point in their career and start sounding sort of comfortable, you know? A bit kind of flabby. So I thought about it a lot and part of it is to do with hunger I suppose, but a lot of it is to do with methodology. When you're making a debut album, it's essentially a borderline live record because the songs have been rehearsed in clubs while you've been coming up as a live band and fine tuned in that arena. And then you go to the studio and you record what is essentially your live set and then you go on tour again. But a lot of bands recording a sixth record sort of load into the studio without having written many songs and just mess around until something comes down on tape. So with that in mind, I sort of felt quite driven to prove to the world that it was worth continuing to pay attention to what I do, so a lot of the songs were written and I took them out on the road with my band The Sleeping Souls. And we rehearsed and played them live for the better part of two years while touring the previous record. So when we got to the studio we cut the record in nine days and basically played the songs live off the floor. So yes it was very much the intention to make it sound fresh and immediate and not belated. You can definitely hear that live off the floor sound on the album. How much of it was recorded live as a band? Frank: Other than the acoustic guitar and the lead vocals, pretty much all of it was April 2016 - Vandalaitlagazine.Com 51
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tracked live. Actually the first song that we worked on, which was 'Get Better', Butch, the producer, wanted to check the levels of the miss and asked us to run through something and we knocked out 'Get Better' and he burst into the room and said 'that's the one. That's going on the record'. And we were all flabbergasted. But he said he couldn't hear anything wrong with it. And we re-cut the acoustics and the lead vocals and then we had an album.
POSITIVE SONGS FOR NEGATIVE PEOPLE
fro n turner
And how much did working with (producer) Butch Walker influence the sound of the album, because he's got such a great career behind him.
Frank Yeah he's a fantastic guy, I got along with him incredibly well and I hope to work with him again. The thing is, the record was written and rehearsed live before we got to the floor and before Butch was in the picture. But it was more just that in this particular instance, besides providing a clean sound, Butch sort of cleared the path as it were. I kept having conversations with producers that were being suggested to me by record labels who professed to know what we were just talking about with it sounding like a debut album. And then they would inform me that we were recording drums in one state and guitars in another and all in different weeks, or something like that. And it was a very frustrating time. Then I finally met with Butch and we had a little chat and within about five minutes it was clear that he understood exactly what I was talking about. And he brought a lot of enthusiasm to it and a sort of lightness of touch to the atmosphere in the studio that really helped the songs be as good as they could be. One thing I love about the album is how relatable it is. Anyone listening could feel as if the songs were written just for them. Are you still influenced by the same things you were when you were writing your earliest albums? Frank: That's an interesting question in that the question of influence has changed. In the early days, when I started doing solo stuff, which was new territory for me, I mean I grew up listening to punk rock and hardcore. And on the early records I was specifically thinking about certain sounds and certain artists, like Harvest by Neil Young, or Springsteen, or Alan Wainwright or Bryan Adams or whatever it might be. And both in terms of songwriting and in terms of sounds, the level of influence was quite direct, quite conscious. But as I've gotten older my points of reference have stopped being other artists and other records and more just feelings and emotions, a more internalized thing. With all that said, the one thing I will say is that I've long been obsessed with the album Pinkerton by Weezer and that was very much in my mind while we were making this album. I want to talk about your live show. I've seen you twice, once in a more intimate setting and once in a festival setting and one thing that's always impressed me about your show is how good you sound. Nothing's worse than going to see a band you love who end up sounding nothing like their record. Do you put a lot of time into the rehearsal process for your live shows? 52 VandalaMagazine.Com - April 2016
limberiview a Rfamk Turner Frank: Well, funnily enough, we haven't spent a lot of time rehearsing just because we're always f*cking on tour (laughs). And on the occasion we do have a little bit of time off and somebody will suggest rehearsal, everyone will say 'my God, please just let me have one week off'. But one thing I have heard from a number of people in regards to my previous albums is that the songs sound better live and I think that's a fair criticism. And that was one of the things that was on my mind while making this album, to bring the recorded side of it up to the live side. And one thing that's always unnerved me about live is that you're making decisions you can't take back. And I often forget that the only way people hear a certain song that I've done is the way that it was recorded. So if you think about the song 'Photosynthesis', which is off my second record, which is a song that we always play live, if I listen to the recorded version of that now it's surprising because it's very different to how we play it live and how the song is in my mind. And the great thing about playing live is that you get the chance to reinvent the song on a nightly basis and make decisions that do so. As your shows have gotten bigger, particularly in the UK, where you play in front of a lot of people every night, has the transition to these bigger shows been easy, or do you find yourself dreaming of the days when it was as simple as a basement or a bar? Frank: Well the first thing to say, which is quite healthy I think, is that my career isn't uniform internationally. So where we do arenas in the UK, we're about to announce a bunch of Spanish shows where we'll play to about two hundred people a night, you know? And that mixture is healthy because it keeps me on my toes as a performer. Also, while we now bring in a similarly sized audience in Germany, we've already been doing that in the UK, so the transition is easier. But one thing I do think about is how you keep that intimacy with the audience in bigger and bigger rooms. It's doable, and I've gone to a lot of Springsteen shows in my time and saw how he does it because he's very good at it. But it takes a fair amount of thought and I'm sure we haven't been flawless on the issue. But I think we've done a reasonably good job with it. There have been a couple of missteps of course, but I go to a lot of shows myself when I'm not on the road, partly because I just like to go to shows and partly because it's good for my own show to see things from the audience's point of view. I want to talk about your book as well. Do you keep an ongoing journal when you're on the road? Frank: I have a series of notepads. I don't keep a journal per se, but I have jottings everywhere. And kind of un-systemized in a way that's increasingly starting to annoy me looking back. But it's not like an official journal. And was it your idea to do this book or did somebody approach you? Frank: Somebody approached me and the initial sort of idea was to do an autobiography, which I immediately did not want to do, because to write an autobiography to me means that you need to be in your sixty's and have won an international concert. So I initially said no to that but after some discussion about memoirs and music memoirs in particular, when I was a kid, the book Get In The Van by Henry Rollins was very life changing for me. And I have always read a lot of books about music history or biography or whatever. And Get In The Van sort of stood apart in that you only get the bit that's interesting to me, which is the bit about what it's like to be on tour. And that was the first book I read that made me feel like I knew what touring was like. So I wanted to write a book that was like that and perhaps a kid who April 2016 - Vandalaltlagazine.Com 53
is thinking about touring could read it and maybe learn something practical from it. One part of the book I found very interesting was when you said that you essentially woke up one morning and knew that Million Dead was done. That you decided that you were done playing post hardcore, not done listening to it, but done playing it. I'm curious as to what you would do if you woke up tomorrow and decided you were done with this phase of your career, now that the Frank Turner name is so well known. Frank: Well I hope that I would leap into it with open arms. I mean one of the nice things about being a solo artist is that you are the master of your own fate. And no one can stop you if you want to change your name to something else. It's an interesting question though because, not that I want to go too far down this road quite yet, but Positive Songs feels like a conclusive restatement and I feel like I successively tackled the sixth album and if I was to make a seventh, which is starting to wander into my brain, I feel like I would want it to be a stylistic departure. What that means in practice, I don't know. I tend to kind of get a bit manic at this point in time and start thinking about recording drum and bass records, or soul, but don't bank on any of that. But I am interested in trying something different. I've been taking bluegrass guitar lessons actually, so we'll see what happens. Frank Turner just finished up his Canadian tour and is now off to Europe, and will tour the USA in April. As well his latest album "Postive Songs for Negative People" is now available! To find out more and full details on tour dates and his music visit: WWW.frank -turner.com
www.facebook.com/frankturnermusic
frank turner and the sleeping souls
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Inpriviiew. I DAM aritnerii.earii Tick r, and Famo.urine Before their February 26th, 2016 show in Edmonton, Alberta, Canada, guitarist Richard Shaw of extreme metal band, Cradle of Filth sat down with me and discussed some of this favourite moments throughout the groupls North American tour thus far. Shaw is a newer addition to the band joining in 2014 but has proven himself to be an ideal asset with the group, performing multiple tours with Cradle of Filth and with his contribution on the newest album Hammer of The Witches (2015) being more than noticeable, and his live act persona being one that seems to blend perfectly on stage with the rest of his band-mates. Is the group excited to be back in Canada? Richard: We're very excited. The only time I've played in Canada with the band, we played Amnesia Fest and I'd only been with the band for about four months at that point; it was one of my favourite festivals we've ever done. We played in Vancouver a couple of nights ago and Canadian fans are the best, they really are. They're so friendly and so passionate and we've loved all our [Canadian] shows so far. Your tour schedule shows, commonly that you're playing back-to-back nights throughout the tour. Is the group used to playing this many shows in such a short time span? Richard: A lot of the time we would do four or five shows in a row and then get a day off. Just because of the mileage we've had to cover it's been show, day off to travel, play and a show, day off etcetera. After this show tonight, we've got a string of six shows so it can be pretty crazy but we have a great crew, and we get it done. We love it. I know within those tour dates, four shows in America were cancelled due to some VISA complications, could you elaborate on that situation? Richard: There were complications in receiving our passports from the US Embassy in London (UK). Danirs passport just didn't arrive when it was meant to We all just thought, 'Oh no, what do we do now?' We had a deadline and because we missed the deadline we were forced to cancel the first four shows of our tour. If we had missed the second deadline, we would have had to cancel the entire tour. It was just one of those things that unfortunately were completely out of our hands nobody was more disappointed than we were when cancelling those four shows; we really wanted to play those cities. Cradle of Filth also just played the 70,000 Tons of Metal: Heavy Metal Cruise Music Festival which was close to those cancelled dates. What was the most memorable moment for yourself on the cruise? Richard: The way I see it, it was like a four day party. We got to meet up with some of our favourite bands, some of them we've already met and are friends of and other bands we've been fans of and who we got to know just hanging out with them on the cruise. Hanging around with the fans was so cool because we'd get a chance to talk to them and have a drink together. As a fan of music myself, I would have happily gone to this festival as a fan because the experience is so cool. My best memory of it was the first show where we played on the pool deck and we were playing under the stars. 60 VandalaMagazine.Com - April 2016
Cbinadl'elra Eilti 671MiallIAMMTIVIliamv Some groups before us played when it was really windy but we got it really good because it wasn't windy and the sound was perfect. Being under the stars and looking around 360 degrees we were surrounded by fans. It was brilliant, once in a life time because you don't get many gigs like that. Have you been playing mostly material from the newest album, Hammer of The Witches (2015), or is it a combination of older and newer songs? Richard: When you're in a band like Cradle of Filth who's been going for twenty plus years with eleven albums it's kind of hard to please everyone. Even if you play one song off of each album, that's almost an entire setlist in itself because we have some long songs. It is hard to know what to do, but we want a good representation of the new album as well so we have four songs from Hammer of The Witches (2015) that have been going down really well with a mixture of old stuff. We've been playing two different sets and have been mixing it up quite a bit because we know we have a lot of fans who do go to multiple shows so at least they get two different sets. Is there a certain song that seems to be resonating with the North American audience more than in the U.K.? Richard: It seems all the songs have been going over really well. We were playing Queen of Winter, Throned early on in the tour and that seemed to go over a lot of peoples' heads. I don't think it's as popular over here as it is in Europe where it went down a storm. It is quite a long song so we took that out of the sets and put in two other songs in its place. Anything off of the Nymphetamine (2004) album or the Midian (2000) album seem to go well, plus songs off of the newest album have been going down a storm and we're really happy that people have been enjoying those as much as the older songs. I wouldn't say there is one particular song but I've noticed that it varies from night to night and that one song will get a bit more praise than others and the next night it will be completely different. Which song has the group enjoyed playing more on this tour? Richard: I think it's more of the newer songs or when we dig out something really rare. I found in Europe when we started playing Lord Abortion it got an amazing response and it seems to be the same way over here, once the intro for that song starts playing the crowd gets really excited. We really love playing the newer songs and getting into them but the old stuff, like songs Born In a Burial Gown really get us pumped and those are the best ones for us I would say. How Important is the visual aspect of the band's performance? Richard: Very important. As much as I am a fan of bands that get up there in street clothing and perform in that style, which there's nothing wrong with. For me, Cradle of Filth's music goes hand in hand with our visuals. I've always seen Cradle's music as a soundtrack to a horror film or something along those lines. You need the visual to go with the music. It's the same thing with Black Sabbath, when they started, they had this theatrical music that kind of seems weird to go up and perform if they were just wearing street clothes. That's the whole point of the make up and the costumes, it completely adds another dimension to the performance and even the things like the lighting are important to us. I think there's more room for bands to be more theatrical and do more from a visual point of view. I could never see us doing a gig where we didn't put on the make up or the costumes; it's just the way it should be. On the topic of band image, recently there was a man in Tennessee who was charged with publicly exhibiting pornography for the Vestal Masturbation shirt that reads, April 2016 - VandalaMagazine.Com
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"Jesus is a C*nt" on the back. Was a situation like this something anyone foresaw when putting an image like that on a shirt? Richard: I heard about that. You'd have to ask Rani that really (laughs), I've only been with the band for a couple of years and that shirt has been around for a very long time. However what surprises me is that fact that this shirt still causes problems. To me, it is one of the less shocking things that's around at the moment. When you turn on the TV and see images of war while you're having your dinner and you're seeing actual active war zones, and a t-shirt is what's shocking? You can get arrested for wearing this shirt but you're not being arrested for carrying a gun in the U.S. As someone from the U.K. that is more shocking to me than an image on a shirt ever will be It's shocking in itself. Earlier this month, while stopping in Vegas for one of the band's shows, there was a Facebook post of the band members getting some tattoos. Who got which and what do they represent? Richard: Well, five out six of us got a tattoo including myself and Ashok, the other guitarist in the group, and it was our first ever tattoos. I don't know many people, especially coming from the U.K. who can say that they got their first tattoo back-stage at the House of Blues in Las Vegas (laughs). We got our symbols from our new album, Hammer of The Witches (2015) and Lindsay designed the symbols that correspond with each of our personalities and she drew these symbols that are in the booklet of the album and we got to thinking that this band, this album and touring cycle was such a big part of our lives, probably the biggest part of our lives and it seemed good to commemorate it all in one day. So got these symbols tattoo'd and they really mean a lot. What element have the Butcher Babies and Ne Oliviscaris brought to this tour? Richard: We did the whole U.K. and European tour with Ne Obliviscaris and by the time this tour finishes, we will have done over 60 plus shows with them and they are just the coolest guys. They bring in something new, a progressive metal kind of thing. I'm a huge fan of progressive metal and with the violin, there's a lot of atmosphere going on and I think a lot of our fans resonate with that. Butcher Babies just have so much energy and yes it's a different type of metal but we love it just as much. That's what I love about every line up that Cradle of Filth has ever brought with them on any tour; all the bands are so different, yet when you see them together, it makes perfect sense. We've had so many laughs with everyone and we've all just had so much fun on this entire tour. What's one of things you're looking forward to most, finishing out the North American tour dates? Richard: I went on a holiday to Toronto when I was about eighteen where we went to see Niagra Falls and I fell in love with the country. Everywhere we go is just so different and I just want to get out and see as much as Canada as possible. We've got a stop off in Toronto and that happens to be Lindsay's home town as well. I'm really looking forward to that show and I can tell that is going to be a great one, same with Montreal. Even where we're going in the states is so different and being a guy from the U.K. I never thought I'd get to see as much of the U.S. as I have and we've still got a long way to go (laughs). I'm looking forward to seeing all of these beautiful places, and venues, and playing for these great crowds because after this tour, we'll be heading back home very soon. www. cra d leoffi It h. corn 62 VandalaMagazine.Com - April
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Interview with IRUS SYNDICATE By Chad Thomas Carsten
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Virus Syndicate are the kings of British grime and no other hip-hop act is fierce enough to take away that crown, for they're undoubtedly the most fierce and brilliant Hip-Hop act out of Manchester UK within the last ten years and they're holding onto the grimy hip-hop crown forever! Within Virus Syndicate are DJ Mark One and the emcees Goldfinger, JSD and Nika D. These guys will continue to push hip-hop into fresh new territory and shake the political establishment to its very core and keep shedding light on the corruption within the government. Their latest album "Symptomatic" just dropped and is bound to instantly take over the headphones of hip-hop fans nationwide!
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*Disclaimer - Views in this feature are those of those speaking not of those of Vandala Magazine. We believe in the Freedom of Speech Why the name Virus Syndicate? JSD: Because it's cool. (Laughs) NIKA D: The name Virus Syndicate, because we joined a crew called Virus. We didn't want to be called a crew so we choose syndicate. JD: At the time in the UK there were a lot of crews, so you had heartless crew, so it was a lot people calling themselves crew and was kind of like a dumb thing. We wanted to be a little bit different on that level and we thought that syndicate better represented what we were doing, because often our musicians stepped in and out with Virus. There's core members, but then there's also people who kind of step in and, maybe, play some instruments, do a verse or whatever, so syndicate felt right. Virus, because we always knew what we had was going to spread, we always felt like what we're doing was going to spread and it was more than just a UK thing or a Manchester thing, like it was global, so we felt the name Virus was quite fitting for that you know. So how would you describe "British Grime" for a first time listener? NIKA D: Hard! JSD: And energetic! And these days I would describe it as lyrical. Is there a deeper meaning behind the album title "Sympomatic"? NIKA D: Yeah. There is a deeper meaning Ok. So, basically the album is essentially a social commentary. And we're talking about various things from adultery to mental illness, to politics. 151): It's like a whole range of issues that affect society today and what we're really trying to point out, what we're trying to really draw on is what are the symptomatic causes of problems in society. NIKA D: Yeah, basically we felt like the subjects in the album were symptomatic of our society that we live in. So, some of the subjects are a little bit crazy and so, you know, we wanted to push the boundaries and explore things from a story point of perspective. So there's a song there called "Watch Your Back", which is kind of about, it's almost about; do you remember the guy who flew the plane into the Alps? Recently, about a year ago, this guy, who was supposedly depressed, I don't know if he was, but basically he flew, he was a pilot and he flew his plane with about two hundred passengers into the mountains for no reason. So we kind of did a song about him. It's about that, but also quite deep, man. And it's quite twisted and when we talk about it it's hard to explain, it's about a serial killer essentially. It's about a child who gets found by the social services and his parents were all kinds of mad shit and it's about, kind of, his 68 VandalaMagazine.Com - April 2016
'Bus Slyoriiclierate journey and how he grows up. So, I mean taking it back to the album title and stuff, we thought a lot about the subjects we talk about are symptomatic of the society we live in. They're symptoms of this society and this kind of setup, which we are all in at the minute. So the album itself isn't about a serial killer, that's just about one tune is. Could we get into more of what kind of content fans can expect within this album? JSD: Yeah, so basically, dropping a lot of visuals for this. We just dropped the "Gimme the Mic" video. Can we break down the track "Gimme the Mic"? From the main goal behind the track and what inspired it and any behind the scene details when you recorded the video? NIKA D: Yeah, man. So basically we had some issues with our video previously, "Psychopath" and we had a few issues on, like, what kind of, sort of political issues with that song. So we really wanted to do something next. That was kind of like fun, kind of like, a bit of two fingers up at the system. This whole track, this album is like taking the piss out of society, but in a lighthearted, fun and energetic kind of way. Yeah not like we're laughing at you, we're laughing with you, but we wanted to have fun lyrically and we wanted to be able to kind of have a little bit of fun and be a bit free, but like Nik says, man, we wanted to follow psychopath up with something that was a bit more fun, lighthearted, but also retains the same message, if you listen to the chorus, it's f*ck the system in all that. It's the same message as "Psychopath", exactly the same message as "Psychopath", but told in a completely different way. And we really wanted to like, give a nod to the old hip-hop videos, which we liked, the old hip-hop which was really comedic and not taking yourself to seriously, man. Just about word play, punch lines, the energy of the beat, like, we actually made that song quite a long time ago so we had it put down, but that was really the thing that one, man. In terms of like, content for the album, like we come back to our storytelling roots when we put out our first album "Work Related Illness" it was very much a social commentary. It was very much about stories, about things we seen or done ourselves or, basically just telling stories, man. So we come back to that quite a lot, you know, like Nik said. We touch on a lot of subject, we touch on domestic violence, we touch on adultery, we touch on mental health and we touch on a lot of things, regret as well and guilt. So, yeah. You've got to listen to it. It's not a big self harm session, you know. There's light and dark in there, you know. we really wanted to explore, push the boundaries a little bit, man. It's not a self-indulgent album, is what I say. It's very much like, it's, if self-harm was funny. But It's not self-harm or any of that. How did you guys fight back against censorship when Psychopath was banned and why did they choose to ban it in the first place? NIKA D: Well, I think the reason why they didn't want it over there was of what happened on November the 13th, with the Paris attacks. Which is at the time our PR agent was pitching the video out, And we didn't know that was purely coincidence. We made that song. It was ready to go. And to be honest, we always knew that psychopath was a little bit darker and then mainstream media outlets these days, they're a little bit more reluctant to take the risk on shit like that, especially with the current climate, you know, globally. So, we knew that it was a bit of a risk, but we were willing to do it anyway. We felt it was really creative and the director Casey Lock, we sat down together and we planned this amazing idea and we knew it was pretty dark so we knew there was a chance that, you know, mainstream media will not let it pass, but then with what happened with the Paris bombings it became super relevant. And we thought it April 2016 - Vandalaitlagazine.Com
69
Sminebod Say Syorimptromatie was, kind of, more relevant than ever after that. They should be playing it, they should be supporting it. But that's cool, man. We completely understand the stand point of the French authorities and we got nothing but love for the people in France and our condolences and thoughts went out to them at that time, like, we didn't take it personally and such. And we didn't fight the censorship, man. We just said, it is what'-it is. Move on. Its cool". You know, I mean, we've got a bag of tunes anyways. We've --,â&#x20AC;&#x2DC;74 got a bag of videos, bag of tunes. And you know, what kind of message did you set out to deliver to the sheep of society, who ignore the real world issues and disasters that occur around the world within the video for Psychopath? NIKA D - Well the message really trying to deliver in that is that people in society these days. Ok, so our society, we feel, is being controlled by the people, who are only out for their own self-indulgent need and gains. Now if you actually listen to the song, we kind of take on the persona of what we believe to be the mindset of someone who is a psychopathic narcissist, essentially. And we believe it's that kind of mentality that you are finding at the top of the pyramid of the people who are really pulling, pushing the strings and pushing the buttons out here in society. And if you look at the real situation going on in Syria, that are going on in the Middle East, in South America, all over the world. If you look at who's really been benefiting from all of that! The rough end of the stick and it's the same people every single time throughout the last thousand years. :1SD: And I think that the main message, without, you know, coming across to hippy. F*ck it. We're big hippies. The message here is love not hate, man. Don't listen to the propaganda, don't get sucked into the propaganda and don't let this divide and conquer you, you know. We are all humans, we all bleed red, you know, like, so, you know, I suspect you know there's a current climate in the world, you know. I can only speak for the UK where we live and it's certainly a climate here where, you know. There is kind of a little divide, there's people who believe in what the idiot channels are saying, you know. You have UK news reporting on a crime and if that man were from an ethnic minority, in particular Asian or Muslim, the headline in the newspaper would read terrorist. Where as when a English man, you know, we have very famous people, white British people like Rob Harris and Jimmy Savile, very, very famous people in the UK, who were pedophiles and it came out after their death, well apart from Rob Harris, he got caught while he was alive. And it came out that these guys who've been involved in this huge pedophile ring, having sex with kids and all kinds of f*cked up shit. Now when the media tells that story they don't say Christian man, yeah. They don't say Christian man been caught doing A, B and C. For us its very clear what's happening, with the propaganda and our message to the people is like, don't get f*cking fooled by that shit, man. We are all human, we all bleed like this. There's crazy bastards in every race, every religion and every country, yeah, but there is this climate where everyone thinks that if you look a certain way, you read a certain book and call it your religion, you are just a terrorist straight up, you know. So that's our message, man. Peace and love and unity. Yeah. It's like that in the States, the same thing with the California attacks. JD: For real! Which was tragic, man. It's a tragedy, but you can't tarnish a whole f*cking nation. You know, what's actually funny is that the (unnamed newspaper), don't know if I should talk about this or not, we might get in trouble. We could talk off the record. Never mind that one. It's up to you guys. I'm ok with getting into the controversial. It's fine with me. 70 VandalaMagazine.Com - April 2016
irius aydriiclierate NIKA Ok, tell you anyway. So, basically, we won't tell you the name, but a majormajor media outlet was going to do a feature on the psychopath video and how it had been censored. Then they went and censored it, themselves, after the California attacks. They were going to do a piece about how America is all about freedom of speech ...We're all for freedom, freedom of speech, look at these silly French censoring stuff, but then they were like, oh shit, we better censor this, you know what I mean? or- However like just like with the thing in France, it's not like we don't get why they might be a bit worried to put that shit out. They don't want to, you know, they don't want to make people be in uproar, but at the same time it's still filtering content, man. And it still not representing the views of everybody, you know? So, it happens everywhere, so that's our message, man. Don't be fooled. Does freedom of speech actually exist? NIKA D: You know what, it's a good question, man JSD: I don't think so, man. NIKA D: I think it does, man. Because you've got stuff like youtube and Google putting the brakes on censorship and do think there is something called freedom of speech, like you can get away with saying what you want, you just can't get the media support on saying what you want. But as person, you can go out in the streets and say anything and nothing would happen to you. Back in the day if you said something like, Pcking, she's not a witch and everyone said she was a witch and then you were getting burned at the stake with her. _1SD: : I don't know, man. I think I would slightly disagree a little bit. I think we're fooled into believing that we've got freedom of speech, but until, like, you got a platform which gets your speech to billions of viewers and I don't and your platform won't tell your billions of viewers my views, then really, I'm getting blocked, man. I'm getting cock-blocked. NIKA D: But you still got the right to say what you want, so there is that. But I think, as far as the media goes... JSD: It's like you can say as much you want, Whereas Donald Trump can say what he wants to CNN. NIKA C I think the bigger the wallet, the bigger the message, you know what I mean? Where exactly was Symptomatic primarily recorded at and any more details you'd like to share about the album? NIKA D: It was all recorded at EY3 Media, which is the company that we own. JSD: I think, that, going back to what I was saying earlier, about this one going back to our storytelling roots of our first album. The other similarity with this album is we also created the first album from a production point as well, so both of these albums have been produced in-house. Whereas some of the other albums which we released, we drafting in various producers. And that was right for
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those projects, but, what this has done is kind of give us real, a million percent creative control. So, where we want a beat to cut out or when a sound effect of someone laughing or wanting it to echo in this is bit or literally like we spend Pecking un-countless amounts of hours to stupid o'clock in the morning just going over it and to". trying to really make it moving. There's a song on their called "Shadows", which is a really good example of that. And is not, we haven't used any samples in the song,:?,â&#x20AC;&#x2DC;"11 although it may appear that we have, kind of, we put effects on the vocal. We're kind of playing characters almost in these songs. In producing it, we've not just produced it, but we've also recorded the vocals, mix the vocals and arrange the songs, so like, we had total creative control of the whole thing. I think, you can really hear that in the record, man. It flows, man.
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I'm glad you guys were able to have your own freedom of creativity, because, you know, major labels, they like to tell you what to do and I'm glad you guys were able to go beyond that limited creativity. JD: Yeah, man. For real, man. We won't be stepping back anytime soon either, man. This is where it's at for us. We really, really enjoyed creating this album. We really believe it's a really good piece of work, man. We're very proud of it and that sort of matter like, you know. If we love it, then that sort of matters, man Are there any plans for you and Dope D.O.D. to do a full-length album? NIKA D: think defiantly, man. We'll defiantly do something again with them. Matter of fact we'll probably speak to them in the next few weeks. 3SD: There is a song on the album, which features Dope D.O.D. If you like Dope D.O.D and if you like Virus Syndicate that one is a f*cking stomper. So it's that one to look forward to and, you know, the guys are like family now, with boys, and we're big fans of their work. It's definitely in the pipelines to do some more stuff together. But as you can imagine like, you know, they're kind of busy doing their thing. We're busy doing our thing. You know, I think, like when we put record out, a lot of people went crazy over it and not only that, like, the way we worked that album (Battle Royal), the way, the process of it all was f*cking, really cool, like, we bounced ideas back and forth on the internet. And anything they sent over we were like, "oh shit!" And anything we sent them, they were like, "oh shit!" Like, everything just flowed, you know what I mean, so it was fun all the way through, so I'm sure we'll do something soon, mate. What's the future of Virus Syndicate? What can fans look forward to? NIKA D: So, obviously, we've got this album coming out now and, I think, straight after that, we're going to put out a bunch of singles and stuff, towards some major projects, and probably do another album. And tours, that's probably it, really. Tours, singles, then get another album out. Just keep growing, keep building, just trying to push the boundaries and do more creative, cool shit. Like with this album, it's kind of, it's one of the first one where we brought in, like, we brought singers, guitarists, pianists, you know, it's really subtle, you can't really, it's not, it's still what it is, but, I think, we're really exploring the boundaries of that. And we've done, kind of, we turned it into symptomatic live as well, we've done a series of live videos, with a live band and me on the MPC drum machine and, so we're really exploring the live elements a little bit more and really excited to just keep working on more music, making albums, We really have the thirst for that. Also, another thing which is quite different about this album is the visual side of things, like the music videos we own a company which is called EY3 Media, which we mentioned earlier, and we do all our visuals in-house, we do all our artwork in-house, photo shoots in-house, 72 VanclalaMagazine.Com - April 2016
Mirius Svidierate vocals in-house. We want to continue that progress in-house like trying to create films, what you listen to, so that, being able to put visuals to that is really exciting, pictures of reality. As well as that we got our artist on Midciation Records and we find it really exciting, He's called Dino, who's first song is being released today, which is fucking crazy, man. It's so sick, so like there's also other things happening, we've also got some other acts, which we signed recently. So, there are other exciting things happening around here. Really creative, exciting thing and again, you know, with having the resources to be able to putting the visuals to that as well and, so that's loads of really exciting shit going on, man. So, watch your space, man. www.facebook.cornivirussyndicate www.twitter.comtvirus_syndicate www.youtube.comitilidicationTV
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6-ninclimg im ting Free \AtopId Due to the extremity of grindcore, it's rare that anyone who plays it travels very far doing so. Those who do are top-tier creme-de-la-crop acts, most of whom have been around since the mid-'80s. One group, however, skyrocketed to this upper-grind-echelon on the merit of their work and strength of their live act. Meet Magrudergrind, D.C.'s finest grindcore/powerviolence trio. After a six-year hiatus, they've just returned with II, their fifth full length, and first on Relapse Records. We called vocalist Avi Kulawy to chat about the new record, and what's to come. I saw that there's a Brooklyn show and then nothing until Choosing Death-fest. Is Magrudergrind no longer a touring act? Avi: We're actually gonna be in Europe during that whole time. Oh, woah. Okay. I could not have been more wrong. [Laughter] Avi: We're actually leaving for Europe next Wednesday. We're there for a little over five weeks. Mostly Western Europe? Avi: It's gonna be pretty much all over Western Europe, going down south to the Mediterranean Coast, then going out east up into Scandinavia, so pretty much the whole circuit. Not a lot of grind bands get to leave their little part of the country. How is it getting to play this stuff all over? Avi: I mean, yeah, we're pretty fortunate. If you were to ask me in 2002, if I would've played a show, nonetheless even gone to Indonesia, I would've laughed in your face. It's been very fortunate. How did playing the Choosing Death-fest come together? -. Well, funny thing about that is, actually, we were supposed to do a U.S. tour with Noisem right after Choosing Death-fest - they're on that - and, when we originally had the itinerary, that was gonna be on the itinerary, one of the first few shows on that tour. Noisem actually dropped off and were replaced by Yautja, so we just said "Alright". We were already booked for Choosing Death, and the tour starts a few days after that, so we decided to keep on the bill. It's been about six years since the last release before II. What were lean up to? Avi: We all held full-time jobs, we were split in-between two cities for a number of years in between D.C. and Brooklyn. We went through a line-up change, had a new drummer, Casey Moore, join the band a few years ago now. So, between being split in two different cities and not really getting to jam - we did tour, we did a South American tour, we did a Decibel tour a few years ago with Cannibal Corpse and Napalm Death, and then we did a lot of fly-ins, pretty much, just going to Miami or Detroit, etc. etc. We didn't have too much time off from our work schedules, so that was all that we could really accommodate. Did the process of making this album get you all back into the groove of having this be muscle-memory? Avi: Yeah, for sure. We incorporated a lot of songs off the new record into our set-list. We've kind of been hammering that in, getting ready for six months worth of touring starting next week, the end of this month. So it's pretty much nailed in, dialed in. 78 VandalaMagazine.Com - April 2016
Imberimiew: Avi Kulawiy of Magauclerigrincl Any old stuff on the set-lists? Avi: I think the deepest cut will be from the Rehashed record, probably just one song off of that What effect did moving to Relapse have on the process of writing and recording? Avi: None whatsoever. I think labels have always been secondary for us. We always do what we do and create what we want to create without any outside influence. Regardless of what label we would have worked with, we created this record just as we would any other Magrudergrind record. When we were in the writing process, we were talking about "Okay, what label should we get to put this out?" and, naturally, the first label that came to our minds was Relapse, and we already had a history with them; they approached us about releasing the first self-titled record. It just didn't work out at that time, so it was kind of a natural progression to get in touch with them and see if they were interested, and, off the bat, they were really enthusiastic and excited. In a 2011 interview, you mentioned that a full-length was planned for 2012. Is this that full-length, and was there a delay there? Avi: Yeah, (chuckles] absolutely. It was moving to another city, being split between two cities, going through a line-up change. By the time we were in a place where we had all the members in line with lifestyles and personalities, we found ourselves in New York, everyone living in New York, in one place. We had a dedicated practice space that we could use, and we were able to constructively write the new record. But, from 2011 till a couple years ago, we just faced a bunch of hurdles. I haven't been able to find lyrics for this yet. Are you still raging against the same things, more or less, the meat industry, capitalism, etc.? Avi: Well, first of all, I don't know that we explicitly ever raged against those specific items you just mentioned. Some songs are explicitly political, but sometimes the lyrics might be misinterpreted, or might be actually contrary to what you might think a grindcore band would lean in the political spectrum. The lyrics are, for two, a compromise of strife and disdain for issues that are really personal to me: anything from drug abuse within friends or family, ranging to more explicitly political subjects like the prison-industrial complex or LGBT and gay rights and marriages in the United States. So, yeah, they do touch on similar tracks from what I would write on a previous full-length. But, that being said, we're not an explicitly political band. Sorry for speaking so broadly there. Agri: Well, a lot of people make that assumption about us, just because of the style of music that we play and the aesthetic that we carry, but we wanna be sure you know were not fascist in the right or the left. In the lyrics, the subjects and content is to bring awareness to certain political subjects, but they're not saying "Hey, this is the end-all-be-all that you should follow and abide to." You mentioned there that you might go in a different direction that one would expect of a grindcore band. What's something where you and, say, Barney from Napalm Death might disagree? Avi: let people read the lyrics. If somebody wants to spend time and dig into them, and look at the relevance of them and put the pieces together and really look at the lyrical content, and maybe study a little history, they'll form their own conclusions, but I'm not gonna outright state anything specifically where Barney and I might April 2016 - Vandalaltlagazine.Com
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might diverge in political affiliation or belief. I only have one last question, and it's a really f*cking goofy one: have you ever thought of working with the black metal band Tsjuder and calling it Tsjudergrind? Avi: Never even crossed my mind. [chuckling] We've heard some different weird variations and mockeries of our name, and people butcher it from here to Timbuktu, but I've never heard that one. What're some of the better ones? Avi: MacGrubergrind, McDudergrind, McDooDoogrind, people f*ck it up all the time. www.facebook.com/MagrudergrindOfficial www.relapse.com/magrudergrind www.magrudergrind.bandcamp.com www.twittCr.COM/magrudergrind
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