December 2015 Vandala Magazine

HIADARLAST- In llemorg of Teenage Bottlerockets Brandon Carlisle

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BARE NAKED LADIES with Alan Doyle and the Beautiful Gypsies

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- Contents December 2015 Vandala 8 REVIEWS & EDITORIAL Redman - 'Mudface' (Hip Hop/Rap) Grimes - 'Art Angels' (Rock/Electronic/Wizard Rock) Ky-Mani Marley 'Maestro' (Reggae) Beach House `Thank Your Lucky Stars' (Pop/Alternative) Julien Baker - 'Sprained' (Singer-Songwriter/Alternative/Indie)

FAREWELLS 16 Had a Blast: In Memory of Teenage Bottlerocket's Brandon Carlisle 30 - 3 Inches Of Blood Farewell Concert

18 LIVE MUSIC & PHOTOS Good Riddance Live Past and Future Collide at Doc Willoughby's New Noise Music Festival Wraps Up Four Days of New Music in Santa Barbara Barenaked Ladies with Alan Doyle & the Beautiful Gypsies Kings Destroy, Black Cobra and Yob at Webster Hall Rock Royalty Unite For Epic Concert Jam To Benefit Rhonda's Kiss Organization

46 COVER STORY Music & Mystery with Blind Guardian Hansi Kursch gave an incredibly interesting interview where we got a chance to get into the true motivations behind his art,

INTERVIEWS 40 Horror and Madness with Grave Digger 54 Roots, Children and the Future with So Hideous 62 Poses of Power - An Interview With Author & Punisher

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laum Reiviiew Redman - 'Mudfacei (Hip Hop/Rap)

By Dustin Griffin - 5/5 Dragons Even though it's been five years since Redman released Reggie, you can't say the man's been slacking it. Highlyâ–ş celebrated tours with his partner in crime Method Man, a handful of mixtapes, guest spots and the singles leading up to this album, Redman has remained an ever present figure in the hip hop scene, one who is celebrating his 20th yâ–şear in the game this month. What better way to tip his hat to all he's accomplished in those deuce decades than to release one of the best albums of his career?

Mudface has had a lot of anticipation behind it and when Method Man released his new album The Meth Lab a couple months ago, instead of a new Red Meth collaboration (tentatively titled The Blackout 3), that anticipation rose. And while, according to Redman, Reggie was actually an album by Reggie Noble (Red's real still name), rather than the more gritty rascal alter ego he has created for himself, go on record as saying that not only is Mudface a worthy successor, but it bests Reggie on almost every front.

One of the things I love about Redman is that he isn't Drake. Not only is he not Drake, but he makes it explicitly clear that he has no interest or intention of ever becoming him. Nor will he be influenced by the Drake style and become another knock off, using that style to attempt to win over more mainstream fans and bulge his wallet out that extra inch.

Nowhere on the album is that more apparent than on the first track (not including the intro skit) 'Wus Really Hood', where Red keeps it nice and easy for just over a minute, dropping razor sharp bars over an electronic drumbeat. Or on the extremely fun `Beastin' (MCA)', where he spits about partying hard over a hard partying beat.

The one two punch of 'N***a Like Me' and 'Dopeman', both with massive, cement solid beats and Redman's easy-angry delivery, are a great example of the man tapping into his classic's with the skills that he's been honing for the past twenty years. `Bars' is just that: bars, that are big, witty and hard. 'High 2 Come Down' slows things down a bit, with a nice dancehall reggae two step keeping time while Redman pays tribute to his life in the green. `Won't Be Fiending' is actually a really pretty track. Redman raps as hard as he ever has, but the music makes great use of some melodic piano and bass guitar loops.

Finally, 'Go Hard' is an appropriate closer to such a hard and heavy album. An album filled to bursting with sharp, gritty raps and monstrous beats. Nobody was expecting Redman to ease off on this record, but this is some of his hardest stuff in years.

Mudface is Redman's first album since Muddy Waters not on Def Jam, released instead through his own indie label Gilla House Records. This Indic over major practice is becoming more and more popular with artists as they realize that in this digital age, they really don't need to be losing so much of their paychecks to unscrupulous 08 VandalaMagazine.Com - December 2015

dinosaur corporations. And while Mudface may not have had the marketing campaign behind it that some of this previous albums have, it certainly hasn't hurt the quality.

This is one of Redman's best records, maybe his best since Muddy Waters, and one of the best hip hop releases of the year. And with Red touting both Blackout 3 and Muddy Waters 2 for releases in 2016, it's never been a better time to be a fan of Reggie Noble. www.redmansworldicom

Grimes - 'Art Angels' (Rock/Electronic/Wizard Rock)

By Michael Smith - 5/5 Dragons It's been a long wait for the follow to the massive success of her 2012 album Visions, and fans will not be let down. This album is fast-paced and very animated, and certainly at least a few tracks are sure to become regular additions to most house party playlists, as well roaring through car windows on Friday and Saturday nights. This album has so much going on in every song, and is catchy beyond belief. It is an even more ambitious release than her last, and certainly more accessible to the masses. The energy level has been elevated quite a bit, creating what will certainly be a feverish live show. Art Angels is an intense, colorful hurricane of indie-electro pop greatness. Infectiously danceable, heavily layered, seductive at times, and fun throughout. This could be the release that pushes Grimes beyond just the world of pitchfork, college radio, and into that song you liked in a commercial and had to Shazam. This album could forge her place in the world of big time venues, and possibly even a top 40 crossover.

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laum Reiviiew Ky-Mani Marley 'Maestro' (Reggae)

By Dustin Griffin - 4/5 Dragons Bob Marley was a busy man during his short time on earth. As well as creating one of the most impressive musical discographies of all time, he also fathered eleven children by a number of different women (thirteen if you count the two he adopted). Most of those children have gone on in his absence to have impressive musical careers of their own. And each of their musical careers, not surprisingly, uses his easy spanking reggae as a jumping off point, even while exploring other musical avenues at the same time.

Ky-Mani Marley, the youngest of the Marley children, stands out from most of his siblings (except for Stephen) in regards to the fact that he sounds an awful lot like his father when he sings.

That melodic rasp, offering up impassioned plea's for love and understanding is at times a dead ringer for the late Robert Marley, Sr. Ky-Mani's new album 'Maestro' is also the closest the artist has come to the type of reggae Bob was famous for. Ky-Mani's previous full length album 'Radio' was essentially a hip hop album with the occasional reggae flavoring thrown in for good measure. 'Maestro' is closer to his debut 'Many More Roads' in stripping away much of the more upfront hip hop influence and letting the reggae take center stage. And to great effect.

I think 'Maestro' is a much better album than 'Radio'. It feels more focused, more sure of itself and provides an all around easy going, uplifting experience that's perfect for long days in the summer sun with a cold beverage at your arm.

The production on this album is also impressive. 'Get High' for example, with it's hip hop beats and easy delivery, swells and soars in a cinematically pleasing way. `Keepers of the Light', Ky-Mani's first collaboration with his brother Damien, has a driving rhythm and the Marley brother's voices play off each other nicely.

'Champagne Dreams' featuring Kreesha Turner, is a more straightforward pop tune that wouldn't sound out of place on your local dance radio station. It doesn't work as well as the reggae tunes, but it's well written.

'We Are', a song which features Matisyahu and Gentlemen, uses galloping drums and stuttering strings to sell its battle cry. `The Chant' is another orchestral celebration with razor sharp beats, while 'Valley of Death' uses a darker soundscape to get its demands for freedom and equality across in a very convincing way.

Ky-Mani Marley grows more impressive as a songwriter and singer with each successive album. He may not be quite as assured and exciting as Damien or Stephen, but he certainly more than holds his weight in the reggae ring and is another shining example of a familial musical dynasty that just keeps growing richer. www.ky-manimarley.com 10 VandalaMagazine.Com - December 2015

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Beach House - 'Thank Your Lucky Stars' (Pop/Alternative)

By Michael Smith - 4/5 Dragons Some may be confused to see a review for Beach House, thinking you just read one about two months ago. Well, instead of just settling with releasing one of the best albums of 2015, Depression Cherry, the duo thought their fans deserved more and released another album. Thank Your Lucky Stars, is a graceful crisp breeze, kissing your face and elegantly combing through your hair.

TYLS is a perfect complement to the band's other 2015 release, as the sound is not as big or epic.

The overall mood and theme of this release is not as anxious, and produces a more optimistic and hopeful. Saying that, this is still a Beach House album; there is still sorrow interspersed thought all nine tracks -- it is just a beautiful kind of sorrow. The influence of Julee Cruise/ David Lynch/Angelo Badalamenti is very prevalent on this album, as it was on the previous, as many track sound as if they would seamlessly fit on the soundtrack to any episode of Twin Peaks. Beyond being a perfect soundtrack for your most romantic of dreams, the album escorts you to a world in slow motion where you amorously lock eyes with the one you love. www.beachhousebaltimore.com

Julien Baker - 'Sprained' (Singer-Songwriter/Alternative/Indie)

By Michael Smith - 4/5 Dragons This debut album from the Memphis-based singer-songwriter is a masterfully written and performed work of tragic beauty. Baker fearlessly bares her soul on this emotionally heavy album that's as heart wrenching as it sublime. With most tracks needing nothing more than a guitar or piano, the music pairs with her delicate voice to illustrate the sadness of the past with the strength she still has of a better future. The ability to make her listeners feel her own emotions is uncanny, and by the end of the record, you almost think you know her personally. Emotions gush out of every song. It would be impossible to ignore the way they mirror your own inward pains, as is highlighted throughout most of the standout track "Rejoice." Even the most nihilistic soul becomes misty-eyed. This cathartic experience creates the attitude of the album, and listeners will have the sense that with every play of a track, spin of a record, live performance, etc, some demons are exercised from both her, and from whoever is listening. www.facebook.com/julienrbaker 12 VandalaMagazine.Com - December 2015

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Had a Blast - In Memory of Teenage Bottlerocket's Brandon Carlisle Article by Dustin Griffin

It's strange when people you look up to in the entertainment industry pass away. It can truly feel like you've lost a relative, even if you've never met the person. There have been a number of prominent musicians and film related people I've mourned the loss of like a close friend: Philip Seymour Hoffman, Robin Williams, Health Ledger, Amy Winehouse, Joe Strummer. All people who's talents I have great admiration for and all people I would anxiously await to see what they came out with next. But it isn't just the uber famous that cause this reaction. When the world lost Tony Sly in 2012, it hurt. Arguably one of the greatest songwriting talents of his generation, I saw Tony, with No Use For A Name and on his many solo tours, a number of times over the years. I grew up with his music and took for granted his always being there. Releasing new music with his band or on his own, forever.

That's what's so cruel about losing someone who's music or films) you love, that there will never be another new Tony Sly record, or Amy Winehouse record, or Robin Williams movie, or a Clash reunion tour.

And that's what's so hard to grasp with the passing of Brandon Carlisle this past November 7th. Brandon and his twin brother Ray started Teenage Bottlerocket back in 2001 and, along with bandmates Miguel Chen and Jody Templemen, have been on a shooting star in the punk scene ever since, earning throngs of fans all over the world and opening for some of the biggest names in punk rock. As a drummer, 16 VandalaMagazine.Com - December 2015

Brandon was influential. His hard, precise style was like a cross between Dave Grohl and Tre Cool, the perfect combination of heavy and technical. To think that there will never be another Teenage Bottlerocket album propelled forward by the backbone Brandon provided is a great loss for anyone who ever gave themselves minor whiplash to classic TBR songs like `Bigger Than KISS', trashing' and 1-leadbangeri.

Equally upsetting is the fact that we will never again hear his snarly "1,2,3,4" count off as the band charges into another infectious ripper.

I never met Brandon. I met and interviewed Ray a few times, but from what I've heard, and from the truly moving outpouring of grief, respect and support in the music industry following his passing, he was one of the good ones. Down to earth, easy to talk to, fun to be around. Someone who didn't take his position behind the kit and in the band lightly, or for granted. Someone with a genuine love for his friends, his fans, and his scene. We could use more of those types of people, not less. Not less.

I don't know what the future of Bottlerocket holds, at this point, I'd be surprised if even Ray knew. But one thing is guaranteed: Teenage Bottlerocket will never be the same. Without intending to show advance disrespect to the band's future drummer (should there be one), Teenage Bottlerocket will always be like a dog that has just lost one of its legs: It can get around alright, it still sounds the same and acts the same, but it looks a little weirder now and the nub where that leg used to be will always be distracting.

Our hearts & prayers go out to the band, his friends and family.

To send wishes donations and more please visit www.teenagelxatlerocket.com RIP Brandon Carlisle You will be missed!

December 2015 - VancialaMagazine.Com 17

Good Riddance Live - Past and Future Collide at Doc Willoughby's Article by Dustin Griffin

In some ways, Doc Willoughby's, the Irish style, two level pub smack dab in the middle of Bernard Avenue in downtown Kelowna, is a strange venue for live music.

And the bigger the band they host, the stranger the venue seems.

One reason for this is that they simply don't have much of a stage to speak of.

There's a little alcove area that doubles as a stage when it's not being used for extra table space, but for a five piece band and all their equipment, it doesn't offer much breathing room. So, they spill out onto the floor in front of the alcove, which is also in front of the bar and causes a packed house to feel packed in the most literal sense.

This setup, however, also happen to be the perfect kind for a good old fashioned punk rock show. After all, one of the points of punk way back when was to tear down the borders that separated band from fan. That was also the appeal of it, that anyone who could get their hands on a guitar or a three piece drum kit could start a band. It didn't matter if you could play, or whether your songs were radio friendly, and it sure as hell didn't matter who came to the shows. Playing to one was as good as playing to many.

Doc Willoughby's recreates this atmosphere with their up close and personal venue and I've no doubt, for a punk band who clawed their way up from basements and dives back when punk was an ideology for rebellion, that Good Riddance were taken 18 VandalaMagazine.Com - December 2015

Lime eromemage. Bunk Rick back to that time and place when they set up their gear for their friends, in the middle of all their friends, and churned out a set of catchy hardcore blazer's to an appreciative reception.

Good Riddance's Doc's set was about as good as a fan, whether newly minted or old school, could hope for. They blazed through about twenty songs (twenty five with the encore) in a little over an hour. Every album was covered, every era of the band touched on. The bulk of the set came from their best selling and arguably most popular album 'A Comprehensive Guide To Moderne Rebellion', but they also got around to playing about half of their impressive newest record 'Peace In Our Time'.

Which had a great reception from the crowd, considering it's only been out since April.

The biggest responses came from the staples though, with songs like 'Darkest Days', `Last Believer', 'Weight of the World', 'One for the Braves' and 'Yesterday's Headlines' provoking the entire building into hearty sing alongs, with fists pumping and eyes closed, as if these are the songs that save lives. In some cases, I'm sure they are. This is another entertaining facet of punk rock at Doc's: with the band sharing the same floor space as the fans, and the fans so close to the band, the band had to do some fancy footwork at times just to be able to play their instruments and singer Russ Rankin had the distinct pleasure of having many of these song's lyrics spit right back into his mouth by passionate carolers.

I wasn't old enough in the 80's and early 90's, before punk was too huge to matter anymore, to experience the rise of punk's elite. But for over an hour on October 18th at Doc Willoughby's Pub in downtown Kelowna, B.C. (Kelownafornia, as the band put it), I had an idea of what it would've looked like. And that alone makes Doc's one of the best venues in town. www.grpunk.com www.facebook.comigoodriddance WWW-twitter.com /9 r_p u n k

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"THAT'S THE SPIRIT' NEW ALBI& _OUT 11 SEPTEMBER

New Noise Music Festival Wraps Up Four Days of New Music in Santa Barbara Article and Photos by L. Paul Mann The New Noise Music Festival wrapped up it's seventh year as Santa Barbara's premiere new music event. On Thursday night October 15th, the festival began with a set by the young Santa Maria rockers the Royal Suns, at Velvet Jones nightclub. They were the first of over 50 bands to perform over the next four days as part of the festival. The Thursday night festivities continued up the road at Soho nightclub, with an opening set by another Santa Barbara band, Mexico City Blondes. The band is composed of a core male female duo with a group of backing musicians, featuring a sound that sort of meshes old school folk music with modern electronica. The early crowd seemed to love the groove responding enthusiastically. The next set at Soho was even more electronically inspired, in keeping with the theme of the night. Baio, who just came from a recent appearance on the Jimmy Kimmel show, features a duo led by Chris Baio, best known as the bass player for Vampire Weekend. The quirky dance oriented sound brought in a large crowd of mostly well dressed female fans, typical of an upscale Santa Barbara audience. Headliner, Penguin Prison, aka, Chris Glover closed out the night at Soho with his dance infused remixes of popular songs as well as his own creations. The last band to play opening night was the hardcore punk band, Retox, from San Diego. Whiskey Richards nightclub on lower State Street served as the hardcore headquarters for the four day festival. Retox closed the night in support of their new album "Beneath California" with a mash pit inspiring set.

Animated lead singer Justin Pearson bounced around the club, singing on the bar and joining in the mosh pit. It was a high energy end to a great first day.

The festival expanded to five venues on Friday, featuring lost of diverse music. Two of the most interesting groups were Ariel Pink and the Black Lips. These two bands drew a full house at Soho nightclub, with a ferocious set by hardcore post punkers Black Lips playing first. The Georgia band had a sweaty crowd, moshing early on, with their opening song "Family Tree." The mosh pit grew larger as the band amped up the sound with the song "Raw Meat," and then played more mainstream songs like "Modern Art." Lead singer Cole Alexander seemed bemused by the riotous response.

The band ended their raucous set with the punk infused "Oh Katrina!" and "Bad Kids."

Ariel Pink and the Haunted Graffiti played next. The set included songs from his newest release, "Porn Porn," and older songs from his previous albums. His band also played mosh pit inspiring songs like "Bright Lit Blue Skies," "White Freckles," and the psychedelic "Getting High In The Morning." Bassist Tim Koh laid down an infectious groove that set the tone for some good jams.

The Festival continued Saturday with another barrage of great music. But the highlight of the evening had to be the closing set by the rap duo Prayers.

One of the most unique and interesting acts in the lineup, the San Diego based band delivered a fierce performance. The band describes their music as Cholo Goth and along with the South African hip hop duo Die Antwoord, may play some of the most original mash ups in recent memory. Wild eyed lead singer, Leafar Seyer (His real name spelled backwards) belts out fierce vocals. At the same time mercurial electronic music maven Dave Parley lays down the Goth laden tracks creating a surreal swirl of original music.

The festival wrapped up with a street party in the funk zone on the final day, Sunday, 22 VandalaMagazine.Com - December 2015

Lime Cromeliage. Festiva October 18th. The line up featured a diverse mix of different Indie music genres, with some well known festival veterans. Fresno rapper Fashawn captured the crowd's attention in late afternoon and had the crowd waving their hands and shouting out the lyrics on several of his more well known songs. Santa Barbara's own Gardens and Villa played to a large crowd as the sun set over the ocean. The band brought their eerie folksy electronica sound to an appreciative home crowd, featuring much of their latest album, "Music For Dogs". Playing distinctively moody songs like 'Everybody," with the hypnotic chorus "Everybody wants the new you / No one cares who you are", backed with heavy synthesizers. Chris Lynch and Adam Rasmussen do the heavy lifting as the front me in the duo. Lynch's distinctive falsetto vocals define the bands moody sound.

His interesting vocal style ranges from an androgynous pitch on songs like ("Cruise Ship" and "Black Hills") to a deeper tone on songs like ("Thorn Castles" and "Spacetime"). The band mixes the sounds of electronic synths and wooden flutes reminiscent of early Jethro Tull songs, but with a decidedly Southern California feel.

The festival ended with a triumphant set by the New York Hip Hop duo Run The Jewels. Their infectious groove captured the imagination of the large crowd gathered for the festival finale. The 40-year-old veterans are experiencing long-delayed success. El-P helped New York's hip-hop underground blossom in the late 90s as one-third of Company Flow, then forming his own Definitive Jux Records. Killer Mike, meanwhile, was a protĂŠgĂŠ of fellow Atlanta Hip Hop superstars Outkast. The pair came together as Run the Jewels, and won a whole new, rapidly growing fanbase.

Their music is a throwback to the intensity of Run DMC, but with a more modern upbeat rhythm with a backbeat of dubstep. The duo led the crowd into a fist pumping finale and closed another great year for the New Noise Music Festival in Santa Barbara. www.newnoisesb.com (Photos on the next page)

December 2015 - VandalaMagazine.Com 23

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Kings Destroy, Black Cobra and Yob at Webster Hall Article by Matt Bacon Doom metal is an incredible and strange force. Getting a chance to witness it in an intimate and profound set up - as was had last night at the Marlin Room in Manhattan's magical Webster Hall. Three of the most notable bands on the scene came together for a surprisingly early show that culminated in an evening to remember. Too rarely in this day and age do we get a chance to revel in the sublime beauty of doom and feel the eternal power of the art as it washes over us - last night gave New York City the sense of liberation it needed.

Kings Destroy were up first with their distinct brand of doom that borrows from a variety of sources whilst sounding like none of them. These guys create music that is bombastic - powerful, epic and grandiose. Its the sound of freedom and peace - a solution to the typical calamities that plague everyday life. This is one of those bands that speaks to a basic truth, a central bitterness that seems to guide the music along.

And yet as these graying metal veterans prove - there is a triumph beyond the struggle that will give us a meaning to live and carry on. Kings Destroy where there to open the path and prepare the gathered masses for what was to come.

Up next was Black Cobra - now even though I had seen them two days prior at the Brooklyn show I was still enamored with what they do. There is a wonderful intensity to their live show that you find in far too few bands these days. Black Cobra stand a head and shoulders above the rest - unleashing devilish sounds and apocalyptic majesty to prove once again that they are one of the most potent bands on the scene today. There is a distinct inherent drama to what Black Cobra does - it infiltrates the monochromatic sonic pallet of the band and leaves you writhing, reveling in the sense of demented fury that this band so easily provokes. Black Cobra are a hell of a band to get lost in and watching them live will never get old.

And of course - how could I forget Yob - the one and only, the almighty, possibly the best live band in the world right now. I noticed, as the band thundered through the entirety of 2014's Clearing The Path To Ascend that I was not the only one wiping tears from their eyes. Yob provoke a visceral emotional response from people - one that is impossible to ignore and incredibly satisfying. Perhaps more than any other band today - Yob evoke the sort of grandiose images that were once only attributed to geniuses like Wagner. Such is the magic of Mike Scheidt's songwriting - that he can push limits and craft bold new sonic landscapes of the sort that have never before been conceived. Yob are forcing us all to face our own humanity and give every single person in the audience the chance to transcend.

Webster Hall is always a disconcerting place to see a metal show. The fact that it turns into a dance club after metal bands invoke old forgotten spirits seems strangely sacrilegious. But then again - I make my living off of sacrilege - so who am I to complain. And those of us that been there, those of us who had seen... we knew. We knew that greater things had come to pass than many of the ravers would ever realize. And while they were in for a fun night of their own - perhaps the last chance for salvation had already come to pass. www.kingsdestroy.com www.blackcobra.net www.yobislove.com 28 VandalaMagazine.Com - December 2015

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3 Inches Of Blood Farewell Concert Article by Jeff Black

Time, what is time? The force that grinds mountains into dust, the force which dries oceans and sees civilizations spark into empires, only to sputter and die. It is the joy of spring and the squall of new life. It is the stench of decay. It is the force the brings the young and hungry together, united by axes and honour and fantasies of eternal fame, and it is that same power which extinguishes the dream as warriors grow old and champions lay their blades to rest. Time made her fickle presence known as the Canadian crusaders 3 Inches Of Blood led a two-day siege upon their homeland, the final battle of their career.

I must admit that I had been on the fence about attending the Sunday performance.

The band had made an impact on my teenage heavy metal listening, the album "Advance And Vanquish" eating up minute after minute after hour of battery life on my discman between classes and during breaks at part-time jobs. However, it had been years since I'd spent any time with their music. Their last album came out in 2012. I've never heard it. Even the previous record (Here Awaits They Doom) I've only spun once or twice. In the years since leaving high school I've become a world-weary and cynical Defender Of True Metal and lost touch with my gateways into the genre.

So I accepted the ticket (graciously proffered to me by a friend) with a careless shrug an attitude bordering upon apathetic.

Whatever my state of mind had been prior to their set, 3 Inches Of Blood transported 30 VandalaMagazine.Com - December 2015

Lime @omen-age. Varwaumer, BC me back into my awkward teenage years with their raucous energy. Frontman Cam Pipes lives up to his name on stage with pitch-perfect delivery, tight and meticulous and sharp, like master-forged steel. The whole band is a powerhouse, from snare rolls to Dio shirts to guitar solos. Commodore Ballroom became synonymous with the seventh layer of Hell as the red lights flared during the classic "Wykydtron." The bands show is less ridiculous than you might figure, considering their name and imagery. There are no swords onstage; no riding of motorcycles or animatronic dragons, nor are there video screens or prerecorded samples or stagehands dressed in period costume. While they know a few party tricks, their show is strictly five dudes working a stage like the seasoned pros they are with a barrage of lights and sound and a big f*ckire banner with the number "3" emblazoned thereupon.

This was not my first 3 Inches Of Blood show, but it was probably the best I'd seen from them. Portions of "Heaven And Hell" and "Tom Sawyer" revealed themselves like hydra heads in the mists of original tracks, appearing for a flagship riff and a verse before vanishing into the ether. Pipes' impression of teddy Lee is much better than one might expect and leads me to hope that his tribute band (Xanadudes) will continue to perform. The band members went behind the mic between songs during their second set to say a few words of gracious thanks to the sold-out crowd before them, trying desperately to sum up a sixteen-year career in less than ninety seconds.

They also invited original guitarist Bobby Froese to join them for "Balls Of Ice," another high-school staple of mine. However, the entire show was perfectly topped off during the encore, when Jaimie Cooper, the bands original harsh vocalist took the stage to rip into a triple salvo of "Night Marauders," "Goatriders Horde," closing with, of course, "Deadly Sinners." The room hummed electric as Cooper commanded all those in attendance to "take one last step before you die!" before the performance crashed to a final halt. If you wanted closure, this would be it.

I'm not going to speculate. I'm not going to SOLELY INDEPENDENT lament and I'm definitely not going to use the Laos, Touting. Mutic Arid break-up of a band as a soapbox to stand CvrrY r alion Wilh Arnie Otte upon in the name of some other agenda. All I can say, will say, want to say, is that there was a band from Vancouver called 3 Inches Of Blood. They were born, they lived, they loved and they laughed, and then they died. Despite PPP I ALBUM what detractors might have you think, they 60TriE LENS_ did all of these things well. This farewell tithe fale back Oli. LOPE FrukleS Dy LCA concert was not a funeral. It was a I ROMANCE celebration. And while Lady Time has issued INDUSTRY EMEMINIALLY COD isltfiat $ her claim upon this group, they still had FOHE 113LS Bal MMA)" •.

41.0.4 THE GREAT Pftesat l'edanala enough magic up their sleeves to transport Ftnierlitbikig .: • . yours truly back through time into his p' eighteenth summer, where he stood on a muddy field in Germany, watching the same LONG LIVE HEAVY METAL1 band perform at the Wacken festival in 2008.

MUSIC NEWS WO Shane Clark The Devil Townsend Piled Reienis So here's to them. Let's hope more bands Teaser Truer S ND Roy-Set REVIEWS have the balls to do what they did.

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Rock Royalty Unite For Epic Concert Jam To Benefit Rhonda's Kiss Article and Photos by L. Paul Mann A veritable army of veteran rockers showed up to jam at El Rey theater in Los Angeles, November 3rd. The event, which may have been one of the best rock shows of the year, in Southern California, featured the Hellcat Saints. The band was the idea of former Velvet Revolver guitarist Dave Kushner and was formed for a valiant cause that's personal to Kushner. The concert was organized by Kushner and comedian Bill Burr to benefit Rhonda's Kiss. That organization was formed in memory of Rhonda Stefanski, who died from pancreatic cancer in 2014. The nonprofit provides funds to cancer patients who can't afford advanced treatments.

The band features a line up revolving around some of Kushner's former bandmates and a onetime jam with some iconic rockers. The line up included; Billy Idol, Dave Navarro (Jane's Addiction), Juliette Lewis (Juliette & The Licks), pop singer-songwriter Kesha, Duff McKagan (Velvet Revolver, Guns N' Roses), Dave Kushner (Velvet Revolver), Gilby Clarke(Guns N' Roses), Mark McGrath (Sugar Ray), Josh Freese (NIN, Devo, A Perfect Circle), Billy Morrison (Billy Idol, The Cult), Steve Stevens (Billy Idol), Donavon Leitch, singer-songwriter Jamie Commons and a surprise appearance by ZZ Top lead guitarist and vocalist Billy Gibbons.

For music fans it was a great opportunity to support a good cause and get up close and personal with their favorite performers in the intimate setting of the historic El Rey theater. It was a dream concert for most in attendance, with inexpensive tickets gaining access to the show and an open unrestricted bar, complete with an array of gourmet appetizers from Wolfgang Puck, steadily pouring out of the kitchen. The excitement was palpable even before the concert began with fans lining up to watch the red carpet entrance of film stars and musicians alike. A who's who of Hollywood elite attended the event, and many paid top dollar for the VIP tickets which featured an upstairs meet and greet with the performers.

The evening began with a 30 minute comedy set by comedian and co organizer Bill Burr. The feisty comedian got the antsy crowd fired up with his biting and hard driving delivery. His set was followed by a somber moment when Rhonda Stefanski's son took the stage, and delivered an emotional but deliberate speech about dealing with the loss of his mother to Pancreatic cancer, and the organization that she started which has become her legacy.

After a short break, with many attendees taking advantage of the open bar, the red curtains parted and the musical performances began. The initial line up included Navarro and Kushner on guitar, McKagan (the only performer to be onstage for the entire show) on bass, and drummer everyman, Josh Freese. Singer, actor Donovan Leitch took the first turn as lead vocalist and the band exploded to life. On the second song Sugar Ray singer Mark McGrath quietly took up backing vocals from the edge of the stage. Then from what would be the format for most of the night, he switched off on lead vocals with Leitch. They sang a number of classic covers, including Sugar Rays' hit song "Fly".

Juliette Lewis took over the vocals next, with her well known channeling of Mick Jagger, and was joined by guitarist Gilby Clarke. Although lesser known on the national music circuit, Lewis has long been known in the local underground rock circuit in Los Angeles as an accomplished singer. Lewis launched a career as a singer 32 VandalaMagazine.Com - December 2015

and musician, leading the rock band Juliette and the Licks until 2009 when she went solo and released the album entitled Terra Incognita. She was featured on the track "Bad Brother" by the band The Infidels, from "The Crow: Salvation Soundtrack album," released in April 2000. Lewis also appeared on three tracks by EDM pioneer's, The Prodigy, on their 2004 album "Always Outnumbered, Never Outgunned" ("Spitfire," "Get Up Get Off," and "Hot Ride").

The show took a different direction when the next singer, Jamie N. Commons took over, beginning with a sit down song with McGrath and Navarro. This young Blues singer from England has garnered accolades and comparisons to some of Americas grittiest Blues singers from Greg Allman to Tom Waits.

The hard rock pace picked up again, when pop star Ke$ha took the stage. This young disco diva was on of the top selling dance trance performers since the release of her enormously successful 2010 album, Animal. The singer songwriter has also written hit songs for other top performers like Britney Spears' "Till The World Ends." The talented singer has largely been flying under the radar for the last two years, since here contentious break up with Dr. Luke's record label. The recording hiatus had not stopped her from writing and performing, however, and she is a well known supporter of charities from animal rights to the LGBT community. Although she is known in the pop world as an EDM party pop princess, her El Rey performance, this night, was to be no disco dance along performance. In what is fast becoming her signature rock song, the throaty singer channeled a mix of Robert Plant and Janis Joplin for a hypnotic rendition of Led Zeppelin's Whole Latta Love. Backed by the phenomenal band of rockersand a surprisingly good display of drumming by Bill Burr (who knew), the rendition was one of the most fascinating covers in recent memory.

The biggest surprise of the night came next when McKagan announced that Billy Gibbons had just been driving by and offered to lead the band in a couple of ZZ Top songs. His guitar duel with Navarro was one of those classic rock moments that legends revolve around.

The final set of the night was the most anticipated by many in the audience. Billy Idol sauntered on to the stage and played a triumphant closing set featuring both his original guitarists, Steve Stephens and Billy Morrison. The 59 year old charismatic and animated singer may have written most of his hit songs back in the 80's but the classic rock anthems have stood the test of time and his delivery continues to be top notch. From the fans holding his albums in the crowd, to the overzealous one who mauled him onstage and had to be pried loose from her literal idol, it was clear that Billy Idol was the crowd favorite in a night filled with some of the best live classic rock heard in a long time.

For more information on Rhonda's Kiss Visit www.rhondaskiss.orgievent www.facebook.comIrhondaskiss www.twitter.comirhondaskiss www.instagram.comirhondaskiss

Photos on the Next Page December 2015 - VandalaMagazine.Com 33

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NORTH AMERICAN TOUR 2015

OCT 29 SAN DIEGO. CA HOUSE OF BLUES OCT 30 ANAHEIAA, CA HOUSE OF SLUES

NOV 14 NEW YORK, NY IRVING PLAZA

NOV 25 NEW ORLEANS. LA HOUSE OF BLUES

NOV IS BOSTON. MA HOUSE OF BLUES

NOV 27 HOUSTON. TX HOUSE OF BLUES

OCT 31 SACRAMENTO, CA ACE OF SPADES NOV 1 PORTLAND. OR HAWTHORNE THEATRE

NOV 16 HUNTINGTON. NY PARAMOUNT NOV 17 PHILADELPHIA. PA THE FILLMORE

NOV 28 SAN ANTONIO. TX AZTEC THEATER NOV 29 DALLAS, IX HOUSE OF TRUES

NOV 2 SEATTLE, WA EL CORAZON

NOV 18 PITTSBURGH. PA ALTAR

NOV 30 TULSA. OK CAIN'S BALLROOM

NOV 3 VANCOUVER RICKSHAW

NOV 19 CLEVELAND. OH HOUSE OF BLUES

DEC 1 DENVER. CO THE FILLMORE

NOV 8 MINNEAPOLIS. MN THE CABOOZE NOV 9 CHICAGO. IL HOUSE OF BLUES

NOV 20 CINCINNATI, OH BOGART'S NOV 21 SILVER SPRING, MD THE FILLMORE

UT MURRAY THEATRE DEC 2 SALT LAKE DEC 3MESA, AZ NILE THEATER

NOV 22 CHARLOTTE, NC THE FILLMORE

DEC 5 LOs ANGELES. CA THE WILTERN

NOV 12 TORONTO DANFORTH MUSIC HALL

NOV 23 LAKE BUENA VISTA, FL HOUSE OF BLUES

DEC 4 LAS VEGAS, NV HOUSE OF BLUES

NOV 13 MONTREAL METROPOLIS

NOV 24 ATLANTA. GA TABERNACtE

NOV 11 DETROIT. MI

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On their first real US tour after thirty five years of being a band we got to sit down with Chris Boltendahl and talk about the motivations behind his music and the eternal power of speed metal!

So how are you?

Chris: Fine thank you! ITm really fine! It's a great tour with great fans. For the first US trip it's been a great experience. A lot of the shows are sold out and a lot of people are coming which is cool.

For you does this represent a step forward? Where does this fit in the Grave Digger legacy?

Thris: For us its a great opportunity to be opening for Blind Guardian since after 35 years of being a band it's our first real US tour. We can present ourselves in front of a good sized crowd. Traveling around the entire country is great.

What kind of fascinates me about you guys is that you're this band that for so long was ignored but is suddenly everywhere?

Chris; It's a new challenge for us. We are always looking to develop Grave Digger and get better opportunities, we don't want to step back.

Now that this has happened are you going to try to come back more regularly?

Chris: I don't know! We are on the road for another three and a half weeks and once we get home to Germany we are going to look around and see if promoters want to bring us back. We are open for everything!

Do you still have day jobs?

Chris: Some of us. But we try and live for music! I don't have a job though. It's been nearly twenty or twenty five years.

Is it easier for you being in Europe? Does that help? How else do you manage to make a living with it Chris: We don't get any support from the government. We are just constantly touring and taking advantage from the record company and selling as much merch as possible.

What attracts you so much to power metal that you made it your living?

Chris: We love it - we grew up with it and it's what we want to do! Our hearts and souls belong to this kind of music! It is the driving force behind Grave Digger.

From that - what was the moment when you were like "This is all I'm going to do from now on" Chris: I saw a Deep Purple cover band when I was in school and it kicked my ass and I knew I wanted to be in a hard rock or heavy metal band. From that time on I forced myself to reach that target.

So for you is Grave Digger more of a hard rock band?

Chris: No. It is a heavy metal band - not even power metal I'd say. When we started there was only heavy metal - no power metal. There are so many different styles now in the music scene that it's best to say we only play heavy metal.

Why do you think it is that you are so much bigger in Europe?

42 VandalaMagazine.Com - December 2015

IwYerview. aye Digger Chris: I donTt know. I have no idea. In Europe it's much more common to like metal.

Part of what's always attracted me to Grave Digger is how even within the sound there is a lot of evil It is a lot darker...

Chris: We've always been attracted to those ideas. When you grow up with Iron Maiden and Dio you end up fascinated with that kind of stuff. I'm not really into fantasy as much as the darker side of human beings. We are really into stuff like Edgar Allan Poe. I've been trying to get into Poe... what are you favorite Poe stories?

Chris: Fall of the House of Usher. I love the movie for that one too.

Why are you fascinated with the darker side of human beings?

Chris: It's funny. Beyond that, it's fascinating because there are so many different

views you can have. We put these ideas into a lot of our lyrics in a sarcastic way. You have to read between the lines What are you trying to communicate?

Chris: It's like a movie. We try to help people get visions when they listen to our music.

So music for you is purely entertainment?

Chris: Exactly. It's nothing else. We have no message.

Ace Frehley once said "Rock and roll is rock and roll" Chris: Exactly. Metal is metal.

What do you love so much about music?

Chris: R allows you to express yourself. You can bring it all out on stage.

Do you feel that your German heritage impacts your music?

Chris: When you listen to our music there's obviously the German accent but beyond that I think we sound pretty international.

Do you have any final words of wisdom for me?

Chris: Enjoy the show and check out true German heavy metal!

Catch Grave Digger live on tour in the USA and then Europe. And Don't forget to check out there latest album 'EXHUMATION - The Early Years' which was just released this October.

Links www.grave-digger.dei www.facebook.comigravediggerofficial www.twittercom/GRAVEDIGGERclan December 2015 - VandalaMagazine.Com 43

NOV 27 NOV 23 NOV 29 DEC 0I DEC 02 DEC 03 DEC 04 DEC 05 DEC 07 DEC 08

PHILADELPHIA, PA WORCESTER, MA MONTREAL, QC TORONTO, ON CLEVELAND, 011 C1NCIN I 1. OH CHICAGO, IL ritt INN EAPOLIS, MN LAWRENCE, KS TULSA, OK

TLA PALLADIUM METROPOLIS DANFORTH HOUSE OF BLUES BOGARTS HOUSE OF BLUES SKYWAY THEATER GRANADA CAINS

DEC 09 DEC 10 DEC 11 DEC 12 DEC 14 DEC IS DEC 16 DEC 18 DEC 19 DEC: 20

SAN AN TX DALLAS, TX HOUSTON. TX NEW ORLEANS, LA NASIIVI1 II. IN AIL AN I 1,, CHARLO1 I I NC NORFOLK. VA BALTIMORE, MD LANCASTER, PA

BACKSTAGE LIVE HOUSE OF BLUES WAREHOUSE LIVE HOUSE OF BLUES ROCKE TOW N CI-N 11., STAGE AMOS NORVA SO UN DSTAGE CHAMELEON

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OCT 29. THE MASQUERADE, ATLANTA, GA OCT 30. HOOLIGANS MUSIC HALL, JACKSONVILLE. NC NOV 1. AMOS SOUTHEND. CHARLOTTE, NC NOV 4. MARLIN ROOM, NEW YORK CITY, NY NOV 5. PALACE THEATER. STAFFORD SPRINGS. CT NOV, 6. JEWEL NIGHTCLUB. MANCHESTER, NH NOV 7, THEATRE FAIRMOUNT. MONTREAL, OC NOV 8. PHOENIX CONCERT THEATRE. TORONTO, ON NOV 10. ALTAR BAR. PITTSBURGH. PA NOV 11, THE ODEON, CLEVELAND. OH NOV 13. MACHINE SHOP, FLINT, MI NOV 14, THE SANDLOT ENT. COMPLEX. GREEN BAY, WI

NOV 15, HOME BAR, ARLINGTON HEIGHTS. IL NOV 17, POP'S CONCERT VENUE. SAUGET, IL NOV 18, JUANITA'S. LITTLE ROCK. AR NOV 19, SCOUT BAR, HOUSTON, TX NOV 20, CINE EL REY. MCALLEN, TX NOV 21, GAS MONKEY BAR N' GRILL, DALLAS, TX NOV 2, CLUB X'S,TUCSON, AZ NOV 24, THE YOST THEATRE. SANTA ANA, CA NOV 27, ACE OF SPADES.SACRAMENTO, CA NOV 28, KNITTING FACTORY, RENO, NV NOV 29. ROCKBAR THEATER, SAN JOSE, CA

TICKETS AVAILABLE AT: WWW.AMARANTHE..SE

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Hansi Kum* is an interesting guy - and a friendly one at that. A truly defining figure in the power metal scene (Even if he doesn't fully identify with it!) He gave an incredibly interesting interview where we got a chance to get into the true motivations behind his art.

So how are you?

Hans': Not too bad. This is our fourth time here and today is going to be cool - we will have a huge crowd and New York is always special. Tonight will be great.

How has the tour been so far?

Hansi: Very successful! We only come every four years! The people are aware of that so they have a certain desperate need to get to the shows. The atmosphere is great everywhere. Before this we toured South America and that was intense! The shows here on the East Coast have been fabulous!

That sense of exclusivity you get is awesome... where you trying to cultivate that?

Hansi; I believe its important to give a little time to work on people. I believe in not over-saturating the market. Four years is a little too long though - but that's how long songwriting can take with Blind Guardian. That's the way it is. That creates this big gap in between two touring periods which turned out to be beneficial to us. I would not mind being back in two and a half years or so. I don't think we should tour hear every year, but four years is a little too long.

And it's surreal because I have a lot of friends who are really into power metal who have never seen you guys!

Hansi: I don't even think about that because in Europe there is no age limit on shows.

You can go as soon as your parents allow you. I'm not aware that people have to turn 18 or 21 to attend a Blind Guardian show. There are people who have been getting into metal over the years who grew up with us and now it's the moment. That's a nice thing that I never have in mind. I only realize that when I read the Facebook messages and see 17 year olds who can't come which is unfortunate. The good thing is that we still have these young fans. It would be a shame if there were no young people into metal.

What do you think draws people to Blind Guardian?

Hansi: I think it's the intensity and the individual approach of the metal we are delivering. I think they like the melodies but also that we have the harshness which drives us away from other power metal bands. We are not pretending to be something. We mix in a lot of genres and have done that since the beginning. It's also the fantasy spirit to the music but I don't think this is as essential.

Why not? For me the fantasy was what drew me in...

Hansi; It's just a feeling. I don't know for sure. Some people probably look at it differently. When I relate to music an image occurs. If I just listen to the music Bind Guardian already evokes a fantasy image. ItTs just through the creation of images. I was not as focused on the lyrical aspect of the band as the music itself. For many it might not be the same at first. I know a lot of people got in because of Tolkien though but we also got a lot of people into him.

48 VandalaMagazine.Com - December 2015

Inherview8 Hansi Kurisoh So what attracts you to fantasy?

Hansi: I like interpretations and analogies. I can find that in many fantasy stories, especially the Tolkien stuff. If I want I can analyze it and get a lot of reality from it but on the other hand I can enjoy it for the sake of the story. If you go deeper into it you find a lot of very personal stuff about how I view society but you can also take that away and ignore it if you want to. It's the same with fantasy for me.

What I've always wondered personally is... was Tolkien your first step into the world of fantasy?

Hansi: That's a good question! I was originally into horror and I really liked Stephen King. A guy in school recommended Tolkien to me and I wasn't really sure about the guy so I figured... if he likes then it might be a little cheesy. That was my introduction to The Hobbit! I avoided that book for years. But then I found out my sister had it so one day I read it and I was blown away! I didn't know about The Lord Of The Rings until my sisters friend told me about the book. I ended up getting it for Christmas!

I was into science fiction. I was into many things. But this was the first time something struck me so hard.

Obviously in science fiction you get analogies too, same with horror. Why do you prefer to put your music in a fantasy landscape as opposed to a sci-fi or horror one?

Hansi: It's the language of the music. If I listen to the music I really get the feeling that it has a certain narrative approach. So fantasy fits a little bit better. I try to bring in a little bit of horror and sci-fi because the stories attract me and when a song is harsher or futuristic feeling I can work with these elements. But for most of the parts Irm drawn back to fantasy. Obviously that's a win win for me because I read a lot and I get to read stories and try and find if they are a perfect match for whatever I'm reading. I relate to it that way. There is no grand scheme. If it's a perfect match - it stays like this. If I feel that the song changes or it doesn't fit then I change the lyrics, but in most cases it is fantasy. Our music is larger than life so our storyboard fits very well.

I could go completely into mythology and do that Wagner like thing with Tristan and Isolde and the Siegfried Saga and that would fit well. From time to time I touch on that. But that's pretty close to fantasy anyway. It's the same with bible stories. The good ones have the same narrative story approach. You can enjoy them even if you are not faithful. If I feel it fits best with the music then I do it.

In rare cases it's something abstract or reality based but that requires a very particular Blind Guardian song.

You play bigger crowds all over the world - the smallest power metal audience is in North America. How does it feel to play to much smaller crowds?

Hansi: It depends on the venue itself. Like if it's a smaller one that is packed it's such an intense feeling it creates the same feeling as a big show in Europe. But if it's a fifteen hundred person venue and you draw five hundred people it's hard to get the same vibe going. It's a challenge, but we like to take up that challenge as well. It motivates us.

I feel that we are something of a hybrid band. We can adjust to any size venue. When we play smaller venues we need to know how to get the same excitement out of people. Even if we are playing to two hundred people most of them are so dedicated December 2015 - VandalaMagazine.Com 49

and familiar with the stuff that we need to give our best because they would realize that we weren't very quickly.

You're probably the most influential power metal band in the world. How does it feel to see a new generation of bands coming up that where derived largely from what you did?

Hansi: I still have a problem with the term power metal. It is very difficult to say that everything we bring into our sound fits into power metal. I view us as a heavy metal band. When we started we viewed ourselves as speed metal band.

But I do know that a lot of young bands are motivated by what we do. I just want them to feel free to try out whatever they want to try out. I feel that a lot of power metal these bands are stagnating. A lot of these bands do what they do well but that's it.

They don't want to move on. In the 90s it was a little more diverse, people brought in classical elements and stuff and not every album felt like a logical consequence of the previous record. Our mission is to show that time passes quickly and you can always adjust. You do not have to deny yourself but you have to grow with the time. You always need to adjust. I'm happy with our status in the scene but I'm still hungry!

Do you want to name any of those stagnating power metal bands for me?

Hansi: (Laughter) Of course not! But it would be a long list!

I remember in a discussion with Kai Hansen that he too had an issue with power metal. I think growing up we viewed ourselves as speed metal and power metal was more bands like Vicious Rumors or Metal Church. Then it changed into something which in the 90s would have been called True Metal like the Hammerfall stuff and then this ended up becoming power metal. Nowadays everything which is 'traditional' is being called power metal. What I call traditional is usually heavy metal but there's a wide range of elements you could put in there. Obviously it's just a definition, if someone calls us power metal of course I'm not angry and don't feel offended. Maybe we should just keep it as it is because a majority of people view it as power metal even if we think of ourselves as heavy metal.

What do you love so much about music?

Hansi: The emotions and dynamics. The freedom it gives me. It allows me to really have a good time. It's connecting people. Not only metal but music in general. It is an important source of our humanity!

Be sure to grab their latest album 'Beyond the Red Mirror' which is out now tared catch Blind Guardian in a city near you or online: www.blind-gua rdian.com www.facebook.comiblindguardian www.twitter.comiblind_guardian www.youtube.comiblindguardian www.instagram.comiblindguardian www.nuclearblast.com 58 VandalaMagazine.Com - December 2015

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Brandon of So Hideous is a fascinating dude. Distinctly friendly - an aspect that's sure to come in handy for this elementary school teacher and incredibly intelligent his band So Hideous has just put out Laurestine, an album that may very well be the post metal record of the year. So Hideous understand the true struggle of human existence and this has led them to create a cleansing and powerful sound that no other band in the world could dare to emulate. Potent and exciting - this is almost certainly a band to watch.

So how are you doing?

Brandon: I'm pretty good actually! A little horse after the show that we just had and I'm not even singing! I'm just playing and parroting what the vocalist says without a mid I'm excited too! We just played the record release show, we've been dying to get it out, we've been sitting on it for a while. We were stoked to do the release show at a place that helped us out years ago when we were unsigned.

So you're honoring your roots by coming back here?

Brandon: It was interesting. When they came to us they almost did it as a troll, just kind of scoffing and we were like "No, we would love to play ABC No Rio again!" We hadn't been here in a couple of years and as long as the music translates and the passion is there... People were just as into it as at any other venue. People closed their eyes on the quiet parts and got really into it on the heavier parts. It's always nice to be asked and to be pursued and have them say "Before the record comes out, let's lock this down!"

How does it feel for it all to be happening and to be saying So Hideous is putting out one of the best records of the year?

Brandon: It's kind of a mixed bag... I know maybe the other guys in the band will tell you differently because they love that stuff and pay attention to it. I try not to because while it's definitely appreciated if you believe the hype you have to believe the backlash too. You can't base your self-concept on certain comments and not others.

It's nice and it's welcome and of course we're helpful for it helping our profile. We work hard for people to hear the record and were glad people have an opinion on it but I'm reticent to be swayed to heavily by it! It's nice but we're still a rock and roll band in Brooklyn and have to work to pay our bills! Were still in the infancy of the album release cycle though seeing as the record only came out last week. We'll see what happens six months from now, who knows.

What do you think will happen six months from now?

Brandon: I hope to still be playing behind it but have some things coming more with ease. Maybe we wouldn't have to be seeking so much as much as sought after. If your name is out there then more of the leg work can be done for you. We're all balancing full time jobs and families and in our spare time we have essentially another full time job. It would be nice to only have to focus on the music instead of the other equally important industry stuff.

Do you guys not have a manager?

Brandon: We do. But when they came on it was very grassroots. We have grown a lot with them, but ultimately there's only so much that people are going to do for a band 56 VandalalMagazine.Com - December 2015

at this level. The majority of the money coming in is to sustain this thing. We'll have it where we activate a PR campaign for X amount of time or work with a promoter for X amount of time. The management is the only thing we have in house. It would be nice to not have to have those conversations and instead just say "Okay, where do we have to play?"

I understand that this is a business but we never want that to supersede the music.

Sometimes you find yourself at a point where you haven't written a new song for six months but you're working on this PR campaign, or you're worrying about tours or something like that It would be nice to jump up another level and then be able to only focus on the songs.

Do you think that having to deal with the business hurts you as a band?

Brandon: A lot of the time we'll see bands that are road warriors, but everything they do seems to be geared towards the business aspect of the band. They compartmentalize when they are writing songs. They say "We will write a record in these three months, and then tour the rest of the year" It's very stratifying. Whereas for me we will be on tour and say "Guys drive me to Guitar Center! I have an idea for a song in my head and I need to get it out!"

It's tougher to do that if you have four interviews planned that day and have all of that stuff to handle. I think its more about finding a healthy balance. You never want to be ungrateful or condescending, but let's not lose site of the reason we do this! We like to hear the noise that we make!

Speaking of which... a lot of people called the record transcendent...

Brandon: I find the verbiage with that kind of stuff interesting. I wish I had better answers sometimes for people.

It's as clichĂŠ as just hearing a sound in my head, going to the piano, and liking it. For Laurestine the idea was to write it as a symphony. It works as one piece.

That was the main idea. From there all of the stuff that I was really plagiarizing was Beethoven and Vivaldi and for me that always felt transcendent. I don't know how else to put it. Even if you don't believe in God it feels like church.

Even if you don't care about stuff it can still make the space you're listening it in into a cathedral. You really feel it.

So what is your musical background like?

Brandon? For me it started like most kids in elementary school and band. Then I moved on to piano and got lessons for a few years before I stopped. I kept it up on my own though. I learned guitar as a necessity just to be loud. I don't consider that my first instrument and I don't consider myself to be a guitar player. I like to compose on the piano because I can see the tracks globally from there and play the songs in one sitting and present them to the band and then reverse engineer it from there. I've December 2015 - VandalaMagazine.Com 57

TRierivoiew, Eto,ols„ cita de ajjo. the auture tried writing on guitar but for me it doesn't work. I like to hear the full work.

Did you go in with the goal to writing movements to Laurestine?

Brandon: The idea was always for it to be connected which posed a problem because we wrote it out of sequence. Some parts came together more easily than others. We wrote the middle first. Then we spent like four months on the track Whisper because the time signature was f*cking us up. Then we had to go back to the beginning which confused the guys.

But once we got those three songs out of the way - the ones that had a painful birthing process, everything else fell in place rather quickly.

One thing that struck me while watching you guys and Black Table is the tendency for 'beautiful music' in metal. Why do you think that movement, with bands like Alcest, SubRosa and obviously So Hideous, is growing now?

Brandon: I think a lot of it has to do with the potluck of influences that these generations are having. Cross pollination is a lot easier now. I remember when Chris, my brother, and I were growing up in a rough neighborhood in the Bronx you could be crazy about a lot of different stuff. Now I'm a teacher and there are minority metal head kids too and that's their sect. Everything is in an interesting place. Before it was very antagonistic but now it seems to makes sense that someone my age could have grown up listening to Smashing Pumpkins, Cannibal Corpse, and Wu Tang Clan.

What do you teach? How old are your kids?

Brandon: I teach K through 5 so they are from 2 to 11 years old and right now I'm teaching math and science. I was teaching music but they had a shortage of teachers for the major subjects so we had to jump in the fray. It's challenging but it prepares you for managing a band.

For all of us I get really pissy when a song isn't working and I need more even tempered people to help me out. It's like every band - what are you putting in front?

What's our goal and when can we put it out? If you're spending all this time and money doing it then you might as well!

Do your kids know you play metal?

Brandon: It's actually really funny because they will say "Oh Mr. Cruz is going to play his..." and then they try to approximate a metal riff with their mouths. They ask "Are you going to play with your friends who wear black all the time?" And I say "Yes - yes I am!"

The ones that know though, I think they enjoy it. A lot of them had no idea that you can do things. It sounds very basic but they have no conception of it. For me as a male teacher there in with them.... first of all a lot of them didn't think that men my age could be teachers! They're used to older women screaming at them. Now they have someone who came from their schools teaching them.

I also grew up in those classes learning scales and arpeggios and all that stuff kids hate to do - but now I'm writing a thirty piece orchestra! For the most part, I had to go back to school to learn it, but for the first EP's I was self taught. It's nice to see them where I was twenty years ago and be able to say "Don't get caught up in it!"

You mentioned cathedrals and churches several times... are you religious?

Brandon: I would like to be! I would like to be able to vest my trust in something at 58 VandalaMagazine.Com - December 2015

that level, but unfortunately my skepticism always gets in the way. But I love the iconography and the atmosphere. I appreciate it sonically for the hymns as well as the buildings and the art and also for the stories. That's not something I feel comfortable trusting in yet, but I'm not antagonistic in that childish way where its like "I don't like this so I need to be the other!"

What do you love so much about music?

Brandon: I love the limitless possibilities! I love the idea that we can make these sonic colors, and I love how it builds bridges between people. It allows me to talk about so many different things and brings me into contact with people I never would have otherwise talked too! www.facebook.comisohideous

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An Interview With Author & Punisher

Musician, sculptor, inventor, mad scientist. Tristan Shone, better known as Author & Punisher; has earned these titles and then some by creating an elaborate series of heavy, mechanical instruments and voice-modulating masks, surrounding himself with them, and playing them with every part of his body in use. The result: a sonic portrait of man's place in a mechanized universe, and the machine's place in ours, part industrial, part doom, and sometimes flavored with elements of singer-songwriter and pop music. The human element in these cold sounds particularly shines through on his latest release, Melk En Honing, on tour for which, he sat down with us pre-show to talk metal, both physical and aural, while holding a wrench.

So how's the tour been, and why Muscle and Marrow [openers]?

Tristan: The tour's been great. I really wanted this one to be a little bit different. I just wanted to delegate and control what was happening at each show, the feeling of it. I think when you tour by yourself you can't do that. So I really wanted to bring a band that I thought was really heavy but had an element that just wasn't pure metal.

Muscle and Marrow has very restrained, but very sorrowful songs, beautiful, with almost a bit of an electronic vibe to them. They're from Portland, two-piece, female vocalist, drums.

When Author & Punisher tours, is it just you traveling alone?

Tristan: It's just me, but I have a guy, his name's Will Michaelson, Cut-Mod he goes by, he's basically like a visual artist. He does all the projections and lighting design.

That's his specialty. We do a lot of custom projection mapping and take all of my sounds and kind of run them into his system, so all the lighting's really controlled by the intensity and the pitch changes and whatnot.

He also knows my set-ups, so if I'm sick or something goes wrong, he can run up and replace something. He understands how it works. It's hard to find somebody like that.

He's been with me since the first Phil Anselmo tour, which was like two thousand thirteen.

Speaking of Phil, what did he bring to the table on this last album?

Tristan. He brought a lot. I wrote all the songs and then I went, after Housecore fest last year, and recorded with him at his house for about three weeks. I knew that I didn't wanna have any filler tracks on this album; I wanna keep kind of a singular vision and not stray off and have a couple quiet songs to give a break. I really wanted everything to be powerful. I do have a lot of softer music I play, and that was not an option.

And, then he, the vocals, really forcing me to push my vocals a lot harder - well, I guess I should say be a little bit more clear about them, instead of hiding them in a lot of effects.

Yeah, the human element really comes through all the coldness here. I feel like the last two albums in particular have been very empathic.

Tristan: Yeah. That's one of the reasons I took Muscle and Marrow with me. I didn't wanna have - y'know, part of touring is emotionally exhausting and I think having some people along with you that have that side to them, rather than just "drinkini beer, smokin' weed all night long". That's not the way my tours are. We do drink a lot, December 2015 - VandalaMagazine.Com 63

Inerivotew mioses of Rawer and we have a lot of fun, but we also go to art museums, and talk about books, movies, and stuff. I just wanna make sure that that's part of my tour. Same with the album, really, that's who I am. I think the heaviness comes from a different place than just angst-y anger or something.

I'm not sure if you wrote this or not, but on your bandcamp it says there's a focus on "the eroticism of the interaction with the machine".

Tristan: Oh, that's me, yep [chuckles]. I wrote that a long time ago, when I was first coming up with a bio. Maybe I was applying for a grant or something. I wouldn't say it's sexual, but there's definitely something about the way two mechanical elements work together. When you find a machine that has that beauty to it, it's something very erotic or satisfying, pleasurable about interacting with it.

I'm really obsessed with materials - just today I was at the store - if you buy a screw or a castor wheel that's made of zinc-coated steel, rather than a stainless steel, you just can tell that zinc-coated steel, it kind of shreds and breaks down really easily. For me it's all about using quality materials that don't break down, and even the surface coatings and how one thing glides over another. A good bearing has really good components that you can just feel the way it spins. There's no bumps, but there's the perfect amount of resistance. That, to me, is why I make my machines. When you're making good music and interacting with your instrument, you really want the quality to be there. It's almost like a Gibson, y'know, like a Les Paul Custom compared to a cheap Ibanez-knockoff. You just know, when the two pieces meet. Yeah, eroticism, that's what that is Do you feel like these machines and these masks have their own sorts of personalities?

Tristan: No, I just think they're cold. I don't think so, not at all. People say that sometimes, but I don't feel anything. To tell you the truth, I think it's kind of a misinterpretation to think that there's any kind of robotic or really high-tech thing going on. Really what this is like a return to very low-tech industrial revolution technologies. There are some electronics inside that are maybe advanced, but not that advanced. The actual instrument action that I have with the machine, the thing that slides or moves is very simple stuff. There's motors in there and potentiometers, but those have been around since the '40s and '50s. I'm using ball bearings, slides, and knobs. There's nothing complicated about that. For me it's getting away from these massive button-knob controllers that do have complicated algorithms doing things that you don't have any part of. This is all like you're doing everything. Your direct interaction with the machine is what's creating the sound so you understand that one-to-one relationship.

So it's about as digital as a bicycle?

Tristan: Yeah [a "more-or-less" kind of "yeah]. It's about as digital as a bicycle rather than a sequencing drum-machine that you program in some algorithm or randomizer, that you're just doing something random and that's doing all the work. I mean, that's cool too. I'm amazed with what some of these guys can do. I'm not one of those people.

I read in Wired that the machines mostly interact with Arduino boards. What do you get out of those that other microcontrollers can't do?

Tristan: I use Arduino and I'm starting to branch out a little bit to get into some of these other micro-controllers like raspberry pie, there's a lot of new boards that are 64 VandalaMagazine.Com - December 2015

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allowing you to even create your own digital sampler with basically the innards of a small laptop or a Mac mini. So you can basically make your own software controller inside of your instrument. So you turn your instrument on, plug your power cable in, that's where I wanna get. I don't wanna have this other computer. I want each thing to switch, have maybe four options, and then I don't have to think about it.

But, getting back to the Arduino, it is a good start to that They allow me to basically take all of my sensors, and buttons, and knobs, move'em, slide 'ern, push, and translate that into USB or midi data. That's just really simple commands that I program. There's some complicated shit there to make it, if you wanna get detailed, class-compliant USB, that you don't have to have weird little processes running on your computer to translate different types of - taking serial data and making it into something midi-readable. That was a difficult task. So that was something that you have to reprogram. There's a chip on there other than the Arduino board. There's some tricks there that people at Stanford, at the music department, have worked on.

I used to dork out a lot on what was inside what I built. I would spend so much time and be so anal about the way the code worked because I wanted it to fall certain standards. I would obsess about it to the point where I wouldn't - final product was really what mattered, when I'm on stage, so I focus less. I really just try to get what I want achieved rather than focus too much on the tech, 'cause, for example, there are better microcontrollers out there, OSC commands, which is like another - it's supposed to be better than midi; it's much faster. Midi apparently is really slow, But the thing is, everything I play is really slow, y'know? I play really slow music; I don't need a super-fast controller. Things like that, trying to keep it as simple as possible, `cause the final part matters.

I read that, in addition to engineering, you were sculpting for a while.

Tristan: Sculpting, yeah, I was in a visual arts program and UCSD, like the grad program. My focus was sculpture and tech, but, to tell you the truth, it was basically a conceptual art program. Sculpture, for me, was just machining, milling, and lathe, and 3-D fabrication design. I've never worked with a ball of clay or anything like that, just 3-D solid works, and, to tell you the truth, I never went through like a sculpture program, per se, so I was never trained in that. I can't draw very well; like, I can't draw you, very well at all [chuckles]. So I'm definitely cad, solid works, machine design.

Do you have any non-musical machine endeavors in your life?

Tristan: I don't have time. I have some ideas and I've built some stuff, but I really feel like they're kind of - if I can't interact with them, they're not as satisfying. Yeah, like kind of clever, sculptural, kinetic sculpture ideas, but, for me, I found that connection and I wanna keep pushing it.

I had one where - you know, you find yourself playing music and you find yourself in these positions, like, your poses of power, and I kind of wanted to make inverses of these poses of power that you get yourself into music or whatever you do. So kind of the inverse of what your body would be. So you go up to up and put yourself into that position. But it's a very personal thing, and I just don't have time to go explore that to the extent it needs to be explored. I barely have time to fix my van when I'm home, and then design new instruments, which is my goal right now.

Speaking of, are they any new gadgets on Melk En Honing?

Tristan: Well, I have the masks. I do some gallery shows too where they're not even December 2015 - VandalaMagazine.Com 65

really amplified, and that's more what those masks are for. So we recorded them on the album, but they're really hard to mic up. I've brought 'em on tour before, but I've just found them to be more cumbersome. Through the month of December, when I go to Europe, I'm trying to bring them with me, but I just haven't had the time to get them worked into the set, because they're not part of my core, y'know, my rhythm, my synths and my oscillators, they're not part of that. They're more noise chatter.

But, yeah, next summer, I've got a whole slew of new things designed, so I'm excited to get workini on it.

On "Future Man", what is "the load we're hauling"?

Tristan: I think this song is one of those country music tracks where the lyrics are really broad and can just mean something very lame - and I say lame just 'cause it's like a love song where the words are really cheesy. I think it's just a typical kind of sad time in the world right now and our age - I don't wanna have kids because I don't want them to grow up in a certain atmosphere, so I think that's what it is. We're dealing with the problems of previous generations that we're gonna have to carry around, and that could be environmental problems that our dads who worked in factories created through disasters and spilling and stuff, maybe it's wars and the fact that we have to go to other countries and not be liked by other countries because we did terrible things. Yeah, that's kind of it. Simple, dark, sad things.

Does improvisation play any role in your live set?

Tristan: Yeah, for sure. I would say less and less as I've gotten better at playing these instruments because I'm just learning to play them better and I can sort of repeat what I do, but before it was like sometimes the pitches were a little hard to reach and you'll hear it tonight, like, sometimes I'm off-pitch on this and then my vocals are trying to find it too. change the songs up a little bit for sure. I only have one sequence that I think run tonight, like one keyboard part, and I don't need to use it, I just kind of like to use it so I can have two things at once. I only have so many hands.

Lastly, do you live in a city and do you think that matters in industrial music?

I mean, I live in San Diego, which is probably - when I come here [Philadelphia] and I drive around here, I mean, this is a city. San Diego is very much suburbs, y'know. Everybody lives in their own house. Barely anyone lives in apartment buildings. Everybody kind of has their little ranch house, their little garden.

I have a warehouse space in an industrial part of town that I use, but I live in paradise. I surf almost every day. I grew up in New Hampshire on a farm. That was also beautiful. I don't think it's necessary at all.

I don't like angst-y industrial music. I think it's cheesy, especially when I think things should always be expressed with an abstract more creative way than just saying them directly. www.tristanshone.com 66 VandalaMagazine.Com - December 2015

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FEATURING THE 9.ILL MONTE FRI 23 OCT NASHVILLE, TN MARATHON musx WORKS SAT 14 NOV - MINNEAPOLIS, MN SAT 24 OCT SUN 15 NOV - mAoiSoN, CHARLOTTE, NC - • RILLMONE SUN 25 OCT ONFirm. It SENT -aPk. FIL 7UL' TUE 17 NOV - URBANA, IL WED 28 OCT NORFOLK, VA THE NORVA WED 18 NOV - INDIANAPOLIS, IN mu 29 OCT THU19 NOV - ST LOUIS, MO cHARLoTTESVILLE, VA = JEFFERSON THEATRE FRI 30 OCT PHILADELPHIA, PA ELECTRIC FACTORY RAJ 20 NOV - LAWRENCE, KS SAT 31 OCT WASHINGTON, DC ECHOS TAGE SAT 21 NOV - DENVER, CO NORTHAMPTON, JMAk - CAVAN THEATRE SUN 22 NOV - SALT LAKE CITY, UT Tu E 3 NOV WED 25 NOV ▪ SAN DIEGO, c A WED 4 NOV • WALLINGFORD, CT THE DOME THU 5 NOV - LAS VEGAS, NV HAKKASAN FRI 27 NOV - 1.05 ANGELES, CA rni 5 Nov SAT 28 NOV - OAKLAND, CA - MONTREAL CANADA - NEW CITY GA5 sAT 7 Nov SAT 28 NOV - LAS VEGAS, NV ToRoNTO, CANADA SOUND ACADEMY SUN 0 NOV LONDON, CANADA LONDON MUSIC HALL WED 2 DEC - PORTLAND, OF! = TUE 10 NOV - ibirrsBUSGH, PA STAGE AE THU3 DEC - EUGENE. OR BLuEsToNE FRI 4 OEC ▪ SEATTLE, WA WED 11 NOV - GoLUNIBUS, OH .3 - dome SATS DEC THU 12 NOV ▪ LAS VEGAS, NV FBI 13 NOV ▪ GHICAGo, IL ARAGON BALLROOM - • *Pt par. --%-%

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JAN 07 CUFTON PARK. NY. TFOCKSHOTS

FEB 01 PORTLAND, OR. HAWTHORNE THEATER

JAN 08 HAFrITORD, CT- WEESTEll THEATER

FEB o2 SAN FRANCISCO. CA- THEE PARKSIDE

JAN 09 WORCESTER. MA- THE PALLADIUM

FEB 03 WEST HOLLYWOOD, CA- WHISKY A CO GO

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FEB 06 LAS VEGAS, NV- LVCS

JAN 13 TORONTO, ONT- HARD LUCK (CANADA)

FEB 07- RENO, NV- PB&Is

JAN 14 LONDON, ONT THE APIA (CANADA)

FEB 08 SALT LAKE CITY, UT- IN THE VENUE

JAN 15 ROCHESTER. NY- MONTAGE MUSIC HALL

FEB 09 DENVER. CO- BLUEBIRD THEATER

JAN 16 CLEVELAND. OH. AGORA BALLROOM

FEB to MERRIAM, KS- AFTERSHOCK

JAN 17 PITTSBURGH. PA- ALTAR BAR

FEB II • AUSTIN, TX- SIDEWINDER

JAN 18 COLUMBUS, 01 1- ACE OF CUPS

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FEB 13 HOUSTON. TX- SCOUT BAR

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JAN 22 puma, llr THE TREE

FEB 15 NEW ORLEANS. LA- SIBERIA

JAN 23 CUDAHY, WI- THE METAL. GRILL

FEB t6 TAMPA, FL- ORPHEUM

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FEB 17 ORLANDO, FL- THE HAVEN .

JAN 25 WINNIPEG. MB- THE PARK (CANADA)

FEB 18 ATIANTA. GA- THE MASQUERADE

JAN 27 CALGARY, AL- NIGHT OWL (CANADA)

FEB19 LOUISVILLE, KY- EXPO FIVE

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11/17 Studio Se%cn - Seattle, WA

11/01

Union Transfer- Philadelphia, PA

11/19 The Fillmore- an Francisco, CA

11/05

Webster Hall- New York, NY

11/20 Ace Of Spades- Sacramento, CA

11/04

Carnegie of Homestead Music Hall- Munhall, PA

11/21 City National Grove Of Anaheim- Anaheim. CA

11/06

The Crofoot - Pontiac, MI

11/22 The Marquee- Tempe, AZ

11/07

House Of Blues - Cleveland, 011

11/24 Gas donkey Live- Dallas, TX

11/08

Concord Music Hall - Chicago,

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11125 Warehouse Live - Houston, TX

11/09

Mill City Nights- :Minneapolis, M

11/27 The Masquerade- Atlanta, GA

11/11

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11/28 The Plaza

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