December 2014 vandala magazine

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Contents Vandala December 2014

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8 ALBUM REVIEWS & FEATURES The Wet Secrets "Free Candy" (Pop/Rock) October 31 "Bury The Hatchet" (Heavy Metal) Down The Lees "Wear Me Out EP" (Electro Indie Rock) Rings Of Saturn "Legal Ki En"(Metal/Aliencore) Album Cover Feature: 6' 1O"The Humble Beginnings of a Roving Soul" Christmas Music Feature "Oh Come All Ye Beatniks"

18 LIVE MUSIC & REVIEWS "FISTFUL

OF

HOLLOW"

2

Whitechapel Brings the Diverse Masses Photo Highlights - Live at the Streaming Café with Joyfuldoor and Derek Joel Sloan: An Old Band With New Tricks Photo Highlights The Trews, The Glorious Sons, Open Air Heating Up Calgary Fedora Upside Down Reunion Night"Gypsy's Know how to Party!

Photo Highlights Live In Edmonton Black Mastiff & The Smalls

36 INTERVIEWS Dave Hill: Comedy, Phil Anselmo, and His Ass The End of the Weak: An Interview with Swingin' Utters Johnny Bonne!

COVER STORY - Lagwagon Back & Better Than Ever An Interview with Joey Cape "With a new album out to critical acclaim and commercial success (in punk rock terms), Lagwagon can with firm resolution claim that they are back and better than ever. We caught up with Wagon vocalist Joey Cape to discuss the new album, the tour, and things that rhyme with disco."

Strange Reality and Pushing Boundaries with Napalm Death - An Interview with Mitch Harris Books, Prison & Life with Randy Blythe Remembering Piggy and the Future of Voivod Housecore, Touring and 2015 with Todd from King Parrot Drugs and Doom with Acid Witch Eagleforehead Tattoos and Misadventures with Gasmiasma

,fe,dora Upside Down

Front Cover Design By Erin Torrance

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The Wet Secrets "Free Candy" (Pop/Rock) www.thewetsecrets.com/ - 5/5 Dragons

By Darian Magee My confidence is given out sparingly, though I can think of no other band more deserving of this faith than The Wet Secrets. Remember their name, kids.

These guys are going above and beyond. Although I've never been given the privilege of seeing them perform, longtime fan Chloe Collins assured me they're a force to be reckoned with.

"They're an extremely talented group and every time I've seen them perform, they never fail to impress!

Wicked costumes too!"

After being dared to form a band in 2005, members of The Wet Secrets found their calling almost seemingly by accident. 2 albums later, the daring group of five delivered Free Candy to the world and this sweet tooth couldn't be happier. An appealing mixture of dream pop and indie rock, each track is an expression of uncontained dedication to their craft. Lyle Bells vocals are versatile and he wields the axe with finesse, crooning lyrics that will take you back to the jukebox you never had. The sound design speaks for itself, boasting a rich mix of trombone (Emma Frazier), trumpet (Kim Rackel), and congas (Paul Arnusch). Two tracks in particular stood out to me, Floating in the Sky and Sunshine easily solidifying my love for the band within seconds of playing. Delightfully memorable and never dull, it will take more than a pinkie promise to keep The Wet Secrets back.

October 31 "Bury The Hatchet" (Heavy Metal) www.facebook.com/October31Metal - 4/5 Dragons

By Jeff Black Hey hey! You remember RIFFS? These Virginian maniacs do. They even took the time to write a few of their own, good and proper like, instead of bastardizing Priest's Defenders of the Faith for the umpteenth time like a few spandex-clad upstarts I could name. This album is heavy. This album is ugly.

Singer King Fowley (putting it loosely) snarls and spits out ten tales of violence and force whilst the rest of the group (including Jim Hunter from Twisted Tower Dire/While Heaven Wept) puts their axes to work with a cauldron of scalding elbow grease, cranking out chords that go straight to your thighs before splitting your kneecaps with the sharp objects hidden under their vintage tees. A couple of tracks past the halfway point kinds run together but it's still nastier than rotting pumpkins. Just buy it. The House Where Evil Dwells" and the title track are my choice cuts.

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Down The Lees "Wear Me Out EP" (Electro Indie Rock) iNwiN.dovvnthelees.bandcam p.corn/ Review By Alex Slakva - 3/5 Dragons Down The Lees is best described as an experimental cocktail, both in style, and line up, as most of which have already full time commitments as primary ingredients in established bands in Vancouver. It's pretty common for members of locally celebrated acts to converge together to create amazing side projects, only to never speak of it again immediately after they become one of your most favourite acts (Henri Faberge and The Adorables). Thankfully, this is a highly improbable scenario for the Down The Lees, as represented on their very first EP "Wear Me Out", which came out last week.

Every single track on this EP, is actually a collaboration between a limited number, if not one, guest artist and the only consistent member (LL Schultz), who is able to take on multiple instrumental responsibilities. The overall sound of the EP averages out to very chill out, ambient merge betweens indie and elects.

There are 3 tracks: 'Wear Me Out with Jessie Robertson, on Bass, from Low Spin/Dating Myself, 'Temper Mapping and 'Brave'. There is a noticeable overlap, but that can likely be attributed to Swann Barrat (Synth, Producer), and Shawn Penner having worked on multiple tracks (Co-producer). The avenue being explored essentially merges the repetitive, minimalistic appeal of house music, and fitted with a symmetrical equivalent of droney, spaced out singing. This skeleton is then outfitted with some wild card aesthetic which coins most relevant different of the track. This formula is a double edged sword. It's does help highlight cool effects through contrast, such as the Christmas Carol loop in 'Brave'; at the same time 'Wear Me Out' and 'Temper Mapping' sound very similar, if you take away the vocals in the title track. Perhaps that was the intent, because this would make for cool atmospheric aesthetics at bars or clubs.

Overall, the implicit idea behind this EP is intriguing, but needs to fleshed out a bit more, as the minimalistic approach to the percussions and singing leaves a lot of slack for the individual track's niche to pick up every single time. On that note, 'Brave' is great and I hope that there will be more songs like that in the future.

Rings Of Saturn "Lugal Ki En"(Metal/Aliencore) www.facebook.comMingsofSaturnband Review By Alex Slakva - 4.5/5 Dragons As a whole, metal is a genre traditionally define by testosterone driven competition; Whether, it's 90's European black metal, or millennial death core, there is a certain reptilian-brain need where fans/bands feel the need to assert their superiority as the most 'heavy, brutal, ect'. The subgenre hair has become split beyond being painlessly explainable, which is why Rings Of Saturn falls into their self titled genre, Aliencore. If their 2012's release, Dignir politely suggested that it was never really competing with the terrestrially bound, Lugal Iii En broadcasts it to be heard on even the most remote of locations.

10 VandalaMagazine.Com - December 2014

This highly anticipated, October release, is the third in the ROS discography. While a vocal minority does criticize the band about relying on digitized effects, the individuals most likely to be surprised by this record will be the conservative fans, who merely expect Lungal Ki En to be good. Surprise! It is actually downright great.

It does all the things an outstanding album does; acknowledge and fix the weak points of previous records, while remaining recognizable, and taking new creative directions.

First and foremost, Lucas Mann and Joel Omans, the irrefutable spinal of every ROS record, are back. This time around, their asymmetric duality seems to be much focused to create more believable atmospheric sound, which permits the rest of the band to really shine. While their speed of light guitar sweeps still baffles their fans, there is a strong focus of precision, in the sense that Messugah focuses on precision. It incredible how effectively they succeed in painting an entire pendulum swing worth of imageries and emotions. From the divine sounding solo in Godless Times, to the many psychedelic diversions on, Beckon, Heaven Shall Fall or Fractal Intake that send the imagination wandering. Of course there are still the traditional-open-up-this- ROS tracks: Senseless Massacre, Desolate Paradise. Ian Bearer (vocals) has considerably improved his delivery.

Dignir was a technical masterpiece, however it always struck me Ian not having become completely comfortable, and as a result predominantly sticking with the low gutturals for most of the album. This time around his style sounds more lived in and in control. You can really feel it, in the less technical, groove based tracks. This is best represented by at 1:23 on Natural Selection. Lastly, the album actually hits it's full stride in the last 3 songs: Unsympathetic Intellect, Eviscerate, and the instrumental track, The Heavens Have Fallen.

If the future of Rings of Saturn lies in the direction of those tracks, they will likely achieve Suicide Silence levels of success. Speaking of Suicide Silence, check out Rings of Saturn's cover of No Pity For a Coward, it is the last track on Lugal Ki En.

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Album Cromer Bigk 6' 10"The Humble Beginnings of a Roving Soul"

(www.facebook.com/sixtencity) Review By Dustin Griffin

THE HumBLt

BEGINNINGS

6'10 is a spinoff of Celtic punk troupe Flatfoot 56. But where Flatfoot is all hard charging rock n' roll, 6'10 is softer, more introspective acoustic rock.

The band has released a couple of singles but this is their first full length effort, and as such it contains a little extra polish, without losing that live off the floor feel that fits the music so well.

The songs are all tales told as if by a campfire. Folksy thoughts and reminiscences from a life spent wandering and wondering. The title of the record, 'The Humble Beginnings of a Roving Soul' fits the bill and the cover of the album compliments it.

Four snapshots sketched in ink, probably freehand, highlighting four journeys in the songs on the record. It all has the look and feel of a storybook. An old, vintage collection of short stories that have been passed down through the generations. The same rugged feel of the music itself.

There's something attractive about stripped down, soul baring expressions of self in acoustic form that punk bands seem to gravitate to. It seems these days as if every punk band has at least one member who has an acoustic side project. I don't mind though. I love the raw, organic sounds and heart on the sleeve sentiments of bands like 6'10. And I love when the covers of their albums perfectly encapsulate that Any good album cover is a cover you would hang on your wall, and 'The Humble Beginnings of a Roving Soul' is a cover I would hang on my wall in an instant.

12 VandaiaMagazine.Com - December 2014

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Feature "Oh Come All Ye Beatniks"

By Darian Magee

With Christmas right around the corner, I understand your struggle to tolerate holiday music after enduring heavily looped CD's in retail stores. Having worked at Chapters during the winter, I still have mild anxiety attacks whenever I hear Michael Buble's buttery voice. Silly, I know, but whenever White Christmas pops up on shuffle I have to immediately stop what I'm doing and see if anyone needs help wrapping. Stuck on what to listen to? Check out this authors favorites.

1) Band Aid - Do They Know It's Christmas? - In all honesty, I always fail to notice the humanitarian aspect of this song. The lyrics are direct, the voices demanding, but all I can think of is my annual post-present blackout where I wake up with bows and blood on my hands (from paper cuts, of course). If nothing else, I appreciate the harmonies.

2) Belle and Sebastian - Santa Claus - Indie pop conquerors and rightfully so, the band does not disappoint with their delightful sense of holiday cheer. Sounding closer to rock than anything, 'Santa Claus' was a wonderful exploration on their part and I'd love to see it repeated.

3) Sufjan Stevens - 0 Come, 0 Come Emmanuel. - Once again, my heart has been claimed by the god of falsetto and tears. This song isn't new. Heck, it isn't even original.

But as always, Stevens manages to make it into something beautiful words fail to describe.

4) Debbie Friedman - The Latke Song - Jewish people are not exempt from campy holiday songs, but something about this tune just gets me going. Never tried a Latke?

You've never lived.

3) The Killers - A Great Big Sled - Before you whine about a top 40 artist making it into

this magazine, I'd like to remind you that you're a pretentious nerd. The holidays are for everyone! Another rock ballad gone jingle bells, A Great Big Sled has to be one of their best Christmas singles so far.

14 VandaiaMagazine.Corn - December 2014

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Lime â‚ŹTovera e Metal Whitechapel Brings the Diverse Masses Article By Matt Bacon I've been having a hard time lately. School has been getting intense, past demons are catching up to me, and I have to, God forbid, see my family in a few weeks. Vet when the ghosts of the past start to find you, you need something that cleanses, something that allows you to stand up and shout, finding your own way forward through the darkness, the thorns in the side of anybody and everybody sent to this cursed world of ours. For me, it seems that the way forward was provided by means of a modern day legend, Whitechapel.

When I showed up to the venue I was a little wary, usually when I have the longest hair at a show it means that things aren't going to go well. Especially when in between opening bands you meet fans of groups like Chunk! No Captain Chunk! who are, simply put, the antithesis of all I stand for. Then, suddenly, Whitechapel came on and tore me a new one. These guys understand what metal is all about, and the touches of hardcore that they bring in to accentuate their sound only helps to make it better. These songs are wholly enjoyable and prove the eternal might that this band has. Right out of the gate they probed that their library of work is simply unf*ckwithable and will stand tall for years, nay, generations to come. Their set was incredibly well put together and the band have a great stage presence, the product of many years of touring.

Halfway through the bands set though, a single thought reached out to me, these guys could potentially be the next Lamb of God. Think about it, their set was appreciated by old school death metallers and hardcore kids alike. On top of that, their new record Our Endless War broke the Billboard 200's top ten. How many death metal bands can claim that at this phase in their career? All of this was reflected in the performance. Whitechapel know that they're crafting songs that are loved across American and their live show is confident and bold without being obnoxious. They know their place and seem poised to take on the world.

This set only proved to me that Whitechapel are the real deal, and anyone who argues otherwise will be relegated to the hell of poserdom.

So where does that leave us? I think at the end of the day the message to take away is that not only are Whitechapel a tight live band, but they can give you the power to transcend your common problems. Sure I may be staring at all sorts of deadlines and final exams coming up, but guess what? Tonight for a few triumphant moments Whitechapel were able to make me forget all that. This band is taking over the world and climbing faster than anyone thought possible.

Whitechapel are going to be this generations death metal overlords, so you might as well get ready to bend the knee.

Whitechapel Online www.whitechapelband.com www.facebook.comfwhitechapelmetal www.youtube.com/Whitechapelni 18 VandalaMagazine.Com - December 2014

Live at The Joyfuldoor

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Photo Credit Crystal Lee 20 VandalaMagazine.Com - December 2014

streamingcafetm wwwstrearningcafe.net

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Watch the Show & Many Others Live and Recorded wwwnewlivestreant com/streamingcafekelowndloyfuldoor wwwnewlixrestream.comistredmingcafekelowna

December 2014 - VandalaMagazine.Com 21

Sloan: An Old Band With New Tricks Article & Photo By Gideon Greenbaum- hinder (GGS Photography) Commended Toronto-based power pop/rock band Sloan toured their eleventh album, 'Commonwealth', at The Phoenix Concert Theatre in Toronto on Nov 29th 2014. They also recorded a live album on the same night. ‘Commonwealth' was released on September 9th, 2014 on Murderecords/Yep Roc Records.

It is seldom the case that a band with 20 plus years under their belt would become relevant again with their eleventh album, but stagnation is seemingly not an issue for Sloan. One particularly notable quality is that all four of their members contribute compositions to their process. They also are all multi-instrumentalists, as becomes clear during their live performance, as they take on different musical roles throughout the show. They are one of the more democratic bands I have ever seen live. In fact I believe that their ability to break new ground after a career spanning a quarter of a century, can only be attributed to this album catering to the bands individual sensibilities as both musicians and songwriters.

A particularly obvious combination of generations eagerly awaited their opening number. For me there discography has had its ups and downs but they have clearly spoken to multiple demographics exploring multiple musical facets over the years.

The only negative thing I have to say about the show is that they did promise an opening act at 8 and there was none, Sloan then took the stage at only a quarter after nine. Of course this may have been part of a master plan to get a droning 'LAN' chant going, in which case mission accomplished.

They have proven themselves current and even now they are one of the best musical acts that this country has helped shaped in the past two decades. When they took the stage, Sloan was straight into "Penpals" a 17 minute power pop shoe gaze epic composed by drummer Andrew Scott, who took lead vocals and rhythm guitar for said purposes.

Sloan was started in 1991 in Halifax Nova Scotia when Chris Murphy and Andrew Scott met at art college. Patrick Penyland and Jay Ferguson joined very soon after this. Their general set up is Murphy is on bass and lead vocals, Scott on drums, Ferguson on lead guitar and Penyland on rhythm guitar.

The band took a distinctly professional attitude toward their set. Giving out bits of banter as they changed instruments. They also brought out Jennifer Pierce of Jale to reenact her harmonies with Pentland for a great rendition of "I Can Feel It". Sloan left the stage after that for a lengthy interlude, in which time many people slowly shed off from the crowd.

They then played a second 45 minute set which included a healthy mix of hits and b side cuts. As much as some might have been hoping for a single after single sort of set, I have to say that it was refreshing to see that Sloan is committed to both tickling their fans with nostalgia and exciting them with new material.

The crowd sang along in a powerful chorus for their last song, "Underwhelmed". It's no easy thing to grind out a nostalgia tour and simultaneously restate your resolve to be current and pioneer new musical ground. It is something you have to respect from a band that could have so easily ridden the coattails of their previous albums.

Sloan Online - www.sloanmusic.com and www.facebook.comisloanmusic 22 VandalaMagazine.Com - December 2014

Heatin' Up The Cold In Calgary

24 VandalaMagazine,Com - December 2014

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scrimsonartphotography.com December 2014 - Varidalargagazine,COM 27

Article & Photo By Gideon Greenbaum- hinder (GGS Photography) Fedora Upside-Down was once an impressive array of urban folk artists from downtown Toronto that banded together for a sense of community and support.

Coming from a huge variety of cultures Fedora Upside-Down threw legendary parties across the city of Toronto. Having separated a few years ago Lemon Bucket Orkestra decided to organize a reunion and I have to say that they have not lost their touch.

Delivering unique and high class folk music.

This was the first of a two night mini festival. The night started with the mystical Sephardic, Klezmer, Balkan stylings of Ventana's. They featured an Oud, flamenco guitar, staccato violin and two fantastic percussionists. They were also all invited back up on stage about half way through LBO's set.

Lemon Bucket Orkestra was the clear stand out of the night, each song somehow delivering more vitality than the last. My only complaint is that there were some technical issues with the violin, but with so many instruments in play little slip up here and there is ultimately forgivable.

This was one of the best nights of music I have seen at Lee's Palace. There were points in the night when my job literally dropped. A motley looking crew, Lemon Bucket Orkestra seriously needs to be on a huge festival circuit tour opening for Gogol Bordello. They look like a travelling carnival, so it is not surprising that they started as a busking collective. They are hands down Canada's best eastern European party band. Combining a overflowing array of Balkan, Klezmer and Gypsy styles tempered perfectly with a boisterous punk rock attitude. They are true entertainers featuring so many artists that I won't even try to name them all. They also have a belly dancer on stage for most of their set. There was a practically primal reaction that they got out of the audience. They are completely electric and raw on stage, overall, a pleasurable spectacle that it was hard to take your eyes off of.

I actually had the pleasure of being billed alongside LBO about four years ago at Toronto's El Mocambo with on old band. It was still a great time being in the audience of one of their shows back then, however, now they have truly skyrocketed to a totally different strata of both music and entertainment. The show ended with the dozens of performers on stage pouring into the audience for another full three songs, corralling and frenzying with the crowd.

The night was capped off with %Rambutious an amazing jazz fusion band comprised of many degree holding musicians not to mention several music professors. They also did something I have never seen at a live show, taking improvisational requests from the audience, asking for titles to their own songs from random people to use as their thematic muse in making up a song. It was like watching a beautiful birth.

As a whole the night was truly inspiring and all the performances were somehow both amazingly chaotic yet exactingly synchronized. Specifically, I will say that all the bands were excellent but Lemon Bucket Orkestra is a band to put on your bucket list.

MORE PHOTOS ON THE NEXT PAGE www.lemonbucket.com and www.facebook.com/lemonbucket 28 VandalaMagazine.Com - December 2014

30 VandalaMagazine.Com - December 2014

www.ggsphotography.com Gideongs@gmail.com 647-828-5570 Specializes in Entertainment December 2014 - VandalaMagazine.Com 31

32 VandalaMagazine.Com - December 2014

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Jan. 22 The Parish Austin, TX Jan 23 Trees Dallas, TX Jan. 24 Cain's Ballroom Tulsa, OK Jan. 29 Cervantes Denver, CO Jan. 31 Hodi's Half Note Ft. Collins, CO .

Feb. 6 The Bottleneck Lawrence, KS Feb. 6 George's Majestic Fayetteville, AR*Ipe Feb. 7 Minglewood Hall Memphis, TNT Feb. 12 Old Rock House St. Louis, MO Columbia, MO Feb. 12 Mojes Feb. 13 Outland Ballroom Springfield, MO Feb. 13 Bourbon Theatre Lincoln, NE Feb. 19 The Abbey 1 Chicago, IL Feb. 19 Aisle Atlanta, G Feb. 20 Workplay Birmingham A Feb. 21 Vaudeville Mews Des Moines, IA Feb. 21 12th and Porter Nashville, TN Feb. 26 Duling Hall Jackson, MS Feb 27 The Library at loath ate Baton Rouge, LA Feb. 28 Stickyz Little Rock, AR P•41111

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Dave Hill : Comedy, Phil AnseImo, and His Ass

By Matt Bacon

got a chance to talk to a personal hero of mine, the King of Metal himself in Texas. Much more shy and re-served than his stage persona might suggest Hill still gave interesting incites onto his work with Phil AnseImo and how touring life can hurt your ass.

I

So how have you been doing Dave?

Dave: I've been doing pretty good. What's this for by the way, CNN? Yeah exactly.

Dave: I'm surviving. It's my last night here, I got here Thursday but I've been having a lot of fun. I'm just hanging out. It's been great. I saw a lot of great bands, good folks, good fun, got to see a lot of friends. Got to meet a lot of nice new people.

You've billed yourself as the King of Metal, where did that phraseology come from?

Dave: I just thought of it one day and just went with it. This is unrelated, because I can't remember which came first, but I had a TV show called King of Miami. I can't remember which came first, King of Metal or King of Miami. I actually was first the King of Black Metal if you're familiar with Witch Taint. Now I do those videos with Metal Injection and now we're doing Metal Grasshopper. Hopefully Phil and I will do some more stuff.

How has Metal Grasshopper been going, how is it working with Phil?

Dave: He's the best, we actually shot it a while ago... It's only just coming out.

Originally we did it for Adult Swim's website and then they had a kind of change of the guard. They had something like 10 different series they were supposed to release and then everyone got their footage back. So we got it back and edited it and we're actually going to screen episode three tonight before Eyehategod. Its not quite done but it's good enough to screen. I'm nervous because I never know what people will think. It seems like people have really liked the first two which is nice.

Working with Phil is the best, he's such a sweet guy and he's hilarious. It's a blast. I hope we do more stuff soon. He's just such a hilarious guy. He's a big goofball. Its always really fun. It's all improvised too, we had an outline but that's it. It's just kind of like "This is what we're doing right now, Phil's gunny teach me headbanging" We did all this stuff and Phil had a lot of medieval weaponry at his house already so we were able to work that in. Its fun.

What was it like getting that email asking you to work with Phil?

Dave: It didn't come about that way. Chris Lee who wrote it with Phil and

also directed it. I'm friends with Chris and he's married to Shawn whose from White Zombie. She's known Phil for years They were showing Phil the King of Metal videos and he was into that. Chris and I were talking like "Oh we should do something with Phil" and he was up for it. I've been such a huge fan of Phil's music with all his bands, there's so much stuff. Obviously I knew of his stuff for over twenty years. I was talking to a friend yesterday, "It's funny, when you think back to the first time we saw Pantera over twenty years ago, now you're making ridiculous videos together!" The first time I saw them was White Zombie and Megadeth in '91.

How many episodes of Metal Grasshopper do you think you're going to do?

36 VandalaMagazine.Com - December 2014

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@romedy, Phil AnseImo, and His Ass

Dave: There are five or six of them that will come out for now. (www.youtube.comiTheMeta !Grasshopper} Are you hoping for a season two?

Dave; Hopefully we'll do more episodes or something else. Just us being idiots together. This is fun. I think we're a good sort of odd couple. We have a lot in common but we're also pretty different as anyone can see I guess. I'm more of a shy soft spoken type and he's more of an extrovert. Although I'm an extrovert but I'm also an introvert. He's a bit of an introvert as well. We're both very complex figures.

I want you to finish this sentence for me "I've never told this story before and probably shouldn't but..."

Dave: I was thinking about this earlier... I was on tour for like six weeks in Europe. I was having real ass problems from the touring lifestyle. I was doing comedy shows for six weeks. I was having a lot of itchy ass and hemorrhoids and stuff. I've never talked about this I just thought I'd give you something.

Go on...

Dave: So I got back to New York and I was at the doctors and I was like "What the f*ck is up with my ass" and they were like "Just clean your asshole" because if you're on the road you're eating alcohol, coffee and spicy food which is my three food groups.

If you do that on tour night after night your ass is going to take a beating. So they were like "Chill out and take a shower and you'll be fine" So that's what I did it worked out.

They didn't say I was disgusting they were just like "You're going to hard out there, your ass can't put up with it" That's probably a horrible thing that you didn't want to know, but you asked! Anyone will tell you this, touring is very tough on your asshole.

You're eating and drinking it just somehow is a harder thing to do for your butt.

That's the only reason it's hard on your butt? ''acre: For me at least yes. You get Itchy Butt Syndrome. It's very common with

touring musicians or comedians or whatever. Your ass can't keep up with it all the time. I've never talked about that. I've told that to only two other people, my brother and my girlfriend. Just know touring can be hard on your butt.

Dave Hill Online - www.davehillonline.com

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SUPERSTITION TOUR Nov 9 - UNDERWORLD, MONTREAL QC NOV .0 - BRIGHTON MUSIC HALL. BOSTON MA NOV 12 - MARLIN ROOM WI BSTER HALL. NYC NY NOV 13 - DISTRIC 1%4),N E. PI IIIADELPHIA PA NOV 14 • ALTAR BAR. Pi rrsBuRc I PA NOV 15 - EMPIRE. WEST SPRINGFIELD VA Nov 18 - THE MASQUERADE ATLANTA GA Nov 19 - THE ORPH EUM. TAMPA F L Nov 21 - WAREHOUSE LIVE. HOUSTON TX NOV 22 - THE KOROVA, SAN ANTONIO TX NOV 23 • Gm BG. DALLAS TX NOV 26 - ELECTRIC BA L L ROOM. SCOTTSDALE AZ Nov 28 - II YI. 1.AS VEGAS NV Till. RE DPA

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InteFivew. Swingi By the mid to late 90's, the Swingin' Utters were already legends. Classic albums like Streets of San Francisco, A Juvenile Product of the Working Class and Five Lessons Learned placed the group firmly on the top of the punk rock heap of exciting bands doing exciting things. Many punk fans, like myself, grew up with the gritty melodic slam dance that is the bay area band. Honestly, who can hear the song 'Five Lessons Learned' and not be immediately struck with nostalgic memories of sore thumbed marathons of Tony Hawk's Pro Skater 2?

As a flagship band for one of the all time great punk rock record labels, the band helped define the sound of punk rock in the 90's and before inexplicably ceasing activity in 2003.

The members went off and raised families, worked blue collar jobs and played in other bands (notable examples being Me First and the Gimmie Gimmies and Filthy Thieving Bastards).

Until 2011, when seemingly out of nowhere (the album was actually in the birthing process a very long time) the band released Here, Under Protest, a comeback album if there ever was one. An instant masterpiece of varying styles, sharp production and well crafted melodies. Less than two years later, they released Poorly Formed, containing even more experimentation and musical exploration to great results. A little over a year after that, Fistful of Hollow is announced, which is one of the band's best records to date.

We caught up with the Utters' Johnny Bonne! (Peebucks), to discuss the band's history, the new record and the sudden burst of activity.

You guys were pretty quiet as a band for the better part of seven years and now you've released three records in three years and toured every one without much of a break in between. Where did the sudden burst of energy come from?

Johnny; I guess when we decided to start touring again. Then we thought about writing new material because that's why you tour usually, to play new material. So that got the ball rolling and then I felt that there was no need to stop. We enjoy doing it, we enjoy writing songs and playing live, let's just keep going. I think that's our frame of mind right now, just to keep writing until we die (laughs).

So how does it work with each record, do you have a handful of songs that don't make the album you're working on and end up on the next one or does every record get its own batch of new tunes?

Johnny: Yeah the ones that are left over might go to an EP down the road, or a single or split or something. Some of them go on to the next record, but they all get used. It's always good to write more than you need for each album.

One thing I noticed right off the bat was Fistful of Hollow is a little heavier than Poorly Formed. Did you guys set out to make things a little rowdier this time around?

Johnny: I'm not sure if that's what we set out to do, but Miles, our bass player, I was writing with him this time around, so there's definitely some different sounding emotions on the record that came from him. But we really try to make a record that has something a little bit different on each release. So it just sort of worked out that way with me and Miles collaborating, there was some darker sounding songs.

I know that on Here, Under Protest Darius did the bulk of the writing, then on Poorly Formed it was more a team effort. What was the writing process on this record like?

Johnny: It was definitely a team effort. Collaborations are my favorite, so I try to make 44 VandalaMagazine.Com - December 2014

Mel i

Vewp John y

sure that when I'm writing I'm working with someone. Darius is pretty prolific, so he's always got a ton of songs already written and he just polishes them up and gets them ready for the record. But I try to make sure everyone pitches in, because I think it's much more interesting to collaborate with another brain on things.

Do you ever sit in a room as a band and write, or do you bring in your own ideas and mesh them together?

Johnny: I usually just team up with whoever I'm writing with and make demos. Darius does his own demos in his house. Then we bring them to practice or send them to each band member and they figure out how they want to play their parts. Then we attack it as a band in the practice studio.

There are some throwback sounding tunes on here as well. 'Tonight's Moons' for example sounds like it could've come off of Juvenile Product.

Johnny: Yeah that was Jack. A lot of Jack's were sort of Ramones-y sounding. But he usually just writes some music and sends it to me and I write lyrics to it.

I noticed that on this record you lost the bullhorn vocal effect you were playing with on the last record.

Johnny: We actually used it on 'End of the Weak'. But we just try different things for vocals to make things a little different. I like the cheap sounding microphone. I think it sounds like it has a little bit more heart and honesty than the polished, crystalline sounding vocals. I'd rather just use a crappy microphone.

Then you don't have to worry about your voice not sounding live like it does in the studio.

Johnny: Yeah exactly. I can't stand it when I go see a band and it doesn't sound right because the record was too overproduced or whatever.

Tell me about the cover and the title.

Johnny: Those are actually photos from the dustbowl in Oklahoma. I liked them because they had sort of an apocalyptic quality to them. Which I think stands true to today, with everyone still in fear of the world ending.

Live In A Dive is one of my favorite live records ever. I love the sound and the set list and everything. Has there been any talk of doing another live record with Miles and Jack?

Johnny: There hasn't been any talk, but I'd be ok with it. I'm actually not a big fan of that, I don't even think I've ever listened to it.

Really? You're not a fan of live records or just of your own stuff?

Johnny: Yeah, I think like a lot of people, I just don't like hearing myself live, unless it's to find things I wouldn't want to do again (laughs). But if Fat ever wanted to put out another live record, we'd probably do it in a second.

Well, I have to say, you're one of my favorite bands to see live. You've all got a great stage presence. You in particular have a great stage presence. What's it like to play some of the songs today that you wrote 20 years ago? Is it hard at times to connect to the material with so much distance in between?

Johnny: There's a different element just because I'm older and know a little bit more. I'm not as emotionally spastic as I was in those days. I was usually black out drunk back then for most of those shows, so I don't do that anymore, that's just not a good look. I still December 2014 - VandalaMagazine.Com 45

Imteriimew. want to bring the intensity but not be a complete loon.

One song you bring a great deal of emotion and intensity to live is 'Untitled 21'. I know it's one of Max's songs, but you really seem to embody the message when you sing it.

Does that song in particular connect with you on an emotional level?

Johnny: It seems like whenever I sing one of Max or Darius' songs, I take on a character and become the person in the song. Which is probably why when I sing it I look like I'm about to cry. And some of these songs make me well up just because they bring back a lot of memories. But whatever gets me inspired take it.

Kind of like method singing.

Johnny: Yeah exactly.

Does it get easier or harder as time goes on to make records and go play shows?

Johnny: I think it gets easier just because we've done it so much. I mean we're really lucky to get to play shows and meet people and experience different cultures. When we were younger we were selfishly just kind of trampling through the States and Canada and taking things more for granted. And now we know what makes a bad tour and a good tour and you can act accordingly.

Getting back to Fistful for a minute, there are a number of songs on this record, like 'End of the Weak', 'Tibetan Book of the Dead' and 'Spanish' that make me long for new Filthy Thieving Bastards material. Do you have any updates on that front?

Johnny: Yeah I emailed all the guys and said 'let's not stop.' But then this tour popped up and with the new record we're going to be busy doing Swingini Utters stuff for a bit, but soon as we have downtime I'm sure we'll jump on that again.

When you yourself write, do you write for a specific band?

Johnny: Yeah I tend to steer things in a certain direction sometimes, or write something and know where it's going to go just by how it sounds. It might start to sound more similar now though. I personally don't think we should limit ourselves to a certain style of music in Filthy Thieving, so it'll probably start branching out even more now. I'm sure it'll be a little cleaner sounding than the Swingin' Utters stuff though.

I love your art and I love that its intertwined itself with the band more the last couple years. Do you find that your art influences your music or vice versa or are they separate outlets?

Johnny: Thank you. Yeah they definitely influence each other all the time. find stuff in my artwork that will inspire me to write a song or the other way around. They sort of help each other out. I really enjoy doing both though so I'm just going to keep doing it. I mean if it makes you happy, you'd be stupid not to, right?

Yeah. So you've been around for a while, you've got some classic records out and are a well regarded group in the punk scene. What about where the band is now are you really happy with and what would you like to change?

Johnny: (pause) That's a tough one. I think I like everything about where we are now.

I'm really happy with the band and what we're doing so I'd just like to keep things the way they are. The only thing I would change is that I wish Jack could tour with us.

He won't be on the Lagwagon tour?

Johnny: He'll be doing some of the west coast shows, but no he can't get the time off work to tour and any time off he does get he saves for Europe shows. It's understandable and he's doing what he needs to do, but yeah that'd be the only thing I'd change if I could.

Catch these guys live or grab thier new album "Fistful Of Hollow" at www.swinginutters.com 46 VandalaMagazine.Com - December 2014

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TOUR 201

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By Dustin Griffin

Cover Imteriivew. Lagwagom With a new album out to critical acclaim and commercial success (in punk rock -terms), Lagwagon can with firm resolution claim that they are back and better than ever.

Along with the new record, their first in nine years, there is also the Hang tour with label mates and fellow elder state smen of the punk scene Swim:3in' Utters. With both of these legendary bands, as well as a handful of great opening acts, you'd be a fool to be a

punk fan and miss one of these shows.

We caught up with Wagon vocalist Joey Cape to discuss the new album, the tour, and things that rhyme with disco.

So the new record is really heavy. It's kind of a dream for early era Lagwagon fans in that it sounds like ‘Duh' or 'Trashed' but with the production of your later stuff. Was that an organic result or did you guys plan it that way?

Joey ° Yeah, it developed naturally, for sure. We never really plan anything when we make

music, and I think that's part of the reason it takes us such a long time to make records.

We generally find ourselves waiting to see what it is we should do next, or how. And we always end up just doing what feels right. It's just a matter of finding a collective identity of the band. But I can say that this was maybe the best collaborative experience that I've ever had in a band.

The songwriting process?

Joey: Yeah, it was way more collaborative than anything we've done. And it went smooth.

After a few listens to the record, some of the softer elements really start to show themselves. The first couple spins they kind of get buried in the riffs, but as they reveal themselves, the record really shows itself for the great deal of versatility within it Would you say that's a byproduct of the collaborative process you're talking about?

Joey: Thanks. Yeah, I mean the biggest effect it's had is that it's an album that everyone in the band is very proud of. And I think for the first time everyone in the band wants to play every song live and is really fired up about it.

Actually, kind of a funny story, after we made the record we went to tour a bit in Europe.

And it was the first night of the tour and everyone likes to get drunk and hang out, most nights it's like that actually. But on this particular night, I happened to have the master of the new record with me and no one else in the band had heard it yet. And we ended up listening to our own record about nine times in a row, over many, many bottles of whiskey. And the driver, he was a new driver we had never met before and I met him the next morning and he said 'so how many times do you think you're going to listen to your own music on this tour?' (Laughs) Which is totally embarrassing and not something any of us do, but we just are really proud of it and I think that's the difference.

One song that blew me away was 'Obsolete Absolute.' Which is really kind of an epic song.

It's six minutes long, which in punk minutes is like twenty minutes.

Joey: It actually used to be seven minutes and we edited it a little bit at some point after the demo and it got down to about six and I was really disappointed. I was telling friends of mine 'yeah, there's going to be a seven minute song on the record.' But six is still really long and actually the arrangement works better. But it was kind of the kitchen sink song.

It developed over a period of time and I had all of these riffs I really wanted to use and 52 VandalaMagazine.Com - December 2014

I I teriimew loAey @wap e thought maybe I could make a really epic song. We've never done that before.

Cool. Is that Flippin in the spoken word part?

Joey: It is. It's funny, his voice is perfect for that. I was trying so hard to figure whether to sample something and thinking about all these friends of mine who have deep voices.

Then one day we were at practice and Flip said something and I was like 'dude, what am I thinking. You're the guys.' You're in the band. It's perfect. And then he came in and nailed it in one take. I typed up some things to say and said 'just do it however you want with the music.' And he just nailed it.

Does the placement of the song on the record have any significance?

Joey: I always wanted that song to the be the first song on the record. When I'm writing for a record like this, which is somewhat conceptual lyrically, I was trying to imagine the entire record. And you always think about sequence when you're writing. Of course it never turns out the way you want it to because certain songs don't work and you have to think about how the vinyl's going to split. But I wanted the typewriter to start it off. That was an idea I had for like five years. To have a typewriter that conformed into a rhythm. And 'Obsolete' was the song for that because typewriters nowadays are sort of obsolete.

And it's about those things. It's got a good place in the record though.

The record starts off great still though with 'Burden of Proof' feeding into 'Reign.'

Joey: And those songs were written to be one song anyway. I think we just parted it that way so that, in the digital world that we live in, not everybody would have to listen to the intro.

That's very kind of you.

Joey: I know, I'm very thoughtful. I'm also very humble when it comes to me singing with an acoustic guitar (laughs). I don't want to put all the Lagwagon fans through that.

Lyrically, this record's kind of bummer. I mean the lyrics are great, really well written, but thematically it's pretty dark.

Joey: There's always some catharsis to writing lyrics and I think that if you do it long enough, like myself, I mean I sort of have an addiction to it. But you always write one thing at a time. And something happens in your life and you deal with it, in my case by write lyrics at that moment about that one thing. And that's normal, writing a song. So people do that in different ways. But this one was different because I've over time developed a series of rants. And every once in a while my friend will say, 'you should write about that.' And I've resisted it because I didn't want to make a grumpy old man record.

But then I began writing this record with similar themes and I basically just made a record about how I feel about the world that my daughter has to grow up in. So, yeah it's dark, but it's a dark subject matter to begin with when you look at things that way.

Yeah.

Joey: There actually was, at one point, a song on the record that was actually a really sweet song. A song called 'Moral Compass.' And we did record it but it didn't make the record. And it was a slower, mid tempo song and it had a sweeter perspective. But when you start demoing and recording there are some songs that just don't quite fit.

December 2014 - VandalaMagazine.Com 53

The cover's a little ballsy in some ways, but is open to a great deal of subjective interpretation. Who's concept was that?

Joey: That was mine. It's something that just kind of popped into my head at one point. I mean I wanted something that was thought provoking for that reason. It's a powerful image that has a bit of American heritage to it, or at least it has a connection to my life in many ways. And I also feel like the bees are a good image because I think of bees as a good example of what we're doing to our environment. But I had this image in my head and I also thought if you could get a real photo of bees flying through a noose on a landscape, it would be an incredible image. Of course your imagination usually far outweighs the possibilities in reality.

But then I called Dena Lonsda le, who's one of my wife's best friends and is a professional photographer up in Montana. And I thought of her because she's done a lot of photos that are similar to this kind of thing. And when I mentioned it to other people, they just thought it was crazy (laughs). Which it kind of is. But it was amazing, I just called her and it was miraculous. She was like 'oh yeah, there's a place down the street from my house that sells nooses.' And I thought, that's unbelievable, but that's Montana, I guess. And she learned how to tie it herself. So that's just funny. And I asked her if she knows of any bees and any farms and she's like 'yeah I know of three.' And then she sent that photo three days later. It was amazing. And it's perfect. No photoshop, it's all real. And the band and the label were excited about it. But I did't expect it to work out. I like it though. I think it fits the record.

'Resolve' came out nine years ago. That's a long time between full length records. Did you guys become disillusioned at all with the bump and grind of recording records every two or three years?

Joey: We really haven't been away. It looks like we take longer breaks because the

world's a big place, but we continuously tour. And while that's happening we're itching to get back into the studio and make music. We just have other outlets. The thing is when you're ready, you're ready. And to do what's going to serve the best integrity and direction of the band. So it takes a while sometimes. But the idea of actually working on a record is probably the most appealing thing to anybody in my band. The wait is harder than the release.

Has there been talk already of the next record?

Joey: Actually as soon as we finished recording this one, two of the guys in the band came

to me and said think we should just go right back and do the next one.' They would much rather be working. It's the part of being in a band that's cool. And the cool thing with us is that it never really had anything to do with record sales. I mean we had our heyday when we sold more records than we do now, but that's not what created the dynamic in the band. And I'm really happy about that. Because the business can become a cancer when record sales are your focus.

Did you guys get a lot of major label attention in the 90's during punk's boom time?

There was interest, but very little actually, compared to other bands in our scene. I think we had maybe two approach us. I don't know that we ever had the accessibility that major labels were looking for at the time when bands like Green Day and Offspring were killing it. And then if they did have any interest, all they had to do was look at me standing next to a giant on stage and say, 'yeah, we can't sell this' (laughs).

Congrats on One Week Records by the way, Joey: Thank you.

Are you focusing on hand picking artists you'd like to work with or can any old Joe just send you a demo?

54 VandalaMagazine.Com - December 2014

I i teriivew. Joey Cape Joey: I guess a little of both. So far it's been more of a hand pick. Some people I knew, other people I met on tour or in other ways. But I don't really consider this to be a record label, I consider it to be more of a session label. The record's are a one off and it's sold as a session, it's not broken up.

I'm trying to avoid any politics I can and focus on protecting the artist and their art. And once they're there, they can record originals, cover songs, anything they want. The only requirements I have is that they get to me and get home. And I take care of the rest. It's really just for fun though, just trying to capture a moment. It's all about the songs.

I can't imagine that you'll ever have a lack of interest as far as people wanting to come and record and do something that purely organic and bullshit free.

Joey: Yeah, it's one week. and it's totally fun.

It's one week of someone's life. It's not that time consuming

Are you going to do a One Week record?

Joey: Yeah I am. Not until after the tour, at the end of the December. I actually have a list send them the record I bring with me on tour that people can sign their email on and for free when it's done at the end of the year.

I want to touch on the tour quick. You're going out with Swingin' Utters. Which is really exciting. I think they're one of the best bands around right now.

Joey; Yeah

I really Cove them. Really good band.

How much of the record are you planning on playing on the tour?

Joey: The plan originally was to play the whole thing. But we played the record release

show on Oct. 28th here in San Francisco and instead of playing the record over speakers or whatever, we just got up and played it ourselves top to bottom. And after playing it we all agreed that it's pretty long with breaks and talking in between. And it would take too much of the set to play the whole thing. But I wanted to do it like an encore. Come back out and play the whole thing. But that would be like a fifty minute encore. So we're going to play about five or six songs from it. Which is more than we usually do . Usually when we put a record out, were aware that people want to hear the older stuff and just do one or two new ones. But there's kind of a fine line when deciding how many new songs people are going to tolerate or want to hear.

Give the fans what they want to hear.

Joey: Yeah but even then. I mean there are always going to be songs that go over better live than others. But it bothers me a lot to just rest on the same songs all the time. I always think it would be nice to go back and play some of the older stuff we don't usually play live. But with this new record, because we like it so much, it's the opposite. We're trying to figure out what not to play. But we don't even have a set list yet for this tour.

It's cool too when you're playing cities that only a couple hours from each other and you're going to have people who are going to go to both shows, to have something a little different for each one.

Yeah I mean once yâ–şou get going, you do start to have and rely on a similar set, because it helps the band by knowing the changes and timing. But definitely when we play

Joey:

close markets we switch it up a little bit.

Just as long as you make time for 'Beer Goggles' every night.

Joey: Oh God. You know it's funny for years and years that was the song that I just did not want to play. It's a cool song, musically, but it's kind of a voice killer. And lyrically it was a silly song that could be kind of seen as misogynistic or sexist and I am so not those things. And then Maximum Rocknroll did a review of our first record. It was our first review and they basically focused on the misogyny in that song. Which just killed me.

December 2014 - VaridalaMagazine.Corn 55

Cover Irdlerikeivy. La gwagon So I had a bad taste for a long time. Then a couple years ago I wanted to start playing it again and it's actually our drummer now that hates to play it so it rarely makes it into a set.

Well, you can't fault stupid kids for being stupid kids. Look at 'Milo Goes To College.' There are some homophobic lyrics on there that are in no way a reflection on the band or who they are today. Or where then even.

Joey: Oh of course. And we all know which lyric it is.

Yes Joy, And they don't even sing that live anymore. They replaced the word with 'disco.'

(sings) 'You f*cking disco.'

Well, I'm all for you playing the record as an encore.

Joey: I wish we could do that. If it was an EP, it would make perfect sense You also might collapse afterwards.

Joey: Probably would, yeah.

Lagwagon recently just released their album "Hang" which is available on all the regular online stores such as ITunes and more Plus the band is currently on tour so be sure to catch them live.

ONLINE: www.LagwagorLcom

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Facebook www.facebook.com/lagwagon

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414.

Mitch Harris is always an interesting man to talk too and on this particular interview he seemed especially tuned in. With a unique view on life, could listen to him ponder the nature of reality all day!

So how have you been Mitch?

Mitch: In transitional phases and been positive. I'm excited for the new Napalm Death record coming out in February. There's a whole list of stuff coming out, everything is crazy as usual. Life is exciting. It's hard to keep up with, but it makes life interesting.

So how have you been Mitch?

Mitch: A lot of people think Napalm Death should have ended, it's been in so many various forms. It is what it is, there's no limit on how long it can last. Musically speaking its come full circle. It's reflective of what we've done, who we've been, where we are, and where we're going. When that runs out there's other things that we might do. But at this point there's a lot of good shit happening. I'm proud to be a part of something that's lasted longer than I ever thought possible. It's like a marriage, you don't know what's going to happen. There's always obstacles on the day to day. You know how it is with industry shit.

We just do what we do. We're not phased by the day by day. We work well together and support each other. We're like brothers. Sometimes we fight and take our frustrations out on each other, but like brothers the next day we have to see each other at breakfast and it's all good. It's like a family. It is what it is. See you in February when the new shit comes out! We've got a whole bunches of places to play that we haven't been to yet and we're just going to take it one step at a time.

So the new stuff already been scheduled for February?

Mitch: I think so! It depends on all the industry shit. We delivered in time for a release early in the new year, hopefully before the US dates. Nothing more fun than playing a whole bunch of new shit that nobody knows!

Tell me about the new stuff , what's it going to be called?

I don't know if they released the name yet. So I'm not going to say. But I will say the initials are A P E M. You couldn't figure it out, not for 200 million dollars! Its about surviving in this time. Musically it's probably the most extreme thing we've done. There's a lot of nostalgic parts, but also a lot of things we haven't done. Hopefully it will be interesting. It's not standard. Each song has a very different feel to it. I don't know if it has anything in common with Utilitarian in terms of songs, approach, or production. But it's heavy as f*ck and it's fast and intense. It's not one dimensional by any means. There's a lot of songs, we record 24 songs and that doesn't fit on an album. Who wants a f*cking seventy minute Napalm Death album? It should be a double album if at all, but it never works out that way. There's a lot of songs, I don't know what we're going to do with them.

We try to wrap them into the album so that it flows and the songs complement each other as you go from one to the next. I'm really happy with the guitar sound. There's lots of crazy vocals. The lyrics as usual talk about current events. We're aware of where we're goin g.

Will there be clean vocals?

Mitch; There's a few bits. After I did Menace suddenly I could do something that sounds like Menace on a Napalm record. There's a few magic moments that did or didn't work out for different reasons. We tried a few things. Personally I like clean thing but I wouldn't want to do that too much with Napalm. It's off the wall though. As long as we're enjoying it and getting some stimulation and are happy with the arrangement and dynamics. It's hard to have dynamics, when you're playing at certain speeds especially. Somehow it works though...

What are your plans with Menace?

62 VandalaMagazine.Com - December 2014

Mitch: We've been talking about doing shows for a long time. The Napalm schedule has been busy. There's been so much stuff that it's impossible to do anything. There's been a lot of stuff outside the band too. Once things calm down I'd like to do something depending on schedules. It has to happen, it would be a shame if it didn't, after all that shit. Derek the drummer is so into it, he has a vision of what we can do and make it stand out in a way that tells a story. Nick the guy who played strings is so excited. The people involved really feel it, so hopefully we can get together and do it. Half the people are in other bands though and live in different parts of the world. It doesn't matter who we are and where we are, we just connect and take it to the next level. I like playing different kinds of music. The response was good and I expected far less, even some backlash.

Do you have any plans to chill out with Napalm to do Menace? • ' Napalm has a lot of stuff going on. Napalm is my priority, I try to make it work with family and all of that shit. Whatever it is we support each other.

The first time I interviewed you, you said Menace was "the best that it could be" Mitch At that time and place yes. I feel completely different about it now. I got that off my chest and now I feel like I'm ready the next stage whatever that is. I haven't had a chance to focus and really move forward in that direction. I can feel it and see it. It started and now it's kind of a clusterfck. Once I start it it's going to be hard. If we don't tour the thing will just disappear. It kind of already has in a way. It's been months, some people have had babies since then!

That's going to change your life and make you forget about that shit. I haven't heard it in so long, its weird.

Can you tell me more about this upcoming US tour?

What's the plan with that?

Mitch: There's Voivod and Exhumed. I suggested it and they were like "Damn that's a good idea" There's some other bands whose names I forgot. But those bands have been working doing their own magic across the scene. I feel bad not knowing the name. It's going to be crazy to keep up with all this shit. I met some people and everyone's psyched. Voivod's set yesterday was awesome. It should be worth seeing.

Any final comments?

Mitch: For anyone who follows what we do. Thank you for taking the time and listening to us. As vague as it is... I'm pretty vague today. Some people hear it and I might as well be talking to thin air. I like to hear what people think, I like to read reviews, be it positive or negative. I like to see what people think and which songs they like and why and how they generate interest. For all those people who bought or downloaded records, I don't give a shit, as long as the message gets out there, that's what it's about. Somehow we've reached a lot of people over the years. It's impossible to see how far it spans or stretches or what happens in the next ten years. We're part of a generation that broke down a lot of barriers. Things became accepted. After a while that becomes the norm, so we always push boundaries in a different way. It's weird, we'll see what happens in the next few years!

Napalm Death will be on tour starting January www.napainideath.org December 2014 - VandalaMagazine.Com 63

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Life

Randy 13lythe is one of the most fanatically intelligent people in metal. Well read and always interesting to talk to, this may very well have been he best interview of my career.

How have you been? sandy: I've been extraordinarily well and busy. Lamb of God got done touring in January in South Africa and I started writing my book. I started on tour but I couldn't really write because it's just too f*cking hectic. I moved to a small coastal town near where I grew up and I wrote for eight months. I finished writing the book not too long ago and sent it off to my editor and I'll be getting corrections back soon. Now Lamb of God are writing a new record. In the meantime... Last weekend I was at Rock & Shock festival with Jamey Jasta and now I'm down here for Phil's gig. I'm just hanging out! I've been busy and good!

You've sort of achieved this level where it's maybe not rockstardom but you've achieved a level of peace and balance in your life.

Randy: I'd like to think so. I wouldn't say it's a Buddha like level of peace since I'm not that mellow. It's been four years since I've had a drink of alcohol or any drugs. That's mellowed me out a lot. I had some rough times with the whole Czech Republic thing, stayed sober through that. I'm pretty chill now. Just trying to stay focused and positive and do photography, write books, and make music!

One of the questions I had for you was about your photography, where did that interest come from?

Randy: I'm a skateboarder and I skateboard a lot back home. I skate with my friend Josh whose the drummer in Cannabis Corpse. He films skateboarding and I was trying to get into the idea of making some short skateboarding clips, just little things I found interesting. I asked the guys who helped shoot our movie "What's a decent camera I can get that's not super professional but that will take high def video" and they told me to get a Canon 60D which is like in between consumer and pro level and I got it and started doing a little filming.

One day I was in my kitchen about four years ago and I was looking at my coffee pot and I said "Let me see if I can take a picture with this thing and not just do video" I took it and I was like "Woah that looks f*cking cool!" It just happened like that! From there it's kind of been an obsession of mine. I've spent too much money on shit. Photography is an expensive hobby, especially when you first get into and you want to try everything. I spent a little too much money on lenses and shit. I got nice stuff now. I shoot a lot and I have an opening in New York May 2nd, May and June we're running it at Sacred Arts Gallery in New York City. I'm actually doing an artist statement right now that should be up soon! It's been a weird sort of weird thing that I fell into. I didn't think I had any artistic talent of any sort, I can't draw or anything, I'm more of a music guy and a writer.

Photography came natural to me.

I'm a huge fan of Versailles and the guys who shot in Paris. I'm a fan of street photography and all of that stuff. I like the old school street photography they were doing in Paris into the 1920's. It's just beautiful stuff, a slice of life and darker atmospheres.

That stuff kind of influences me.

A lot of people have commented on how you're a very lucid writer? Do you read a lot?

Randy: Constantly.

What are you reading now?

Randy: Right now I'm reading a book called Wonder Boys by Michael Chabon. He wrote a book called The Adventures of Cavalier and Clay which won the Pulitzer. It's about this 68 VandalaMagazine.Com - December 2014

In Perive w Ramcly Blythe college professor who was a published writer. A lot of writers have to take a side gig, and a lot of them go into education. So he's teaching at this college and smoking a whole lot of weed and endlessly writing this novel. He's been writing for ten years and he doesn't know when to stop. I've been intrigued with the writing process lately and reading stuff geared towards writers.

Where any authors a particularly big influence on your book?

Randy: I've always been a fan of Hemingway's economy of phrase, but I'm no good at it because I'm very long winded! There's a guy who writes popular fiction called Pat Conroy and he's extremely descriptive and at times long winded. He was really interesting and I was reading his stuff part of the time while I was writing the book. No particular author got me though. I tried to read some stuff that really pulled the language back and stripped it down, but it was really hard because I'm kind of verbose.

One book I did read that I hadn't read in a long time, but thought about in prison, and then went back and read while I was writing about prison, was One Day In The Life of Ivan Denisovich it's about one day in the life of a guy in a Russian gulag during the communist era. Really intense, short, terse, prose. I read that. Robert Ruark wrote a book called The Old Man and the Boy that I really enjoyed. He's from Cape Fear in North Carolina I'm from there. I was reading his stuff in a place where he was from which was cool.

You said you moved back to a place you lived when you were younger, did that help the book writing process? y: Yes, because I was in a sort of isolated area. Nobody knew I was the dude from " Lamb of God, I'm just like this dude who surfs and writes on his porch a lot. It was really nice. Writing in Richmond was really rough because I have tons of friends there. I needed absolute quiet. Alex Skolnick from Testament can write in a cafe with stuff everywhere. I had this romantic image of Hemingway and Fitzgerald writing in the cafe's in Paris in the 1920's. They all went to the cafe's and wrote. I wanted to be able to do that for years but I couldn't. All I could do in the cafe was drink too much! (Laughter) You seem to have a real love for American authors you mentioned Fitzgerald, Hemingway, Kerouac could even be mixed in with that... These authors get at the heart of America.

Does that appeal to you? lardy: That was just a romantic time and period, Paris in the 20's. Kerouac I'm not the biggest fan of. My editor was like "Don't go crazy like Kerouac did up at Big Sur!" He wrote in the woods and lost his shit out there. I read his stuff when I was younger. I read all the required things, Bukowski, Hunter S Thompson. All these people who were manly men and drank a whole lot and got women... I thought "I'm going to do that and be a writer" I've had this idea for years. So I did all the cool stuff that they did, like drink and fight and get women for years, and I did everything great writers did except for write!

You wrote Lamb of God! Randy: It's not the same. Writing a book is a sustained effort that makes writing the lyrics to a record look like preschool. It's an entirely different mind state.

The amount of words that you use in a Lamb of God record is maybe two pages of text...

Randy: Exactly. I wrote an immense amount for my book. My contract was 80-100,000 words and I turned in over 200,000! My editor has it now and we're going to start slashing away!

As far as being particularly American.... I am an American so I come from the American cultural viewpoint I suppose. I think that the uniquely American cultural viewpoint is disappearing because America is a young country and we're growing up and developing our identity as we go along. Now there's the internet where the whole world is completely December 2014 - VaridalaMagazine.Corn 69

Interiivew. Books, Pritsctro and Life .

behind. All the cultural identities are meshing, in art and music and everything. For a country like America which is so young and hasn't really culturally established itself it's going to be hard doing that from here. France for example has a cultural identity.

Being depressed and miserable?

Randy: I think that's England! (Laughter)

I think that our cultural identity is going to be stunted by globalization. It's happening and I think everybody's will be. I think as far as coming from a cultural identity as a writer I think its important to maintain a bit of provincialism and to be a Southern writer.

There's a guy named Rick Bragg who is a Pulitzer Prize winning journalist whose a Southern writer. Conroy, Faulkner, Edgar Allen Poe from my home town! All Southern writers! There's sort of a Southern gothic thing. The Southern cultural identity is the strongest cultural identity in the states.

I think that might be because we've been here the longest. The United States was basically settled in the south. I think that's where that sort of identity has developed. Also you have the Civil War which the South lost. I think that twisted the identity some and set it in stone more.

Even though the Civil War wasn't about slavery it corrupted the image of the South as a racist place.

Randy: I've encountered racism all over America, New York, the Midwest, South California and I despise racism. I believe that the Civil War was certainly about slavery, but also certainly about economics in a huge way. I think that's glossed over. When the South lost the war there was this sort of Faded Glory idea. probably be strung up for saying this but I'm glad the South lost the war because slavery was an inhumane institution. It should not be allowed to exist anywhere! I think the regional psychic hangover that occurred when the South lost the "War of Northern Aggression" as we like to say, the hangover form that cemented the cultural identity. There is some beauty in tragedy and defeat. I think you see that in a lot of Southern writers. For me it was important, although the majority of my book takes place in Europe, to use that Southern voice. It's how I grew up.

It makes it more human!

Randy: Yes! And when I wrote the book I wasn't trying to portray myself as anything other than I am. It's weird. I went to trial and was found not guilty, and people were very supportive but some people were like "You're a hero!" and I was like "What the f*ck?"

This is a tragic situation! A fan of my band lost his life! I just happened to feel compelled by my own internal moral compass to do the right thing! That's what normal people should do! You should do the right thing! I like any human though, don't always do the right thing, and in the book I try to be very f*cking honest about that and not portray myself as some sort of hardass or something. I was scared dude! Scared shitless!

There was a good quote from Doc Coyle from God Forbid, he said "This is how a man deals with the situation" Do you feel that given your vaunted place in metal you're almost supposed to be a moral example for the fans of your band?

Randy: I dislike it when people who are artists in bands try to be examples... It's just rock and roll! I don't think anybody should be put on a pedestal that high and should have that kind of responsibility put on them like "You need to be a moral example for the youth!" I do feel in my situation... That's a good question. I don't think I felt any responsibility to my fans to do the right thing because I don't think anybody should live their life the way I do, it's my life! Everybody has to follow their own path. I didn't feel any sort of responsibility to instruct people or to proselytize or be dogmatic and say "This is how I'm going to do things and this is how you should do it!" I do think I had a responsibility to 70 VandalaMagazine.Com - December 2014

Enerivevy. Ramo:ly Blythe myself as a human being to do the right thing.

I think as an artist if at all possible I have a responsibility to not do something that's going to lead people astray, especially younger people, I've done plenty of f*cked up things in my life. In the book I talk about some of that and the things I've done in my life. I'm not moralizing and telling people what to do, but I'm presenting my experience and saying "Hey you might be able to learn from this take it or leave it" If I take advice from someone I'll listen to what they say, and be like "This guy is on to something" and try to get some wisdom and hopefully I can skip a few mistakes by listening to that person. If my story, without being preachy, can help someone skip a couple of the mistakes I made then I did some good!

But I don't feel the pressure to be an example of moral rectitude. If I did that I would start a cult and make money!

You above most other metal... personalities, you've always seemed to have a greater measure of wisdom, What do you attribute your wisdom too?

Randy: I don't know if I am wise.

Everyone seems to think so.

Randy: I've made some really unwise decisions in my life. Anything I do correctly today is generally the result of a lot of pain and learned from doing the WRONG thing. That's it y'know. Learn from your mistakes. Everyone makes mistakes. I'm going to be making mistakes until the day I die, I just try not to repeat them as much.

Heading towards the end, I want you to finish this sentence for me, "I've never told this story before and I probably shouldn't but..."

Randy: Oh man! I've got waaay too many of those! Way too many!

What do you love so much about music?

Randy: From the first time I really got into music it was the way it made me feel. The first band that really affected me was the Sex Pistols. I was like tThis shit is real" When I talk about music I'm talking about real music, not the shit they play on the radio that other people write and some cute girl does twerking or whatever to it. That's not music that's garbage. Real music should speak to your heart. I love listening to it and I love making it.

Any final comments?

Randy: Check out my book! If you're in the UK, New Zealand or Australia it will be coming out on Random House and if you're in the States it will be coming out on De Capo press.

It will be out sometime in 2015, no release date has been set yet because we're still editing, but it should be a good read!

Lamb of God will be on Tour February 2015 and remeber to get your tickets early.

Details and dates at www.lamb-of-god.com.

Also stay tuned with Lamb of God and Randy Blythe online at www.facebook.comilambofgod www.twitter.com/lambofgodband December 2014 - VaridalaMagazine.Com 71

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By Matt Bacon

Voivod have been through a lot in the past few years and they share it at every opportunity. An interview with Chewy, the bands new guitarist, shows that the legend is far from over.

Where are you coming from (heading to Housecore Film Festival), are you on tour or did you fly down?

Chewy: We flew down from Quebec. We were invited by Phil Anselmo to play here and we thought it was a great idea to play at this festival, I didn't know about it! Phil is a friend, and when he asked us to play here, so we said "Yes, of course!"

One thing I've noticed that's really cool is that your more recent work is some of your best, how does that feel?

Chewy: It's great! The last album we did in 2013 was the first album without Piggy. All the other albums he contributed to write music on, even post-mortem. He did all the guitar tracks before he passed away. This one was a new era for the band and at some point they didn't even think it was possible to do something after. I got the call to join Voivod in 2008 and I thought it was for one show only in Montreal and that would be it. More offers came, and we played all over the world for four or five years and then we decided to give it a try for composition and writing and it came out well! I wanted Snake and Away and Blackie to be happy with the music and the aesthetic of the band. We wanted to respect what Voivod is musically. We had good reviews everywhere on the planet and we're really happy about it.

It speaks to the magic of the Voivod sound as a concept... Here's another thing that maybe is to be completely disregarded, but do you think the Quebecois vibe impacts the sound?

Chewy: I was thirteen years old when I first saw Voivod, it was my first metal show ever.

I'm a fan! I think they influenced the whole Quebec scene. They influenced many bands over the years, like Opeth. I think they changed the way that bands write in Quebec.

Everybody wants to be different because Voivod was unique. It's not like we want to clone a sound. Quebec is a mixture of European and American music and Voivod is a good example of that.

How did that feel when you got that call to join Voivod?

Chewy: I couldn't believe it. I wrote to the drummer at some point during the years that Voivod didn't exist anymore. I said to him "If you ever do something about Voivod and you want to do a special show, be there for your guys, I know all the songs and the aesthetic." At one point Mackie and I played as a tribute and Piggy's family was in the venue and it was there that Snake and Away saw us play. They talked about it and they had an offer to play a big festival with Iron Maiden in Montreal, we did that one and went on. It still feels unreal that I'm playing with my musical mentors. I wish Piggy was here, but I'm honored to pay tribute every night to Voivod and Piggy. It's a way of giving back.

Do you feel like you have a whole different set of influences as a younger guy and how does that impact the sound?

Chewy: I'm not sure. As a huge fan, I want to hear when I write Voivod music, I want to feel that same vibe that got me into Voivod. I think we influence each other when we write and it becomes a chemistry by itself. It's not forced, it just happens. If it didn't work, we never would have wrote an album, just playing shows with old songs would 74 VandalaMagazine.Com - December 2014

have been great. But when I heard Away playing drums on my riffs and Snake singing melodies I was feeling like "Wow this is really a Voivod song" Of course if I was writing for a different band I would use a different style. But I respect the Voivod sound. I have my own touch though, even if I didn't want it to be there, it would remain. I don't try to copy Piggy but I stay in the same aesthetic.

What do you love so much about music?

Chewy: Music is the expression of your inner self. It's creating energy from nothing.

That's what I like. You can be what you really are through that medium and that's the most important to me.

Voivod Online - www.voivod.com

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Housecorer Touring and 2015 with Todd from King Parrot

By Matt Bacon

It was the final day of Housecore Horror Film Festival and days of heavy drinking were taking their toll. We got together and talked about the future of one of the most exciting bands in metal today, showing that even in the Texas heat, cool things can happen!

So how have you been Todd?

Todd: Good!

When did you get in to America?

Todd: We've been here since August, we did a thirty day tour with Origin then we had a month off to write a new album in a barn in Vermont. We just did another bunch of shows down to Housecore. On tour with Orange Goblin Starting December) Tell me about the new album, how is that an evolution on the previous stuff?

Todd: It's a bit different, it's a bit the same. I guess it's grown or whatever everyone says.

We've grown as a band or some shit I guess. That's pretty much all I've got to say. It's f*cking rad, I like it.

What are the main differences between this and the last record?

Todd: I don't know mate. It's just different.

A lot of people have been brought into King Parrot because you're so goddamn different.

What inspires that iconoclastic approach?

Todd: We're not trying to be different, that's just how it turned out, dirty Aussie metal, grind, punk whatever. We want to get out there and have a good time. The energy we put out on stage goes out into the crowd and everybody has a good time.

What did you think of your performance at Housecore?

Todd: It was really good, we got some good feedback, everyone did a great job and we had a great time. It was a really good way to end the tour because we're about to head back to Australia. I couldn't be happier mate. I'm seeing lots of King Parrot shirts around here!

At this point you've spent two months in America, you're living the dream almost...

Todd: I guess you could say that. F*ck. Definitely!

How long have you been working to get to this point?

Todd: The band's been around for about three years, I actually only joined them in June.

I've been friends with them for years and they've always done shows with my other bands whenever they've been up my way. It panned out well. My band wasn't doing anything and they were so... It seems to be pretty good bunch of dudes, I love them all.

You took three months to tour and record, what do you do so you can take off for that long or is this your full time job?

Todd: At this point this is our full time job. We're not making a shitload of money or anything. A couple of the guys have managed to keep some work in Australia, when we get home we'll work and earn some more money before we come back. In December were touring with Orange Goblin, Down, and Blast! It will be sick!

Is the December tour going to feature more material from the new record?

Todd: Pretty much. It won't be out by then though. We're actually going to stay in the US and mostly likely record the new album here. We're looking at a mid 2015 release.

78 VandalaMagazine.Com - December 2014

You seem to have a great affinity for the US, is it just not profitable for you to tour in Australia?

Todd: We do pretty well in Australia.

We're actually doing 6 shows when we get home and they should be good. A lot of the tours we do in Australia help pay for us to come back over here. Its a lot of work but if you do the hard yards it pays off you know? We're playing Housecore in Austin, Texas! A bunch of young boys from Australia!

Although we're not really young, were in our early 305.

So is it surreal to realize that Phil Anselmo chose you specifically to play Housecore?

Todd: It's pretty cool that it all led up to that. He used to e-mail King Parrot, we both played Soundwave at the beginning of the year. We hung out with him in New Orleans and shit and stayed at his house. He loves it, its good. He loves a lot of Australian metal, Portal as well. There's actually been three Australian bands on this festival which is really cool. There's a lot of Aussie's here. Hobb's Angel of Death played Thursday too...

Do you think that the Australian scene is starting to get the recognition it deserves?

Todd: I don't know, I think that it's much more accessible now to get everywhere with the Internet and stuff. If you do something that's a little bit different people will take notice.

Do you think it's hard to be different enough to generate interest but similar enough to not alienate people?

Todd: It really comes down to the fact that everyone in the band likes different shit. It's just the product of that.

What element do you bring to the band?

Todd: Windmills and tight drums. Mainly windmills.

What do you love so much about music?

Todd: It's just good fun! Look at how many happy people there are here. We stick together, it's good fun. What more could you want?

King Parrot Tour Dates, Music and More Online www.facebook.comikingparrotband twitter.comi KINGPARROTBAND www.youtube.com/KINGPARROTBAND December 2014 - varidalaMagazine.Com 79

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Drugs and Doom with Acid Witch

By Matt Bacon

The final day of Housecore Festival in Texas was Tong and hot.

Fortunately the doom/stoner metal masters Acid Witch were able to liven things up with a memorable set, and badass interview to match!

So how are you guys doing?

Dave: F*cking hot Tim: Doing good man' Dave: It's probably 40 degrees in Detroit right now. We're not used to it!

After playing a great show like today how do you feel?

Tim: Good man, it feels good to kind of get that over with and be able to party now and have some fun and enjoy the movies you know? We got the stressful shit over with so now we can get drunk and high!

Are you sticking around for the entire weekend?

Tim: Yeah. We definitely got to stay for the Samhain reunion we're looking forward to that.

Anything else you're looking forward too?

Daveâ&#x20AC;˘ Macabre in a couple of minutes! Napalm Death.

Tim: Neurosis tonight. I was up front for Voivod last night.

Dave - We missed Trick or Treat 35 mm I'm bummed about that.

Tim: I wanted to check out the American Guinea Pig premier as well but we missed that unfortunately too...

So you guys are big time horror fans... Is playing this festival like a dream come true?

Dave: For sure!

Tim: I think its cool! Combining metal and horror makes sense, it's right up our alley.

Dave: Most of our fans are really into horror movies so its just the perfect combo here.

Do you ever get a sense that because of the horror influences in the Acid Witch sound people don't take the music as seriously?

Tim; For sure. I think we've heard it all. A lot of people say were cheesy.

Dave: "Funderground" ire: Who cares? Whatever dude. If people want to f*cking hate, that's their choice you know? Whatever you do in this world, you put something out there, somebody isn't going to like it. F*ck Fem. :acre: Everybody has an opinion nowadays, having their own bldg or facebook or whatever. You just got to take it and laugh at it. That's what we do.

Tim: I like bad reviews. I like when people hate on it. It's humorous to me. Somebody got a problem, do something better! Start your own band and do it!

Has all the madness that's gone down in Detroit impacted the music you've been writing?

Tim: I think so. Probably in some indirect ways. Some of the horror that's in our music is probably metaphorical for the horror of everyday life in Detroit. It's very well concealed.

We're not a political band. We're not trying to write about stuff like that. It does affect 82 VandalaMagazine.Com - December 2014

you living in Detroit. It is everywhere.

Where either of you guys among those that didn't have running water?

That didn't affect us because well, I pay my bills. I've had a lot of other shit happen.

I've had my house burned down, gotten jumped, been in street fights, cars stolen multiple times. Lots of crime. No problems with water, but it is definitely like the movie Robocop.

It s kind of an accurate representation. The police in Detroit right now are going on strike.

It's pretty crazy.

So with that brutal reality, you can't write happy music essentially.

Tim. No, but we do have it in our heads that we want our albums to be fun! I think if you listen to Venom in the early 80s, their first albums are really over the top. Lyrically they're a lot like us I would say. We have a good mix of really cheesy over the top lyrics which are obviously intentional and really serious lyrics which we kind of blend together into one.

Dave: Some of the fun aspects are like our reaction. Living in Detroit it's like escapism, a fantasy. A lot of these bands that are super serious and stuff live in nice safe places like Portland or wherever. F*ck those kids! Making fake depression doesn't sit with me. It's our way to escape from that dark reality and to have a laugh.

What do you love so much about music?

Together: I need music everyday!

Dave: Some Witchfinder general for you right there, just read the lyrics!

December 2014 - VandalaMagazine.Com 83

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Egieforehead Tattoiss and Misadventures withtGasmiasma

By Matt Bacon

Jordan from Gasmiasma has a very distinct tattoo of an eagle on his forehead and a lot of interesting stories to tell. We caught up at Housecore and delved into the inner magic of his band.

How are you doing Jordan?

Jordan: Pretty good man. Not too bad.

What did you think of your set today?

Jordan: Hot as hell. People seemed to respond well. It was fun, I'm thankful for the Housecore crew, Phil and all those who help us out.

Is this your first Austin gig?

Jordan: We played here about two years ago at The Legendary White Swan with some cool bands like Napalm Blast Sound from Savannah, Georgia but relocated to Portland, Oregon.

How did it feel getting that email that your band was going to play Phil's festival?

Jordan: We knew we were going to play it for a while because I got Pat who plays in Down with Phil. He asked us a long time ago. We've been in the talks about doing something on Housecore as well for distribution and whatnot. We kind of knew, but of course it was exciting because it was one of the biggest shows of our career so far. It was a good feeling!

Tied into that, did you see the recent documentary about New Orleans? What did you think of it?

Jordan: I liked it, but I think they focused on not enough aspects of the scene. They didn't mention bands like Sollent Green. Those guys have just as much clout as Eyehategod in the New Orleans scene and they didn't say shit about them. They didn't mention Shel!shock, maybe in passing, they didn't mention some of the real creators of the New Orleans sound. They just went straight for the big boys, Crowbar, Eyehategod, Pantera.

They barely even mentioned Exhorder as well and that's where Pantera got their sound!

Sorry Phil! I think they could have focused a little bit better on the more underground bands that made the scene what it is. I think it's just great that they're acknowledging the New Orleans scene in general.

To what extent do you think that the New Orleans sound has impacted the Gasmiasma sound?

Jordan: None. Besides good chunky bass sounds that's about it. We like the overseas stuff. We like the UK power speed scene like Extreme Noise Terror and Doom as well as Swedish and Japanese bands.

Would I be correct in saying there are bits of American power-violence here and there?

Jordan: You would be correct, but that's just coming from us writing the songs. We're not trying to do that it just comes in practice, you know, you go "Oh f*ck that sounds awesome!" and we roll with it. We have heard that before. I'm definitely a fan of American power-violence, Crossed Out and whatnot.

Going from there, you said you're into foreign shit as a kid, did that make it weird to be a part of this vibrant scene?

Jordan: I love the amalgamation of foreign music mixed with the New Orleans sound. Pat is proud of his sound and is really into the New Orleans scene. I'm not as much, but he 86 VandalaMagazine.Com - December 2014

really is. I think it's even better when you get those other influences from people, the culture clash when things come together and sound even more original so we don't sound like a repeat of another band. You wind up getting your own thing going.

You have a cool marriage of heavy bass and ENT. At what point did you realize you had something special and different? ordarr First practice man! We were grinning from ear to ear from day one. We went through another guitarist at first who was into the really noisy Japanese shit, he plays in a band called Hell Control with our drummer. They're kind of younger, and I know that kind of noisy punk stuff has gotten popular in the past 10-15 years. They were putting that element in with Pat whose into more straightforward bass lines. From day one I thought it sounded great.

Tied into that, you were identified as "Eagle forehead" can you tell me the inspiration behind that tattoo because it's really cool!

Jordan: I did it when I was 16 years old. Its an old Romanian war crest. It kind of f*cking sucks because that game Warhammer used the same crest later on. Most people identify it as that. But I'm Romanian blood and it's from the Dark Ages. I did it when I was 16 years old and I was in this stage of my life where I wanted to etch myself out of society.

I was really introverted. I don't regret it or anything. It kind of backfired on me. Now it's more outlaw to not have any tattoos. So now when I'm in line at a store people always ask me about it.

What do you love so much about music?

Jordan: I like that it can mold somebody's personality. It's the one thing that a person can have at a very young age and feel distinct to themselves. Then you can find other people into that thing. It can help a lot of people out, like myself when I was younger. I had social problems. It helps you express yourself and find a spot to be accepted and be able to validate your own self worth.

Final comments?

Jordan: Punk as f*ck, rock to die!

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