April 2017 Vandala Magazine

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April 2017 Vandals 8 REVIEWS & LIVE MUSIC Cameron Avery "Ripe Dreams, Pipe Dreams" (Alternative/Indie) Shy One "6 years" (Hip-Hop/Horror/Ghetto) So Sick Social Club "Dead Friends Don't Tell" (Hip-Hop/Rock) "No Culture" with Mother Mother Total War - A Nails and Toxic Holocaust Live The Tea Party "20 Years of Transmission" Creedence Clearwater Revisited Rock Photo Gallery: Kelowna Fan Xpo 2017

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32 INTERVIEWS May The Power Protect You, Always An interview with Ron Wasserman "Ron Wasserman is a machine when it comes to composing music for television.

He might be most famous for the Mighty Morphin Power Rangers theme, but his resume is a very long one which we chat about."

A New Breed of Chaos: An Interview with Twig the Exfoliator of Kill The Precedent "Their latest release "Some Version of the Truth" will spark mosh pits for years to come inside every record store that dares to play the release and we get the details."

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She doesn't just sing about what she wants changed inside the corruption of our society, she goes out of her way to actually participate with the people who want real change within our government.

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58 FESTIVAL COVERAGE Second Annual Okeechobee Music Festival Starry Nites Lives Up To Its Name

A New Breed of Chaos Interview with Twig the Eitoliator of Kill The Precedent

Front Cover Design By Erin Torrance April 2017 - VandalaMagazine.Com 05

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Album Review Cameron Avery "Ripe Dreams, Pipe Dreams" (Alternativefindie)

By Alexandra Moher - 4/5 Dragons Cameron Avery finds romance in simplicity with his debut solo album Ripe Dreams, Pipe Dreams.

With dreamy string arrangements, and Avery's sultry vocal performance, Ripe Dreams, Pipe Dreams is a love letter - both to the object of the singer's affections and to the music that inspired him.

"I wanted to make something that sounded like the old records I love—Johnny Hartman, Dean Martin, Frank Sinatra, Elvis Presley, Sarah Vaughan, Etta James—the big band stuff with less metaphorical lyrics," said Avery of the inspiration behind the record.

Best known as the touring bassist for psychedelic rock band Tame Impala, Avery distinguishes himself as an entirely different musical entity with his contemporary interpretation of the love songs that dominated the 40's and 50's.

As a lyricist, Avery strays away from the convolution that plagues modern love songs leaving his emotions out in plain sight. This vulnerability drives much of the album, telling the story of a man desperate for the love of a woman.

Ripe Dreams, Pipe Dreams finds its stride when Avery embraces his rock and roll sensibilities, particularly on "Dance With Me" and "Watch Me Take It Away".

Although a departure from rock music, even the most cynical of listener can't help but indulge in Avery's collection of impossibly charming love songs. www.cameronavery.com

Shy One "6 years" (Hip-Hop/Horror/Ghetto)

By Chad Thomas Carsten - 5/5 Dragons

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08 VandalaMagazine.Com - April 201.7

The majority of the diehard fans of Shy One seem to listen to the Texas-based rapper simply for his brilliant devil style production and it totally makes perfect sense, because it simply boils down to the fact Shy One is a master of producing beats for the pure darkness. Hades could very well be bumping to the instrumentals of Shy One, as he laughs hysterically at the damned that are falling endlessly into the flames of the underworld below, with the production of Shy One serving as the soundtrack to their screams, as they burn in the fire forever. What's unique is the fact Shy truly knows how to bring his own flavor to the genre known as "Devil Shyt", with his sheer musical hip-hop brilliance. It's a sound that's extremely influenced by early Three Six Mafia and Bone

Thugs N Harmony, back when the two groups were drenched in Clive Barker inspired rhyme schemes with a little hint of HP Love Craft molded with the Gothic overtones of Marilyn Manson and the tripped out lyrics of Kool Keith. "6 years" brings forth a powerful collection of previously unreleased tracks from the vaults of Shy One's impressive underground career (buried six feet deep) that will have horror hip-hop heads spending the night in their local cemeteries, while listening to the album till the sun comes out for years to come. Even horror movie directors all of types will be on the man-hunt to hire Shy One to produce horror film scores after listening to 6 years.

His beats are wonderfully creepy and prove that this cat absolutely needs to step into the scoring world within the horror movie film genre.

It's interesting to note that there is an Insane Clown Posse cover for "Prom Queen" featured. Now haters may laugh at this, but Shy One tackled this song and made it his own and the 1996 classic fits superbly! Insane Clown Posse should be proud of this flawless cover! But the track "Pull It" is the main banger within 6 years! Sure as hell could pull it off in a club. That beat goes hard and will indeed have the dead walking throughout any local city right after the bass drops!

Other stand out tracks include "Photographs", "Artificial Innocence", "Last House", and the album opener "Eradication". Also, don't sleep on the "screwed and chopped" release of six years. Fans of the screwed and chopped genre will be foaming at the mouth endlessly from the abundance of flavor hidden within. www.facebook.comiofficialshyone

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April 2017 - VandalaMagazine.Com 09

So Sick Social Club "Dead Friends Don't Tell" (Hip-Hop/Rock)

By Chad Thomas Carsten - 5/5 Dragons Hollywood Undead meets Gwar, incorporated with gang vocals, silly humor that may be inspired by the Garbage Pail Kids, and the rhyming schemes of The Beastie Boys. Sponsored by 3agermeister So Sick Social Club's "Dead Friends Don't Tell", defines the meaning of Hip-Opera and with Impressive guest features that include Onyx, Nero, Blaine of La Coka Nostra, Jason Rock Of Slaves Of Dope and even Mad Child of Swollen Members, hip-hop heads won't be able to skip this release. With the haunting Horror-Pop melodies of Chris So Sick and the rocking riffs of Voodoo Drew, So Sick Social Club breathe new life into Horrorcore and will lead the pure-hearted into the darkness forever. The debut single "Sweet Nothing" (The Reel Wolf Remix) will be stuck in your head for days thanks to sadness that pours out from lead vocalist Chris.

Indisputablytheir catchiest hook to date; "I demand to abuse you, so what if we lose you, its a pleasure to do so". Plus Onyx, Psych Ward, & Bishop Brigante destroy this track! "So how would you react if I was to tell you I was going to die right now?" sings rapper Hopsin for the opening of "Flicker". Another beast of a track about suicide. It also features the comeback of Dead Celebrity Status, who are the stars for this one, they tore this track apart! "Flicker' is destined to become a personal favorite among underground fans worldwide. ,

The title track "Dead Friends Don't Tell" proves Chris "So Sick" is one hell of a vocalist and will cause some tears to shed. Super emotional hook! Guest rapper Peter Jackson even brings his own personal sadness to the table for this classic!

"Would you like to join me?", asks Drew on the 19801s horror movie inspired synth anthem, "In My Basement"; a track that invites the listener to a serial killers basement simply to witness the slaughter and perhaps film the murder scene with the band? Teaming up on this track is Wicked-Shit Canadian veteran 3-Reno, who's wordplay will convince new listeners that he actually does this in his own home and maybe he does?! "Blood on the Walls" (Featuring Sean Strange) is a battle cry about escaping a mental asylum and best represents who So Sick Social Club are as a group! Voodoo brings forth Slipknot style riffs and Chris continues justifying his talent, with his most frightening chorus yet; "There's blood on the walls these kids have some issues, you look away because the truth will disgust you. This marks the day the world chose to end you, let me out because I want to go home".

In general, So Sick Social Club's latest release "Dead Friends Don't Tell" will leave horror hounds breathless in the graveyard. Tom Savini will be pleased. Horror movie fan's worldwide don't sleep and be careful what you wish for.

So Sick Club Online: www.facebook.com/SOSICKSOCIALCLUB www.reelwolf.com www.youtube.com/SoSickSocialClub 10 VandalaMagazine.Com - April 2017

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"No Culture" With Mother Mother Article by Alexandra Moher Photo Credit Heil o Ryli Canadian indie-rock band Mother Mother took the stage at the Southern Alberta Jubilee Auditorium in Calgary, Alta., with a set that was sure to please fans, both old and new. The show comes in support of the Mother Mother's sixth studio album No Culture, however, the set list expanded the band's almost decade-long discography.

Opening the evening was Calgary-based electronic duo Beach Season, who performed a 20-minute set of electronic dance music for their home crowd.

American alternative hip-hop songstress I. Flay followed, enthralling the crowd with her unique brand of heavily hip-hop influenced songs and a light set up that can only be described as blinding.

The Los Angeles-based musician opened her 45-minute set with "Dreamers" from her 2016 EP Crush Me. Mid-set, K.Flay demonstrated her alternative-rock credibility with a brooding rendition of her song "Hollywood Forever" followed immediately by her newly released anti-establishment anthem "Black Wave".

K.Flay took a moment to plug her upcoming sophomore album Every Where Is Some Where before launching into her final song of the night; her 2016 hit "Blood In The Cut".

Mother Mother started off their set with No Culture opener "Free", before energizing the crowd with fan favourite "Body of Years" followed promptly by their 2011 hit "The Stand", off of their 0 My Heart and Eureka albums respectively.

The band opted for a simplistic stage design, performing under a large tapestry depicting the band's emblem with a lighting display that changed in synchronicity with the music.

Following a soulful rendition of pop-ballad "Letters", frontman Ryan Guldemond took a moment to offer some cynicism to the concept of International Happiness Day (which happens to be March 20) before performing No Culture stand-out "Baby Brother".

International Happiness Day would become the reoccurring theme of the evening, with Guldemond admitting that his cynicism was "melting off" due to the crowd's energy. That energy would hit its peak during a double-hit of danceable favourites with "Monkey Tree" followed by No Culture lead single "The Drugs".

Despite this being the "No Culture Tour", Mother Mother dedicated a large portion of the set list to playing songs from their sophomore album 0 My Heart, playing a total of five songs off of the 2008 album.

14 VandalaMagazine.Com - April 2017

Things slowed down with the band returning to their folk roots with the acoustically driven song 'Wrecking Ball". The 0 My Heart love fest continued with "Hayloft", which melted into a rendition of Led Zeppelin's "Dazed and Confused" with keyboardist Jasmin Parkin providing digitally altered vocals.

The Sticks hit "Bit by Bit" and Very Good Bad Thing opener "Get Out The Way" brought an end to the set. The band returned for the encore, opting to play slower songs with yet another 0 My Heart favourite, "Ghosting" followed by "Simply Simple", the final song of the night.

Despite both Molly and Ryan Guldemond acknowledging the occurrence of "blunders", the band performed the set with ease. This is not Mother Mother's first tour, and that is evident in their performance.

The set list demonstrates both their evolution as a band and their ability to acknowledge what the fans want, and more importantly deliver. www.mothermothersite.corn www.kflay.com www.beachseason.ca

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Total War - Nails and Toxic Holocaust Live Article by Sean Barrett Welcome to another night in the mush pit, folks. Coming out of one of the shortest hiatuses in metal and hardcore history is the mighty Nails, the apparent spearheads of a sound that utilizes the directness of hardcore with the tombstone tones of death metal. It brings together parts of these worlds in a way that, thankfully, isn't deathcore and is free from its breakdowns and other such trappings. This sound is ahead of the music writer's need to put a name to every goddamned thing. This run through the country is being done with blackened old-school thrash revivalists Toxic Holocaust.

Don't forget to stretch.

Brought on board to get the party started are local legends Outer Heaven, whose cavernous murk holds the listener deep within the earth. Their set was a short one, just long enough to let some of the pit ninjas warm up, and just long enough for me to start to get my head around what they're going for. I look forward to seeing them open for Deicide.

Next up was the mid-tempo death metal fury of Gatecreeper, who, much like tonight's headliner, play their riffs with amp-and-ear-destroying tone and volume but keep a hardcore-kid attitude at its center. Their approach to it, however, gives the riffs more room to breathe and be digested. Watching them play, I had the sense that this is a band who, like Cannibal Corpse and/or Obituary, will work tirelessly through the decades, putting out consistent releases and spending much of their time on the road.

The Gatecreeper/Horrendous tour of 2035 is gonna be sick.

Luckily for those of us catching this tour's Philly date, Full of Hell decided to stop by. It would be my seventh time seeing them, and I still look forward to each show. Without sacrificing the harsh noise that makes their assaults so piercing, this has been the most clear and coherent set I've ever heard out of them, though it's possible that's partly just me getting better at deciphering what's happening after so many listens. If the songs they played off their upcoming album, Trumpeting Ecstasy are any indicator (and they are because, well, obviously they are), we're in for something that's going to cause serious existential damage. The first real pit of the night breaks out seconds into their first song.

Back to the regularly scheduled line-up, Toxic Holocaust came out swinging, bringing together black metal's evil with old school thrash's obsession with nuclear dystopia, sick riffs, and, well, fun. Mastermind Joel Grind's calls for circle pits were enthusiastically answered, as waterfalls of stage-divers were generated again and again and again. While every riff is undoubtedly a nosh-riff, there are still tension-release dynamics within the paranoia.

The time has come. Still frenzied, we greet the overwhelming whirlwind of Nails with open hearts and flying bodies. Although these cats work in a whole different field than Toxic Holocaust, one thing they share in common is the ever-morphing onslaught of throw-the-Pck-down riffs. In Nails' case though, the pressure doesn't level out at any point; we just get crushed at different speeds. Because they bring together death metal and hardcore in their music, this is very much reflected in their pits; both styles of operating are present and prominent, creating and absolute clusterf*ck of chaos and fury. While 40 minutes might sound short for a headlining set, playing at the speed and intensity of grindcore for more than even 20 minutes is no mean feat whatsoever.

Warping time and crushing bones, Nails are back, y'all.

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The Tea Party "20 Years of Transmission" Article by Alexandra Moher Photo Credit Crystal Lee The Tea Party proved that rock and roll is alive and well during their sold out show at Calgary's The Palace Theatre.

The show comes as part of the Tea Party's "20 Years of Transmission Tour", a 20-date tour to celebrate the band's 1997 album Transmission.

Even 20-years on, the band plays through the set list with a youthful conviction to rock and roll and a sound that far surpasses their three-man line-up.

The Canadian blues /progressive rock trio dedicated the first set of the two and a half hour show to playing Transmission in its entirety, opening with "Army Ants".

After tearing through a set of heavy rock anthems, The Tea Party slowed things down with their anti-violence against women song "Release".

Concertgoers obliged for a sing-along, allowing frontman Jeff Martin to bask in the glory of the capacity crowd.

The Tea Party soon dove back into the heavier side of Transmission with the title track, with Martin's voice booming through the theatre as he asks, "transmission, can you hear me?"

The Tea Party soon dove back into the heavier side of Transmission with the title track, with Martin's voice booming through the theatre as he asks, "transmission, can you hear me?"

During the first half of the show, Martin reflected on the creation of their album in 1996, a time when Canadian rock was dominated by the likes of The Tragically Hip, Our Lady Peace and I Mother Earth. "We of course, just had to be different," joked Martin explaining that The Tea Party set out with the goal of being the "darkest rock band in Canada". Martin also took the time to pay homage to the musicians that influenced the band in developing their dystopian, Middle Eastern inspired, sound.

Throughout the evening, British rock icons Led Zeppelin and David Bowie proved to be both major influences for the Toronto-based rockers. Transmission opener and lead single "Temptation" brought an end to the first set of the night, allowing fans the intermission to ruminate in the energy of the performance. After the twenty-five minute intermission, the band returned to the stage with "The River", the opening song from their 1993 album Splendor Solis.

22 VandalaMagazine.Com - April 2017

Goverage The intermission proved effective in rejuvenating the crowd, allowing the band to take a risk as they opted to perform "The Ocean at the End", the title track from the band's most recent album. "Stuart [Chatwood] and I think it stands up to anything else we've done," said Martin before launching into the 2014 song.

In the ultimate act of 90's nostalgia, a handful of fans could be seen trading their smartphone flashlights for lighters as they swayed along to a seamless medley of The Tea Party's Juno nominated song "Heaven Coming Down" and a cover of U's "With or Without You".

The band ended the second set with a demonstration of the frontman's instrumental expertise, with Martin playing an electric guitar with a bow before the band launched into an abbreviated cover of Led Zeppelin's "Kashmir". With the energy in The Palace Theatre palpable, Martin returned to the stage solo, acoustic guitar in hand, to perform "Winter Solstice" for the encore.

Band members, drummer Jeff Burrows and bass guitarist/keyboardist Stuart Chatwood emerged on the stage for a performance of 1996's "Sister Awake" which lent itself to a brooding cover of The Rolling Stone's "Paint It Black". A medley of Queen's "Under Pressure" and David Bowie's "Hero's" before finally returning to `Sister Awake" for the grandest of finales.

The performance was not only a celebration of their two-decade-old record, Transmission but also a celebration of the band, their evolution, and their influences. www.tea pa rty.com .40

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Creedence Clearwater Revisited Rock Article and Photo Credit L. Paul Mann The original rhythm section of the seminal Swamp Rock pioneer band, Creedence Clearwater Revival, brought to life an arsenal of classic rock and blues tunes, Thursday night, February 23 at the Chumash Casino Resort in Santa Ynez. The packed Samala Showroom burst into a cacophony of light, sound, and multimedia, right on time at 8 pm.

It was unusual for the show to begin on schedule, but proved to be a great surprise to the adulate fans, allowing for a full two set of 19 very classic American tunes.

Celebrating the 50th anniversary of the band, original bass player Stu Cook and drummer Doug Clifford have been playing together for 58 years, since when they were only 13 years old, according to the loquacious Cook. A more stoic Clifford rarely spoke letting his drumming skills speak volumes for him. The backbone of the original CCR, long estranged from the original singer, songwriter, and guitarist John Fogerty, have been keeping the music alive with their new incantation of the band since 1995. The current group includes veteran musician multi-instrumentalist Steve Gunner, who fills in all sorts of ambient sounds to augment the driving rock beats.

They are currently joined by two talented younger generation players. The lead vocal and rhythm guitar duties have been taken over by Dan McGuinness. The smiling young guitarist has a voice eerily similar to that of a young Fogerty and even looks a bit like him. Lead guitarist duties now fall to Camarillo, California local, Kurt Griffey, a phenomenal guitarist who easily could give Fogerty a run for his money in six string showdown. Griffey has recorded and toured with other legendary musicians including members of the Eagles, Foreigner, the Moody Blues, Wings, Lynyrd Skynryd, Santana, and Journey.

Griffey displayed phenomenal picking skills throughout the night, but on classic psychedelic, swamp hit like, Suzie Q and I Heard It From The Grapevine, his talent was showcased in incredible extended solos that captivated the crowd. Both of these songs were covered by the original band, bringing their African American Blues root sounds to a wider mainstream pop audience.

The band tore through 19 hit songs from their heyday, with fans on their feet shouting the chorus lines to many of them. By the time the band returned for a two song encore the crowd had swarmed the stage trading high-fives and grinned with the band.

Thanks to the band for seeing some truly classic rock music alive. www.creedence-revisited.com 26 VandalaMagazine.Com - April 2017

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Ron Wasserman is a machine when it comes to composing music for television. Every score he writes is guaranteed to stay inside the viewers head for hours upon hours when hearing any of Ron `s themes for the very first time, especially within the 1990's generation, the decade when most children watched Fox Kids religiously.Mr. Wasserman might be most famous for the Mighty Morphin Power Rangers theme, but his resume also includes, The Real Housewives of New York City, Sponge Bob, Bella and the Bulldogs and even the PC game Monty Python & the Quest for the Holy Grail. Recently TWITCH TV decided to run a 17-day live stream marathon of every Power Rangers season from 1993 until now. At one point the live stream chat room contained over sixty thousand people and the majority were typing out the lyrics to, "We Need a Hero"; arguably the most popular Power Rangers track, second place behind the GO GO Power Rangers theme song. What an amazing thing to witness! Salute to Ron Wasserman for providing the 90's generation a kick ass soundtrack that defined our childhoods to the max!

What are your personal favorite TV theme songs from your own childhood?

Ron: I always watch reruns so "Taxi" was one of my favorite shows, and I found out there was actually two written for the show, they had a different theme and they swapped it out. When I was a little kid-HR Puffinstuff, Gilligan's Island. All the stuff that most people are not familiar with unless they are over 45 years old. Those are the standout themes. The Sid and Marty Krofft stuff and the stuff that Sherwood Schwartz produced for kids shows.

Which records did you play non-stop as a child just to simply relieve stress?

Ron I had a bunch that my parents had acquired when they were young from their parents. I had a ton of 78 rpm records, so I would listen to a lot of that stuff. So, everything from really obscure stuff that I can't remember who sang it to swing stuff to Sinatra and then when I started buying my own records I remember the very first album I bought was the Beach Boys, probably pet sounds or something and listened to that a lot. And then Jim Croce and a lot of classical stuff, and everything on the radio, so there wasn't any one thing I listened to over and over again like I do today when I get addicted to something. I'll be driving down to the city-I live north of Los Angeles, and so I've got about an hour, and I'll have the song on repeat for an hour and then maybe on the way back listen to the same thing and then go, "Ok, that's enough." Everything I listened to ran the gamut from classical to rock growing up. Anything by Black Sabbath or anything that I could find that was hardcore or progressive rock. I listened to a lot of Genesis, you know, where every song was twelve or fifteen minutes long and they have a six-minute keyboard solo.

Are you able to dive into details on the very first show you've played live and which band it was and what exactly went down?

Ron I had a band I started in the eighties, we called ourselves Observer, and it was five of us and our very first gig was at the Roosevelt Hotel in Hollywood. It was super exciting. I can't remember if I was terrified or not because I've gone on and off with stage fright that's gone from throwing up to not so severe. I can't remember if I was a nervous wreck, but I remember that was my first live show and there was like 50 or 75 people there, and I can still remember the smell of the place and the sound of the place. That was an amazing experience. I played a lot of solo piano recitals growing up, but that was my first official joining a band, being in a band and playing live. Having to make copies of tickets and putting them on car windows to get people to show up, years of that afterwards with other bands. It was a lot of fun. In fact, it was never thinking about getting signed, and I never thought about making money, it was just a matter of doing it to do it because it was a lot of fun. I never ever thought anything would ever happen with the business side of things.

Can you describe your guitar solos using only items found inside most restaurant menus?

April 2017 - VandalaMagazine.Com 33

Ion? I think the guitar leads would be steak fajitas, where they deliver it on the iron thing right to your table and it's filling the entire restaurant with smoke and you can hear it (sizzling) as they're walking up with it. It has a strong smell and it's really powerful. Great question! Nobody has asked me that before.

Was there ever a certain moment after you Scored something when your exact thoughts were "How am I ever going to top this?"

Ron: No, I've had a few times when I said, "Wow I'm really happy with this," and then it goes off for the initial first pass mix that the engineer does alone, and then the producers will give me notes.

Sometimes they leave it alone, and sometimes they want changes in it, but it's their show, and that's their right. There's been a couple times when I've just been really happy and went, "Wow! This is great," but there's never been anything where I've said, "How will I ever top this," except for the Power Rangers theme, it's like I'll never top that. Because it's just been so famous for so long it's impossible.

It would have to be on a new show that hit that big with that kind of a theme.

When composing music, what's the biggest challenge you face every time you write a new piece?

Ron: There's so many voices in my head every time I'm writing something, and I'm told so many things in advance that I don't feel the same freedom to go, "Oh Pck it, I'm gonna do what I want to do." I should, but I don't, as much. I start hearing their voices and I'll do something and I'll go like, "Nah, I know they don't like that sound, Nope. On this commercial they said no drums; they want a heavy groove with no percussion at all. On this, they want that." So, I find that those voices in my head now tend to slow me down until we've established a show like this show The Thundermans on Nickelodeon, that I've been doing for three years. That one I know what to do instantly. And sometimes I almost get bored with what I do, but the exact sound, style, and audience have been established for that show, so you don't want to change things up too much. It would almost be like watching Seinfeld and all of the sudden there's a quartet cue coming in from a commercial and you go "what the Vick?

Where's the (makes slap bass sounds)?" (Laughs) You've got to kind of stay consistent, and manage to keep yourself interested, keep it interesting, and not accidentally copy what you've done every time.

(Laughs) If you've done fifty action scenes that are short but need to end heroically, you've got to figure out, "Ok I know the sound, I know they want brass, I know they like the fanfare for the heroic stuff. How can I switch up the phrasing a little bit at times so it sounds the same but its different enough not to go, "Haven't we heard that fifty times already?"

Do you think that the Dragon Ball Z music you composed between 1996-1998 is still your darkest work to date?

Ron: Yep, and I remember they didn't give a damn about the show. It was after I left Saban, and they just go, "Hey do you want to score this thing? We'll just pay you per episode, you can do it at home and just do whatever you want." So, I'm sitting with my Mac, I think it was an LC-3 that's got a disk drive, those hard-floppy drives. I remember I just scored midi, and I had two small speakers. I remember sitting in front of my 27 inch tube television and scoring that thing in the living room of the apartment I was living in at the time, and just getting these massive, dark, ethereal, building sounds. I would deliver it and they would go like, "Cool, we'll have another one for you in a week." I mean there was never a single note, I don't think they ever watched anything Idid, I think they just mixed it and delivered it. I never even knew the show was big until a couple years ago. I loved the show and when it got yanked from Saban, I asked Funimation if I could still score the show, but no response. Nothing. That was a shame, but I had a blast! That crazy ass fighting animation, I loved it!

34 VandalaMagazine.Com - April 2017

Can we dive into detail on how proud you must be about the fact that The Thundermans is entering its 4th season and what's it been like working with Nickelodeon overall?

Ron: You know, I have only dealt with two executives from Nickelodeon that are in every single mix, they have been amazing. They always compliment me. Sometimes they throw me a nice perk while we'll be in the mix and they'll say, "You know what would be really great going into this cue if we could just have a low string part that leads into it." So, I grab my laptop and my teeny weeny ten-key keyboard and run into the other room, load up the session on my laptop, load up some sounds, write the part and put into a USB key and get it into the mix. They've been wonderful, but I've only dealt with those two people.

When composing music for the upcoming NBC series "First Dates" how did you prepare yourself in the studio? What makes this theme stand out on its own compared to your past work?

Ron: Well this theme isn't going to stand out at all because it has narration under it. That was a very complicated journey, figuring out the sounds for that show, and then other people came in with their ideas. So, I pretty much owned the show, but then it got changed. So, I've got a huge chunk of it, but I'm not exclusive on the show now, which is fine. It's a very politically charged, unusual situation. But I think the episodes are great. I love the UK version of the show, so I hope it does as well here.

Does the Power Rangers theme song have anything to do with Paul Gilbert of Racer X? How exactly did you create the Go Go Power Rangers theme?

Ron: It has nothing to do with Paul Gilbert. Prior to Power Rangers, there was another show with I think the same vein of Japanese footage and they brought it to me and said, "We want to call this show "Metal Man" and I went, "Well, obviously this bit of music lfm going to write has to rock!" and it was an instrumental thing. So I went into one of my (very limited back then) synth units and I created a dry guitar sound. I had them get me a rack mount guitar Korg amp simulator and ran the stuff through that.

I already had the sound, so when Power Rangers came in I went, "I'm going to do the rock then for this!" and I just sat until they went, "We need something tonight." Finishing up on my vocals was two and a half hours. It just bled out of me! The groove just came to me. The melody was there! I just blew through that thing! It just popped out. I don't know where the guitar riff came from. it's somewhere in my DNA. Probably from listening to so much Black Sabbath and punk bands. It fooled Eddie Van Halen, so it's a good fake sound. *Laughs* Oddest moment with a fan during a Power Ranger Morhpicon?

Kon: Just the amount of hanging on every word I said, which I had never experienced before. There were a couple of guys I was talking to, I said, "I'm starving, do you want to go across the street and drink and grab something to eat?" Just being at dinner with them, they were nice, but they didn't even blink because they were hanging on every word. I'm like, you know, it's just what I do. It's my job."

Do you have a personal favorite Power Ranger episode?

Ron: The first season, the one with the pig. That giant, latex pig. That one's my favorite because the voice-over is so over the top. The movements were so bad. It looked so terribly cheesy. I just thought that was the stupidest, most outrageously perfect costume for that show. Nothing exemplifies campy and ridiculous like the pig.

Most of the Original cast of Power Rangers are uniting for a non-Power Ranger indie action film April 2017 - VandalaMagazine.Com 35

titled "The Order" It's currently in production, but if there were a sequel to The Order and if you were asked, would you Score the film?

Ron: Yeah, depending on what they wanted. I didn't know they were even doing that, that's really interesting!

How soon will your band Fisher release new material?

Ron I always have recorders around, and I came up with a really cool idea. I'll come up with a verse and a chorus, and if I can listen back to it, and I instantly remember it and its familiar, then I know I've got something really catchy. So, that is one track that probably develop and I'll see if she wants to do it. I think we're going to get down to if we release anything else, it won't be albums anymore. It'll be singles. It's a tremendous amount of work. It's a labor of love, but I can't see doing a group of nine or ten or twelve songs.

A question you wish fans would stop asking?

Ron "Why don't you re-record all the other themes ever done for Power Rangers?" Whether I wrote them or not. That's something that I'm like, "Really? You really want me to go do all the shit I wasn't even involved with and some of it I really don't like 'cause it sounds so made up and plastic to me?"

When it's odd questions like that it gets a little bothersome, with everything else I understand why I get the same questions five thousand times, I would ask the same thing, so it's ok."

What goals do you want to accomplish within the next 10 years?

Ron I'm hoping to do another hard rock kid's show, that isn't rock-pop, but a true rock by today's standards. I would definitely love to have a show like Grimm, a one-hour drama that's a bit innovative.

Something that's a little bit more provocative and interesting, instead of the standard score, the safe score.

If you were told that you only had one hour to live, what record would you listen to Ron: Pink Floyd, "The Wall," recorded live by Pink Floyd when they were still together. I think it was done in Germany, I had to order it from Europe. It's not at iTunes. That would be the album, especially because irs 90 minutes, so lTd get an extra half hour to live. (Laughs) That album is spectacular, and it's because, on this live album, I know every single note and every squeak. The sound is so much thicker than the studio album, and David Gilmour-Ts guitar playing is so much more powerful, 'cause they've really dialed in the album, it's probably years after the original release. That's why I know every nook and cranny of that thing and every sound, and it's just a spectacular production. www.ronw.com

a WORLD TOUR 2017 27.03 ATHENS GREECE - Furz CLUB 28.03 TEL AVIV ISRAEL - THUNA THEATER 30.03 ISTANEUL TURKEY - ZoRti, PSM 31.03 KIEV UKRAINE - Mosn-ERAv LIVE STAGE 01.04 MwsK BELARUS BR.uoilE 02.04 Moscow RUSSIA - Vol.TA 03,04 ST, PF.TER-SRURK; RUSSIA - CLUB ZAL 04.04 YEKATER1N BURG RUSSIA - Dom PECHAT1

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Interview: Freedom to Live and Love Otep Shamaya is one of the most important female front-woman in the rock n roll world within the last twenty years. She doesn't just sing about what she wants changed inside the corruption of our society, she goes out of her way to actually participate with the people who want real change within our government. Generation Doom is the soundtrack for those who actually stand up for human rights around the world and aren't afraid to step out into the streets and let their world leaders know that the people have had enough and everyone deserves to be treated equal, no matter their race, sexual preference, gender, or age. *Disclaimer: Since someone might get offended these are the views of the artist being interviewed, not Vandala Magazine as our views are vast and diverse within the magazine. We belive in the freedom of speech for all.

When you stepped out on stage in front of Otep's very first sold out show, how did keep your confidence level flowing with positivity?

Otep: Basically, we were just an unsigned band in Los Angeles, California playing the Sunset Strip, just like every other band. We did probably four shows before we started getting people taking notice of us because Los Angeles is an industry town, so everybody kind of comes there to get discovered. Whether you're an actress, writer, director, musician, or a singer. People say it's jaded, but I don't think jaded is the right word, it's just that we've seen a lot. You know, we get to see a lot of different type of bands. A lot of variety. What the difference was, no one had ever seen a strange creature running around the stage at the time with long blonde hair, screaming her guts out, reciting poetry between songs, going on my social justice rants and people were like, "Wow! What is happening?!" We were signed to Capitol Capitol Records without a demo, just strictly off our live performance.

That's Impressive!

Otep Thank you! So our seventh or eighth show with the band was Ozzfest and we played in Illinois in front of twenty-five thousand people. Now imagine we were an unsigned band before this. The most we ever played in front of was two-hundred people. We opened for Cold as an unsigned band. Which was really cool, they were really nice to us. That was a big show for us. We went from two-hundred people opening for Cold, to the second stage at Ozzfest and there were twenty-five thousand people out there. And that was when Mudvayne's first album L.D. 50 was new and it was huge for them. We were in their home city during Ozzfest basically and we were going on right before Mudvayne. It was insane! My guitar player at the time threw up and everybody was shaking and I grabbed everyone and said, "Close your eyes. What's the difference playing in front of forty people and twenty-five thousand people? A lot, but at the same time if you close your eyes it's not much different." So on stage for some of them, it was terrifying. For me, it wasn't. I really wanted to make a name for myself. I also believed in the music that we are making and the message that we were spreading, so I really wanted to go up there and do a good job. I really wanted to do my best for the band, for our label, we didn't have any fans at the time, so I can't say fans, nobody really knew who we were, but I also did it for myself, so that I knew that I could do it. I just struck down the fear and anxiety and remembered that I had done this before six other times.

I just went out and did it!

What latest political moment may have influenced the title for your latest record "Generation Doom"?

42 VandalaMagazine.Com - April 2017

The candidacy of Donald J. Trump. I am not a Trump supporter. It's not the fact he is a rich guy. I know rich guys. Not all rich people are evil. Look at Bill Gates for example.

He's gave back a lot of the money he's made over the years, so not all rich people are evil. It was the fact that Donald insulted our military and I got a military family. The fact that he mocked a disabled reporter. That should have been the end of it. You're supposed to be a strong leader that cares about the working class/care about working people. But then you try to display this set of power over someone else and already the system is gaining against him because of what he did towards the disabled person.

Here's the guy that's supposed to be the President of the United States, not just for the people that vote for him, not just the for people that believe he's the golden orange tanned second coming of Nixon. But for Generation Doom I didn't know it was going to be prophetic as it was when I wrote it. We had two options for Generation Doom; we were going to be the generation that stops the doom or we going to be the generation that saw it. I think right now what's happening is a converging of both. I think we're seeing some serious constitutional crisis going on like kicking journalist out of the White House. There the only ones really keeping him to task right now, other than the courts, the lower courts have done a really good job. But even what he did against protection of transgender kids. Kids in school were already getting bullied and stuff. I can understand it if he turned a blind eye to something that was already there, but to take it back, like last year kids were protected. Nobody could bully you because of who you were, but now you can.

In most of my themes a lot of us were paying attention when the media and the Obama administration was saying (before Hillary was even talking about it that the Russians were trying to involve themselves in the election and everybody went, "Oh that's not true!" and now a security advisor had to resign because he possibly committed treason and definitely lied to the FBI, which is a felony, after two weeks of Donald being in office. Nov his attorney general, (the highest law enforcement officer in the country) Jeff Sessions, who's a racist bigoted homophobic jackass, who voted against the Matthew Shepard and James Byrd, Jr. Hate Crimes Prevention Act. Matthew was a 102-pound kid that was beaten to death just because he was gay and James Byrd JR was an African American murdered by white supremacists in Texas. Both tragedies occurred within the same year. Jeff Sessions just recused himself from any investigation into the probe of Trumps collusion with Russia because he actually met with the Russian Ambassador while working for the Trump campaign. He met them in Trump tower along with Jared Kushner, Trumps son-in-law. There are serious, serious things wrong in this country regardless about party anymore! This isn't about party politics. This is about national security. This is about the very fabric of our country.

That's why I'm so impressed by the resistance is that it's all-inclusive. Everybody is fighting for everybody's rights. You got Black Lives Matter people fighting for LGTBQ people, you got Atheists fighting for Muslims. After 9/11 happened there's been mass hysteria against Muslims. There was just a rally in New York where citizens of New York City surrounded a group of Muslims so that they could pray in New York City. That's a big deal. They protected them. I think that's what I love about this country so much and that's what I fight for. Not a lot of people agree with me and that's okay, you don't have to agree with me. We can be adults. I've actually got into an argument with a group of people who were Trump supporters and then I found out they rescued a dog and I'm like, "Alright I'm going to stop." We both agree that rescuing baby dogs is a good thing.

Let's stop fighting about Trump and I'm going to congratulate you for being a foster parent for a dog in need. I'm a big animal rights activist too!

Another thing that influenced Generation Doom was the rash of police brutality/police April 2017 - VandalaMagazine.Com 43

against African American children in the last few years. Especially when a twelve-year-old boy was playing with a toy gun and got shot. How many of us as kids played with toy guns When I was kid we grew up in a really poor neighborhood and we always played with snap guns, fake but real looking guns before they put the red tips on them and all kinds of other toy guns and we never had a cop roll up on us or shot at us.

It's extremely sad that it happened to a twelve-year-old boy. For me injustice anywhere is injustice everywhere. They come for one of us, they come for all of us! And that's what being an American is supposed to be about is standing up to the injustice. It doesn't matter if it doesn't affect you directly because eventually, they will get to all of us.

"Always punch a Nazi" is my motto right now.

Many fans have connected to your single "In Cold Blood" how do you react when fans tell you the song helped them through their own personal struggle dealing with suicidal thoughts and attempts?

Otep: In the beginning it was real difficult, because I never imagined my music would have that kind of effect on anybody and then when they do; some of the songs that I write are biographical and so when you realize it and there is a reason for why I did that and that's because I felt alone in the dark. So I wanted to send out a beacon so that other people could find me there. So now it's like little fireflies in the dark and you find them. I remember being a kid and feeling very lonely and wish I had some Knight in shining armor/some hero that would parachute into my room or something and like whisk me away and save us from all the violence that were encountering. It never happened. So I thought if I was ever in a position where I could be a voice of someone who was feeling that way, the same way that I felt, then I would do that. I feel striking sometimes when people come up and say, "That song affected me and saved me during a very difficult time in my life." I'm just grateful that they're still here and I try to tell them that we all have bad days no matter what you do for a living or how well you're known, we all have bad days and it's just a page. One page in a long book of your life. Just turn the page and just keep writing.

Knowing that 74 countries still currently punish people for simply loving someone who are the same sex, what ways can the average citizen fight back against homophobia to improve equal rights for the LGBTQ community worldwide?

Otep: I think countries like America, where right now we still have the right to be out, I think it's important to be as vocal as possible and we support them as much as we can.

But I think we also have to first fix what's wrong in this country. I believe it's still legal in twenty-eight states to be fired for simply being gay. Now you can be married, it's legal to be married in all fifty states. You can go out get married to your partner and post it on Facebook and your boss sees it and he goes, "I don T t agree with that, you're fired!" and he'll have no legal consequences against him. Right now I think that our greatest threat to the LGBTQ community is the Trump administration, but I think just being out and being vocal and setting good examples the best that you can. Like I've said, it's not a spectator sport anymore being a citizen. A lot of times when we talk about the LGBTQ community there is another letter that is left off and that's A. That's our heterosexual 44 VandalaMagazine.Com - April 201.7

allies and that means more to us in some ways than it does to anything else. Ellen DeGeneres can go on TV and pretty much say anything she wants and they're like, "We like Ellen, she's funny!" She rarely gets political but is a little bit more political now because of Trump, but you kind of expect her to speak up because it effects were directly and it affects her wife and family. People expect me because I'm a "Cultural Arsonist" and I set fires everywhere, right?! But what they don't expect to see is people who shouldn't stand up for each other, stand up for each other. You have heterosexual couples saying, "That's not right to treat them differently than we're being treated!" and so again, it's unity! It's very, very important.

Ideally, in a sense of longer terms, I think sanctions against countries that make it illegal or put people to death for being gay, I think is important. But also we have to make sure our Christian churches, which they're in places in Countries of Africa, where they do make it a lethal offense, it is fatal, you get a death penalty. It was funded by giant Evangelical churches here. It's like why are you concerned about it? Love is so hard to find in this world and it is for anybody. It's hard to find someone that will put up with your shit and you can put up with their shit and hard to find someone who you can just love someone for who they are. Why do they care? It's a mutual agreement between two adults, why do they care? Just let them love for as long as it lasts and move on with your life. Governments should be more worried about clean water, stable bridges, our military/veterans, there's way more things we need to be concerned about like our healthcare instead of, "Should two people who are the same gender be able to marry or not?" People should be able to come out of the closet and be as strong as they can. I think organizations like the Human Rights Campaign are very important and very vital. They need support, they need volunteers, and they need the ACLU. Can we discuss the current March on Mississippi dealing with Nissan and why it's important to stop workplace harassment due to a persons sexual preference and race?

Otep: First of all I applaud all those people who were standing up for workers rights because it's important to do so. When people talk about the liberal agenda, our agenda was the forty hour work week. Our agenda was overtime pay. Our agenda was to end child slavery laws, which back in the day they used kids to work in these horrible places and their hands could fit in smaller holes and grinders and things and it was just awful.

One of the things Martin Luther King Jr. was doing was not only fighting for civil rights for all people, but he was also fighting for workers rights and that's what Martin was doing when he was assassinated. He was actually attending a workers' rights march.

This particular march they recently had was I think wonderful and the fact it's holding accountable to the people who actually do the job, not the people who are just taking in the money.

You have to pay your people a living wage and you have to make sure their rights are protected. Any kind of harassment needs to be fought and especially for those who are being targeted. There was a guy from a band that I won't give any more publicity that used a homophobic slur against me on twitter recently and it's not the first time. He called me the F word three times and so I've known the guy over the years and I was kind of poking at him because I didn't know if he was just having a bad day or what was going on so I was trying to get him off the hook. But then he tried to say he didn mean it about gay people when he said faggot and tried to say that when he says gay he doesn't mean it about homosexuality. Well, you're a straight white male, you don't get to determine what's offensive to people who are being targeted. There are children in schools who are being called that word and being beaten/abused emotionally, if not physically every day by using that word and it's the people that aren't effected that April 2017 - VandalaMagazine.Com 45

Otep Shamaya stood up that I was most appreciated about when that happened. It was people that weren't gay and weren't affected by it all, but they knew it was wrong and stood up for it! So anytime you're in a work place and you see someone else being harassed, maybe you're not being harassed, but you see somebody else being harassed; that's a form of bullying and someone should stand up to that person and say, "I see what you're doing and I bear witness to what you're doing and you need to stop it!" and then go to HR. What do you want to accomplish with Otep in the next Five to ten years?

Otep: Wow, uh. *Pauses for a moment* I hope that our music is a catalyst for change certainly and I hope that we continue to do the things that we've been trying to do for the past fifteen years and I think that just standing up for each other and being a voice for people that don't have a voice and suddenly once they listen to us they realize, "I do have a voice and I can use it!" I also hope that (selfishly) our music and message empowers people to bring Trump down. But you know what, they expect me. They don't expect you. They expect someone like me to be out there screaming/ranting and raving/drop the truth here and there. But they don't expect you and that's what is so important for you guys to be involved that go to rallies. They are not riots or any of that nonsense, but the ten to twelve people that show up like that are there just in case the cops start shooting at us and they jump out in front of us with their shields that they've made out of plastic bottles. These kids come legit! They do that because they know that there is a certain part of the police force that will abuse their power. I come from a family that has law enforcement in it and it's gotten me out of trouble when I was a kid a lot, but they also taught me a lot of things. Like anything, there are bad doctors, bad whatever. Rallies are normally filled with a lot of good intentions and people who are there may not know each other but they are there for a common cause and it feels good and it's a show of force to a bunch of politicians in D.C. and to the media that no matter how much they try to legitimize and normalize Trump, people are not having it. The resistance is real. The resistance is united against all of our different things that we prioritize. There's still a list. Everything that we are fighting for in the resistance, it's on everybody's list. Someone might prioritize it a different way, but it's on the same list.

That's what we like to do. We're probably going to have another record coming out soon. They've asked me to do another one and that'll be album number eight! So to all the people who've said Otep was just a fad, well we're still here eight albums later. *Laughs*

Otep Online: www.oteploves.me www.facebook.com/otepofficial www.twitter.comiotepofficial www.instagram.comiotepofficial www.napalmrecordsamerica.comistore/otep www.youtube.com/napalmrecords www.lulu.com/spotlightiotepsaves BEI-WRATH:WI MGM

46 VandalaMagazine.Com - April 2017

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A New Breed of Chaos An Inter/view with Twig the Exfoliator o

Kill The Precedent's latest release "Some Version of the Truth" will spark mush pits for years to come inside every record store that dares to play the release. Kill The Precedents roots lie deep within the glory days of 19130's Punk, like Henry Rollins fist smashing in your teeth combined with the scraping labor only heard within a junkyard near an abandoned industrial music club, somewhere in Chicago. A must listen for sure. This band needs to be heard throughout the Metal and Hardcore community. Don't sleep!

What's the full in-depth meaning behind your bands name Kill The Precedent?

Twig For the original name it all started on a conspiracy theory with saying kill the president on the phone and if you said that on the phone it would automically go to the CIA or FBI, or whoever like that. Our band name was Kill The President in the early 2000's. I liked Kill The President more, but it was the simple fact that if someone on the phone was simply asking someone if they were going to our show and said like for example, "Hey what are you doing tonight?" "I'm going to Kill The President." Just simply someone saying they were going to our show and it would trigger a bunch of CIA, FBI or the security shit. Phone lines would light up! But also you know we were sick of the normal shit and we've all been in punk bands almost all of our lives and we wanting to write different music and didn't want to be different bands. We just wanted to be in one band that wrote whatever we wanted. We're sick of everyone pigeonholing us in certain categories. So let's kill the precedent and do whatever the f*ck we want.

First song you ever performed live, whether it be a cover song or an original? How did the audience respond?

Twig: I think in the early-mid 1980's we did a lot of Louie Louie covers. Not even the original Louie Louie, the Black Flag cover of Louie Louie. But the first original song for this band was "End All" off our first album "Dialogues with the Dead" and it was great!

People were stoked and it was chaos! We all played in a bunch of different bands together for the last twenty years and so we all had followings from other bands. But it turned out starting this band was a really good idea to let the creative animal out.

Your true thoughts on the current state of the music industry as a whole?

Twig: I like the direction that it is going and I like that everyone is self-releasing a bunch of small stuff, small labels are coming out and getting rid of the major labels because they've always been useless. Majors only concentrate on their top five bands.

All the other artists get pushed under the rug. So I like that everyone is not charging a lot and you can get away with releasing whatever you want, whenever you want. That's the way it always should've been and there is finally an outlet for it thanks to the internet. So it's great!

How excited are you knowing that Some Version of the truth is finally released?

Twig: Pretty excited because we started recording it in 2015. We were just doing it ourselves and we were going to self-release it as a digital release with four songs. We were thinking about putting another one out on Minus Head Records and do a couple old songs that we had, like two old ones that we had written before the previous record that we didn't put on for that one and with a couple of new ones. We just wanted to see how it was going to go with the line-up changes and Minus Head wanted to put it out, but wanted a couple more songs and so we went right straight ahead to record them in the studio. At that time the band was going through a lot of personal shit with their lives. I had moved to LA for work and so we were only recording like every other month for a 52 VandalaMagazine.Com - April 2017

Exfoliator

Precedent

couple hours, so it took a year, which you should never probably do to put out a seven song E.P, but we took our time and we ended up writing a couple more songs towards the end. Those are probably my favorite songs. They just came naturally and we did it in an old school type of writing way, which is not our way we write currently, if fans are aware of this, but the way we normally write is all electronic drum tracks are written first and then second is the vocal structures, third is the bass, and then we write lyrics.

Just a completely backward way of writing. But the new ones we wrote in the old school way, just right in the studio, drums, guitar, then vocals second still. It was all very natural all those new ones, which are the songs "Two Way Mirrors" and "Watch What You Think" and we kept it old school as if we were writing good hardcore 80's punk songs and put the electronic shit in at the very end. It was really fun. Everybody just filed shared over the internet being that we have six to seven people scattered about in the band and we just practiced once a week. We have a very weird way of writing music.

We finally let the drummer have some say on these couple songs. He was excited! *Laughs* If you had to choose a certain type of Villain from any form of media to describe the sounds heard within Some Version of the truth, who would it be?

Twig: The Zodiac Killer because you'll never find out exactly why. It'll remain a mystery.

Can you break down the art within Some Version of the Truth and what it actually represents?

Twig: Well it all kind of represents the dark side of American history. The worn and tattered flag is in the background. You have a skull with a crown of thorns and skeletons that loosely stands for bloodshed in the name of god. The candles honor those that lost their life in battle. The cross guns are a civil war musket and a modern assault rifle. You have raining bullets. Finally, the faint image of eyes represents a number of things. In the end, we really wanted people to come to their own conclusion of exactly what it represents.

P

How does the E.P. title "Some Version Of the Truth" reflect your daily life?

Twig: Within the whole writing process that year in a half that we were doing it, most of the songs were a reflection of the tons of friends that we've lost over the last couple years just because they've turned into pieces of shit. Whether it was constantly lying or dealing with the drama between friends girlfriends/wives. Basically, we just lost a bunch of friends to a bunch of bullshit, even friends dying and how they died, everyone is saying suicide. It just sucks. Basically, reflects most of the songs with what they're about on the album.

How did this release challenge you different vocally from past releases?

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Twig! Being how some of the songs, for example, "A Song For Slit Wrists", one of the first songs we wrote like ten years ago we had demo versions of it, but we didn't put it on the last album. So going in and re-recording it like nine or ten years later was tough vocally, as far as me to hit the higher notes. I don't think it affected our member Ugly American that much, but it was a little rough and I was able to get right back into it!

Any hilarious studio memories you'd like to share when recording Some Version of the Truth?

Twig: Nothing too funny, just a lot of brutal shit. Kicking wives out of the studio, a divorce or two, but it's always fun to do gang vocals with everyone in the band and it's always funny when someone Pcks that up. *Laughs* Can we dissect "A Song For Slit Wrists" and what inspired its lyrics and production?

Twig: Interesting story on that. Uh, I originally wrote half of the beginning of that song when I was in a band called Red Tape, but I never did anything with it or showed anyone it. I had this girlfriend and whenever I came home she was always in the bathtub trying to commit suicide. Fifteen years later I actually wanted to do that song and someone came up with the beat and the music and I'm like, "I got these vocal structures that will fit that perfect, but I don't have enough to finish it." So I actually called her and she was living in England and she didn't answer. So I guess I called her again one night drunk and asked her, to try and finish the song, if she had any more suicidal attempts. I don't remember making that phone call, but she got pretty pissed and never called me back.

I just had to think up what she would've done. It was a dick move on my half I admit, but it was about failed suicide attempts and someone doing it because they were craving attention. I guess I wanted to get the real story down.

How does "Irrational Anthem" relate to today's world?

Twig: Once again we had a bunch of shitty people in our lives and there will always be a bunch of shitty people out there. There are a lot of irrational people out there that make a lot of bad decisions. Instead of correcting them they just keep making more and more bad decisions and they keep blaming it on everyone else but themselves. You either take action or you suffer the consequences for your own actions.

How satisfied are you with the final sound inside of Some Version of the Truth?

Twig: I'm very satisfied at this point! Like I said, we got to do it on our own time frame, we had to write those two other songs at the end, but it was more fun doing those than the five other songs that we wrote previously. It was good to get two or three old songs off my chest. We've been wanting to put those out since the first album, so I'm very excited! It took a little while, but everyone is real excited about it!

Most embarrassing moment on stage with Kill The Precedent?

Twig: We used to do a background video with a DVD player projector starting off our set. We put that stuff on the side of the stage. We usually have a couple of girl dancers on the side of the stage too for a couple songs. We had this one girl dancer and it was her first time up there and I think we were like three songs in and she tripped, fell into what was holding the projector, key tracks, and all the video and just knocked it all off stage and the show was just fucking over. Nothing we could do. Everything was just destroyed. Broke the 800 dollar projector, broke everything computer related and all that. A few months back I put a shot glass on stage and I did one of those cartoon moments where I slipped on it and my legs totally went up in the air and I landed flat on my back and hit my head pretty hard. It was like slipping on Banana peel. Pretty embarrassing! *Laughs* 54 VandalaMagazine.Com - April 201.7

Interview. Twi The gefoliator of Kill The Pr=dent If you could choose any band to perform at your funeral, who would it be and why?

Twig: I love Jane's Addiction! I grew up on that shit and some of the songs hit me pretty hard, so my main choice would be Jane's Addiction! I just love Perry Farrell's voice! But they would have to play all the old shit and it would have to be the original line up.

What would you want to accomplish as a vocalist in the next five to ten years?

Twig: To keep doing what I do without losing my voice. www.facebook.comikilltheprecedent killtheprecedent.bandcamp.com

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Second Annual Okeechobee Music I !stival Article and Photos By L. Paul Mann Day I Opening Day The chaos of modern life is left behind as you turn off the bustling 95 freeway that runs along nearly the entire East Coast and onto the old highway 714. Heading West along the rural road, freeway civilization gives way to one of the last unspoiled wilderness areas in South Florida. The ride into the Okeechobee Music Festival is a spectacular one, with thick green vegetation on all sides. Florida oak trees with hanging Spanish moss blowing in the warm tropical wind and swaying palm trees line the roadway growing ever denser as the road narrows. The trees eventually blend to form a natural canopy of a thousand shades of green that forms a complete cover over the road.

This describes the drive into the Okeechobee Music Festival, one of the most spectacular locations ever developed for any festival. The opening day Thursday, March 2 was greeted with warm temperatures and beautiful white clouds hanging like cotton balls in the sky. As a magnificent sunset lit up the sky early birds for the second annual sold out ever were already sitting in long lines of traffic to enter the festival site.

The first day of the festival is a soft opening much like the massive Bonnaroo festival every June in Tennessee. Okeechobee takes many of its cues from that prestigious event but has transformed them into a uniquely Florida version of a festival. The festival has three main areas of interest. The opening day showcases bands on the Aquachobee Beach stage and DJ's IN the aptly named Jungle 51. The Beach venue actually has a beach with a small pond where brave souls wander into the murky water at all hours of the night. The music started early on the beach stage, and by the time the sun began to set a big crowd had arrived to hear a blazing set of Sacred Steel Blues by native Floridian, Roosevelt Collier and his band of talented musicians. The mystical sounds of the pedal steel guitar rooted in Black Gospel tradition were transformed into jam band music by the masterful Collier. A sweaty crowd mostly of younger EDM fans responded enthusiastically. By the end of the 90-minute set nearly everyone was dancing. During the set change for the next band Con Brio, the crowd in Aquachobee swelled. A holographic light show in the middle of the pond enchanted many complete with a dancing baby in synch with the heavy EDM sound system at the water's edge. Other festival goers rode the Ferris wheel or checked out the vast array of vendors. Con Brio, a seven piece funky soul band from California played the next set on the Beach stage. The group may be young, but they play a traditional old soulful style of funk that delighted the dance-oriented crowd. Fronted by the charismatic singer and dancer Ziek McCarter, the band belted out ninety minutes of sweat-drenched soul music. For those into traditional, funky soul beats this band is the up and coming real deal. They could give Bruno Mars a run for his money.

As the evening wore on, there was no doubt what the music genre of choice for most of the young fans on the first day of the festival might be. The late night venue Jungle 51 which features talented up and coming DJ's along with a few surprise big names was already jammed before 10 PM and massive crowds waited to enter the enchanting multimedia lit venue nestled in a natural Florida grove of Palm trees. Many hung their hammocks in the trees while others danced in all manner of EDM paraphernalia while DJ's belted out thumping tunes well into the rising sun the next morning.

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Festival Coverage: Just like Bonnaroo the main stage village doesn't even open on this first day. The three days of huge headline acts on those stages begins Friday. What a sight to behold.

Day 2 Okeechobee Music Festival In Full Swing Just as many festival goers were returning to their campsites from a long night of EDM dance trance, the sunlit campgrounds in a bright golden burst. Luckily for daytime sleepers, a front moved in quickly covering the sun with a blanket of gray. For a short time the threatening sky looked like it might break into stormy showers, but soon the front pushed through leaving a pleasant but blustery day in its wake. As a few tents took flight and others were being nailed down by surprised campers, the windy conditions persisted. Long lines of traffic snaked into the festival site swelling the campsites to capacity. Many early birds headed to Aquachobee beach to take advantage of the moderating temperatures and the first music fans trickled into the central Chobeewobee festival area just after noon to hear the first bands play on the three largest stages.

The big story of the day circulating amongst the crowd was the heavy police crackdown on drugs for the festival's second year . There were warning signs on the way into the festival that dogs would be used to search cars for drugs. A pair of veteran photographers were detained because of a dog drug detection in their vehicle and police searched their vehicle for hours trying to locate contraband to no avail. But others weren't so lucky. One young festival goer relayed here disturbing tale about driving to the festival from Ohio only to have her boyfriend arrested and hauled off to jail for a half joint in the ashtray. The Okeechobee County sheriff's Office reported 29 arrests, but nearby St. Lucie County sheriffs arrested nearly 100 people stopped for driving infractions and found to have contraband. The total arrests associated with the festival including nearby counties was unreported at the time of this article but no doubt a large number. Saved concert goers deposited their contraband into amnesty containers before they entered the festival.

As reported on the Okeechobee County Sheriff's Facebook page; People attending the Okeechobee Musicfest 2017 were warned before entering the premises that Law Enforcement K-9s were being utilized to search vehicles for illegal drugs. Amnesty boxes were also strategically placed where the attendees could discard any illegal narcotics before being searched by K-9. Which many festivals have taken up these amnesty containers due to the amount of drugs and other festivals even having deaths do to drug use.

For most festival goers, however, the festival went on in glorious fashion once they arrived and set up camp. The second day was the first full day of music with bands playing until nearly 3 am on the main stages and the expanded Aquaphobia and Jungle 51 area going all night. Even though the festival had expanded ticket sales by more than 10,000, the central Cobeewobee concert area seemed no more crowded than last year. Many festival goers seemed content to hang out at Aquachobee for the majority of the festival. There were so many workshops, activities, and music stages offering up an orgy of events, festival-goers had a plethora of choices. The crowd was consequently spread evenly across the vast expanses of the lush Palm, and Oak tree lined groves and meadows. Everywhere at the festival site, music fans were claiming prime spots to harness their hammocks, creating a colorful backdrop nestled in the vibrant greenery. Copious amounts of food and drink could be found in numerous 62 VandalaMagazine.Com - April 2017

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vendor stands cutting down the usual festival lines to almost nothing. The popular coffee truck seemed to be the one exception.

It was an eclectic day of music with an emphasis on Hip Hop. Ironically, the drug crackdown didn't appear to keep the massive cloud of sweet smelling smoke from dissipating over the crowd especially during Rap performances. In fact, many of the young Rappers smoked their blunts and passed them into the crowd during their well-received sets. There were so many good performances on the second day it was hard to single out who excelled the most. But early on. Young New Jersey rapper Russ and even more youthful Chicago EDM duo Louis The Child captured large crowds. This seems to set the pattern for the festival with the most popular acts vacillating between EDM and Rap performers.

While the masses enjoyed these two genres, more eclectic bands, many for the United Kingdom played to smaller crowds, like the moody "Dream Pop" band The Japanese House. One of the many things that set Okeechobee apart as a premiere festival is that almost everyone gets to play a full set. There are none of the mini sets that seem to plague many of today's festivals more intent on producing mass ADD content than actually concentrating on individual performances. This trend is particularly troubling in a multistage environment. But Okeechobee offers up at least an hour to most everyone scheduled to play the festival. Headliners can take advantage of extended sets also becoming more a rarity at modern festivals. Other eclectic highlights from the second day included a set by the young Canadian jazz band with a name that sounds like a surf punk band, Bad Not Good. The New Orleans veteran Jam band Galactic turned in a riveting performance. California Indie rockers Young The Giant also turned in a powerful set in front of a small crowd. Charismatic lead singer Sameer Gadhia gave a particularly wild-eyed and frenzied performance.

The majority of music fans were glued to the largest stage, the Be stage during this time for back to back performances by Rapper Wiz Khalifa and EDM star Flume. The two sets had an enormous frenzied crowd dancing, singing and screaming in a euphoric mass.

While many headed out after that for late night EDM sets in Aquachobee, a few eclectic music fans stuck around for great early morning sets by New York Indie rockers Joywave and Michigan Funk band Vulfpeck. There weren't many people sleeping this second day of Okeechobee music festival 2017.

Day 3 Okeechobee Reaches Zenith As Massive Lim Up Turns In Peak Performances Day 3 of the Okeechobee Music Festival dawned chilly and breezy. Nonstop partying began taking its toll on festival goers and many took advantage of the cooler temperatures to get some actual sleep. But as high noon approached both Aquachobee beach and center Chobeewobee began to bustle with life again. The cool morning gave way to a sunny windblown day that created havoc in the camping areas, turning some tents into flying kites and stirring a virtual dust storm across the venues.

The musical line up for the third day was the most interesting and ambitious of the four day gathering. A small enthusiastic crowd of early bird music fans assembled for one of the first sets of the day in center Chobeewobee to hear young New Jersey singer Donna Missal and her band of rockers. The shy petite singer songwriter appeared demure and nervous when speaking with the crowd, but when she began to 66 VandalaMagazine.Com - April 2017

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sing all doubts seemed to melt away. The band and singer playing in a traditional blues rock style seemed to perfectly channel of Janis Joplin with Big Brother and The Holding Company. The band could have been right at home in 1960's San Francisco but sounded fresh and new on the little Here stage in the middle of Chobeewobee village.

This talented new band was followed on the bigger Now stage by the veteran godfather of funk, George Clinton and his massive posse of talented singers and musicians. Large crowd of young EDM enthusiasts were enraptured by the thunderous beat and gypsy like caravan of endless singers belting out classic dance tunes that stretched back to the early 1980's, like the classic hit Atomic Dog. Clinton, who on recent tours had been sporting a more tailored look appearing in a well tailored suit, switched his look to a more festival friendly New Orleans jazz party style. The master maestro continues to lead one of the funkiest jam sessions to be found on the planet.

Speaking of New Orleans, George Clinton's set was followed up on the main Be stage with a raucous performance by the 7 piece New Orleans jam rockers, The Revivalists.

The band worked the large crowd into a dancing frenzy. Lead singer David Shaw leapt about the massive stage like a Gibbon in the rain forest, climbing on speakers and hanging from power chords. At the end of their set the animated singer gashed his head, but kept playing as blood poured down the strands of his long hair.

There was so much diversity in musical style, genre and generation on Saturday it was hard to keep up. Souls singer Galllant laid down Prince like moves and vocals, while young brother and sister duo Tennyson played their own brand of electro pop. The smiling siblings struggled though technical challenges that they resolved themselves as the stage crew seemed to have evaporated for their set. But they soldiered through with a unique upbeat sound that endeared them to the young audience.

Sleigh Bells brought some much needed hard core to the festival with their sunset appearance. The band tore through intense new material from their latest album as well as from past records. With guitars wailing, animated vocalist Alexis Krauss thrashed about the stage like a whirling Dervish.

As the sun began to set, the trees in the meadow came to life bathed in massive multicolored lights. The EDM crowd came out in free in all manner of costume carrying countless totems and flags. Grit and Snails wowed the dance oriented crowd. Later both would appear in surprise set at the new Incendia stage on the beach in Aquachobee.

The young rap duo Rae Sremmurd brought a massive crowd to life as night fell on the main BE stage. The crowd surfed into a giant mosh pit during the performance of their hit song Black Beatles. Then despite being severely injured last year falling off stage, the fearless Slim Jxmmi leapt into the mosh pit and crowd surfed across the entire front of the stage. It seemed like no one left their spots during the set change for the next act on the Be stage. The only performer to appear both years of the young Okeechobee music festival, Bass Nectar assembled the biggest crowd of the 4 days for his ear shattering set. Bass heads swarmed the stage and head banged to the thunderous EDM much like a crowd of speed metal fans.

One of the most special moments of the festival came next with this years version of the Pow Wow super jam. The jam is Okeechobee's own unique version of the popular super jam at Bonnarroo and features an unlikely one time mash up of artists from multiple musical genres and generations. Veteran singer Michael McDonald of the 70 VandalaMagazine.Com - April 2017

Doobie Brothers fame led this years jam session. The jam included performances by golden throated RIB crooner Gallant, Griz brought his fantastic. Funk outfit Vulfpeck was the musical engine of the night. Eric Krasno of Lettuce and Soulive tied it all together with his amazing guitar riffs. Soul singer Antwuan Stanley also took several turns as the lead singer. While members of the animated jazz ensemble, Snarky Puppy added another layer to the musical smorgasbord. McDonald led the ensemble in a few Doobie Brothers tunes before he was joined onstage by Solange for a masterful rendition of "What a Fool Believes." Griz stepped up the energy with covers of Michael Jackson's "P.Y.T." and Al Green's "Love and Happiness."

But the best set of the night was yet to come with a two hour super mash up between Usher and The Roots. The enormous crowd swayed along to the magical funky beat and sang the chorus of hit songs like "Let It Burn," "Confessions Pt. 2," "You Got It Bad," and the big hits by Usher. Questlove, Black Thought, and the rest of the roots rocked the stage while an animated Usher pranced about like James Brown on steroids.

On the other side of Chobeewobee village, EDM star Porter Robinson closed out the night with a visual set featuring sporadic fireworks lighting up the night sky. Robinson addressed the crowd at the end. "Thank you so much this has been one o the best sets of my life."

Day 4 Final Day of a Spectacular Festival The final day of the 2017 Okeechobee Music Festival dawned cool and breezy with many exhausted music fans passed out all about the festival site. But another day of fantastic music from many genres got people motivated early despite their exhaustion. Even after 4 days of nonstop partying many committed festival goers wore fresh new costumes and sported freshly made totems.

Despite technical difficulties, Manchester singer Bipolar Sunshine opened the festivities in Chobeewobee with sweet pop vocals belying his Jamaican heritage. The Delta Troubadours brought a local blues rock vibe as the opening band on the main Be stage. The Gainesville band got a modest crowd rocking early. At about the same time Knoxville band Cereus Bright brought an American vibe to the smaller Here stage.

By late afternoon a large crowd had gathered in front of the Now stage to hear the only reggae band in the four day lineup, Soja. The eight piece rocking reggae ban from Virginia is a bit of an anomaly. Veterans of the festival circuit they almost always play as afternoon openers for the headline acts. But they regularly draw some of the biggest crowds at their performances. Their infectious sound always turns the crowd into a sweaty mass of reggae dance trance fans.

The music took an even bigger turn with the next group on the smaller Here stage. The truly legendary Blind Boys of Alabama were led onto the stage to sing their uplifting Gospel music that has garnered them five Grammy awards. The four blind vocalists have been singing together since they met in 1939 at the Alabama Institute for the Negro Blind in Talladega, Alabama. The four singers backed by a veteran blues band had the crowd singing and swaying through the set. They were joined at the end by Washington state should singer Allen Stone for an uplifting Gospel finale.

Charismatic Michigan pop rocker Mike Posner played to a huge crowd just after Soja.

As the sun was setting, the impish singer bolted out onto the stage three times only to walk off each time, teasing the crowd into erupting into a furious cheer. Backed by April 2017 - VandalaMagazine.Com 71

a great rocking band the set was full of energy.

The Growlers brought their California jam rock sounds to a twilight set just as the trees in the forest were lit up for the evening. It was a magical moody set on the smaller Here stage. At the same time on the main Be stage, the New York City band The Bleachers formed by the musical genius Jack Antonoff, rocked for another large crowd. The animated Antonoff raced about the stage playing fierce guitar licks and seemingly making eye contact with nearly ever music fan in the audience. The singer songwriter has produced and written songs for some of the biggest pop stars in America. But he is also a consummate showman himself.

Anderson Paak and his new band The Free Nationals created a near frenzy in the huge crowd assembled in front of the now stage. The American singer, songwriter, rapper, drummer, and record producer from Oxnard, California worked the crowd racing about the stage and chatting up the adulate audience. It is hard to believe that Paak was homeless with his young son and wife after losing his job at a Santa Barbara marijuana farm less than six years ago. Now he is at the top of the food chain with tens of thousands of music fans screaming his name at Okeechobee.

Back across the dusty field with lights flashing in the night sky The Lumineers brought their Colorado brand of Americana music to another huge crowd at the Be stage.

Exhausted most fans swayed to their music and chanted the chorus to the bands biggest hit songs.

As Anderson Park finished his set on the Now stage many tired festivals goers collapsed in place. At the same time an army of ravers head towards the stage for what would be the most well attended set of the final day. While The Lumineers were over playing their Americana brand of Colorado music, another Colorado native was about to take the Now stage in a different direction. Derek Vincent Smith, better known by his stage name Pretty Lights lit up the night sky with his now famous light and laser show. The veteran festival performer brought several other keyboardists and a drummer with him to the show to produce a rich multi layered EDM soundtrack.

The huge crowd loved the music and the light show staying until the end.

The Nashville alternative rockers, Kings of Leon played the closing set to a smaller crowd. The band played their usual over the top hit laden set but for some unknown reason ended their set a half hour earlier than their scheduled set time. Most music fans who were watching the entire Pretty Lights set missed the final rock set by the Nashville rockers but didn't seem to mind.

A happy epilogue reported in a local newspaper, local prosecutor Ashley Albright poured over more than 60 drug arrests made at the Okeechobee Music Fest, and determined 40 of those had to be dropped.

Okeechobee Music Festival www.okeechobeefest.com www.twitter.comfokeechobeefest 72 VandalaMagazine.Com - April 2017

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Starry Nites Lives Up To Its Name Article and Photos By L. Paul Mann DAY 1 - Serene Starry Nites The opening day of the inaugural Starry Nites music festival took place on a beautiful sunny day, Saturday, March 18. The festivities unfolded on one of the first days of spring, in the back mountains of Santa Barbara. The eclectic multi-stage music celebration drew a respectable crowd of eager and upbeat music fans but fell short of reaching the 3000 capacity set for the first year.

The spectacular setting was the aptly named Live Oak campground at the top of the San Marcos mountain pass. The campsites stretched along the Santa Ynez River, which was flowing freely for the first time in years after this winter's drought ending rainy season. Campers nestled their tents and hammocks in a meadow of California oak trees, providing a shady canopy from the sun.

Just after noon, the local Santa Barbara band, Afishinsea kicked off the festival on the modest Santa Barbara stage. The moody jam band is well known in the area as an experimental powerhouse of Indie music tunes. Next, to the stage, a tent was set up with a full-service bar and a studio of sorts set up by Roland music. Several different sets of instruments were left to musicians and music fans alike to form impromptu jams throughout the festival. A delicious barbecue stand completed the outside village.

Later in the afternoon, the main Starry Nites village opened complete with two main music stages, several gourmet food trucks and another well stocked full service bar.

A large green grassy meadow, exuding the scent of fresh spring flowers, surrounded the outer areas around the stages. Closer to the action, picnic benches carefully placed under the shade of large California oak trees provide seating options for music fans. It was such a relaxing setting; one festival goer could be seen lying on the grass reading a college textbook, well others fell asleep in the tall grass.

The music began on the Cachuma stage, the smaller of the two just after 2 in the afternoon, with only a few people standing in front of the stage in the hot afternoon sun. But by the time the powerful Los Angeles rock band, The Feels took the stage; a small crowd had gathered to hear some great hard rock. In fact, most of the bands, playing at the festival shared an affinity for wailing guitar drenched jams. From the classic 50th anniversary show by one of the first psychedelic rock bands The Strawberry Alarm Clock to the young punk antics of the aptly named Thunderpussy, the show featured multiple generations of incredible musicians.

The lo-fi Indie-rock band, Elvis Depressedly made the trek from Asheville, North Carolina, a city similar to Santa Barbara in many ways, to play an engaging sunset performance. This prolific group has produced no less than eight records in the last seven years. As the sun began to set, the American punkabilly duo The Kolars brought an ever growing crowd around the stage to life. The married duo of Rob Kolar and tap dancing stand up drummer Lauren Brown bring a persona to their upbeat music, that was first fashioned in their band He's My Brother She's my sister.

For many, the next band to play was the biggest draw to the festival. As second night headliner Alan Parsons looked on from behind the Cachuma stage, The Strawberry Alarm Clock swarmed the main Starry stage. Remarkably, five of the seven original 76 VandalaMagazine.Com - April 201.7

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members of this band formed in 1967, still play the San Francisco style psychedelic rock sound that they helped invent. They were joined by Howie Anderson on rhythm guitar and vocals. Drummer Randy Seol joked that "Howie was the newest member of the band only playing with them since 1986. Randy also joked that the band's other drummer, Gene Gunnels had to leave the group right before their first big hit, Incense, And Peppermints, because his girlfriend gave him an ultimatum to get a real job or she would leave him. The sound crew struggled getting so many instruments microphoned correctly. The set ended up being pushed back 45 minutes behind schedule. But once the band did play, the sound was nearly spot on, and the group was allowed to play their entire 18 song set, delighting the audience including Parsons. The chief architect of the band's music, keyboardist Mark Weitz played with the band for the first time since a near-fatal car crash last August.

As night fell all girl Seattle punk rockers, Thunderpussy had even bigger sound issues on the Cachuma stage. Already behind schedule because of the delayed Strawberry Alarm Clock set, the band had to stop after first losing the minimal lighting on the stage and then half of their microphones, to a generator overload problem. Charismatic lead singer Molly Sides made the best of the situation by prancing about and chatting uptake audience. Once lead guitarist Whitney Petty got her sound working, she broke into a wailing guitar riff sending Sides into a convulsive dance craze and the band never slow down for the rest of their shortened set.

Portland's veteran Indie rock band, The Dandy Warhols turned in the next set of the night, the most intense and angelic of day one. Their moody guitar drenched jams seemed to catch the essence of the festival and played an extended set to the largest crowd of the night. She Wants Revenge from nearby San Fernando Valley brought their somber retro rock sound to the Cachuma stage next, but the minimalist production values of the smaller stage did not suit their style well, and it was an uneventful set.

By the time The Kills played their closing main stage set, well behind schedule, many festival goers had left to negotiate the mountain pass back to the city, or retired to enjoy the serenity of the campground. But the band turned in energy infused set of intense music that has endeared the band to the likes of musicians like Jack White.

While the end of their set just after midnight meant the end of the evening for most attending the festival, several dozen music fans made their way in the dark to the little acoustic stage in the woods. One of the unique aspects of the festival, the acoustic stage featured performances by, the Molars, enigmatic Los Angeles singer Pearl Charles and Dandy Warhols guitarist Brent Deboer. The soulful performers played tunes until nearly 3 am, while music fans lounged in the meadow, smoking, drinking, dancing and star gazing into the awesome crystal clear mountain sky. It was truly a Starry night.

The second day of the Starry bites musical festival began under cloudy skies on Sunday, March 19. The event took place at Live Oak Campgrounds, which sits high above Santa Barbara, in the immaculate wilderness between the San Raphael and Santa Ynez Mountains. The area has a rich history, once used as a campsite for 19th-century cowboys. The cloudy morning made for good morning sleeping weather, blotting out the harsh sunlight, and keeping temperatures moderated with S0 VandalaMagazine.Com - April 2017

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April 2017 - VandalaMagazine.Com 85

Festival Coverage: an insulating blanket of moist air.

But shortly after the music began in the afternoon, the sun broke through providing another beautiful day for the festival. By mid-afternoon, a small crowd congregated around the Cachuma stage to hear Stonefield, a band that trekked all the way from rural Australia to take part in the festival. The group is composed of the four Findlay sisters Amy, Sarah, Holly, and Hannah. They are backed up by drummer Andrew Braidner. The band came to play, and they performed some classic glare rock tunes that would have endeared them to most any Hollywood audience. Most odd the sedated crowd chose to take in the tunes from comfortable positions on the picnic benches or in the large grassy meadow.

Asteroid No.4 brought a nee-psychedelic rock sound to the main Starry stage next.

The Philadelphia-based band would have fit right in with other 1960fs band in San Francisco. Their music has been described as a cross between Pink Floyd and The Verve, but their performance offered up their distinctive taste on the psychedelic rock genre. Another band of psychedelic rockers played the next set. The cellar doors would also fit right in playing San Francisco, especially since it is their hometown. The two back to back sets offered up some great jam band tunes that seemed to bring the lush campgrounds to light in the late afternoon sun. At the same time, Jesika Von Rabbit was closing out the local Santa Barbara stage. Rabbit is best known as the leader of the Joshua Tree desert rockers Gram Rabbit. Her side project features her singing and playing keyboards with her Gram Rabbit bass player Todd Rutherford. Their odd style is a Desert lounge music mix of multi genres. They ended their set with a political statement playing "Friends in Low Places" while they were joined by a bikini-clad Donald Trump masked dancer.

As the sun set behind them the Vancouver-based jam band, Black Mountain arrived to turn in the most energetic set of the day. The freeform rockers play jam music that sounds like a cross between Black Sabbath and My Morning Jacket.

The dreamy vocals of Amber Webber added yet another layer of psychedelic San Francisco sound to the mix. But it is the talented founder of the band, Stephen Gordon McBean that leads this group of masterful musicians, into heavy jam band territory. An accomplished vocalist and fiery lead guitar player, his onstage charisma makes him a prime candidate to be a veteran rock star.

The perfect band for the twilight hour followed next with a set by the otherworldly San Francisco quintet the Lumerians. The band appeared in sequenced robes with large hoods covering their faces. Red LED lights served as eyes protruding from their masks. The group began with a synthesizer-laden set of classic Space Rock. The two lead synth players then switched up to bass and guitar respectively offering up a more rock based sound. Despite the Devo esque sci-fi look of the band, the music they generated was filled with top-notch jam band rhythms.

As evening fell, the elusive and melancholy singer Cat Power turned in the most unusual set of the festival. The solo singer played a somber set of acoustic guitar, and piano tunes to one of the largest and most adulate crowds of the festival. While most every other band at Starry Nites relied on heavy guitar sounds for their psychedelic jam band performances, Cat Power brought a style more akin to a young Bob Dylan, concentrating on introspective lyrics. Her well documented erratic live performances led the audience not to question frequent song changes in fits and 86 VandalaMagazine.Com - April 2017

Festival Goverage: starts. While the singer frequently apologized for her erratic style on stage, fans in the audience reacted with cries of "We Love You," time and again. The performance was a compelling and spontaneous one, which seemed to fit right in with the good vibrations of the unusual festival.

The last band to play the Cachuma stage came all the way from Scotland for the festival. The veteran Indie rock group Teenage Fan Club brought some straightforward rock sounds to the festival with exquisite harmonies, not unlike the golden-throated Canadian band, The Bare Naked Ladies.

By the time headliners, Alan Parsons and his Live Project took the main stage; many festival goers had left for the foggy ride back to Santa Barbara on this work night.

But the crowd of hardcore music fans who stayed was treated to full-on rock set, the most musical of the festival. The nine-piece rock orchestra produced some classic grog-rock sounds that may seem dated to a younger more EDM-influenced audience, but no one in attendance denied the sheer talent of these veteran musicians. The band featured an alternating cast of lead singers, each taking their turns with distinctive vocal skills. The truly legendary spent much of the show in the background, playing keyboards and guitar and singing backup vocals. But towards the end, the English rocker who helped invent the prop-rock sound of the 1970's took center stage as lead singer and guitarist. The long time Santa Barbara resident has one of the most impressive resumes in rock music history, having worked as a young engineer on the last two Beatles albums. He went on to be in the rock music forefront of progressive music with his band the Alan Parsons Project. The band played a near two hour set of carefully textured music featuring Parson's most popular tunes. Long time collaborator, Santa Barbara guitarist Alastair Greene led the band into some searing guitar drenched jams. At one point Parsons and Greene had a good old fashioned guitar shoot out each taking turns at the lead. As a cold wind rustled the trees, the music seemed to fit the scenario perfectly. Meanwhile, the company responsible for some of the transformative visuals at the massive Coachella festival, Obscuray painted the California Oaks in myriad colors. They also projected live art videos on the nearby mountainside, creating visual eye candy.

For most festival goers, the evening ended with the Parsons set, but several dozen hearty music lovers bundled up and headed up the dark path to the acoustic stage.

With the sounds of the Santa Ynez river rushing by and a crystal clear view of a star-laden night, the acoustic stage came alive just after midnight. Two of the members of the psychedelic rock band, My Dallas Teens, played a fitting set of American acoustic music. The two embraced the role of troubadours and told the stories of the classic American musicians whose songs they played. With some of the music dating back to the 1920's, it was truly an excellent set. Singer Miranda Lee Richards later played some soothing solo vocals that melted into the natural beauty of the mountainside. A group of music fans passed a bottle of Cognac around, while wafts of set smelling smoke mixed with the crisp night air. It was a very special ending to a very unique festival.

Starry Nites Online: www.sta rryn itestestival.com www.facebook.comistarrynitesfestival www.twitter.comistarryn itesfest www.instagra m .comi starryn itesfestiva I April 2017 - VandalaMagazine.Com 87

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