MMUS 50N4,, Lead Army of Pop Stars in 40th Anniversary of Maus Album 4
" la Pi OVE
Ren
N
BN 0,1
1U ‘rIMIi WO I SIDMi al NUMMI CIARIEWY ,
TRIM OM KKR**
STOLEN FROM TIIE itILK: An Evening With Frank Turner aliftlk 40114‘ -'I. -s, *
e 4
d
14
SERVED LIKE -70"%,kiiu m
11111. • ,P
ROCKS LAC SPACESHDPS ZARA UPON WU AN INTERVIEW WITH FREEZE
TONIGHT ALIVE • FOUR YEAR
G
BEHIND CRIMSON EYES • 50 LIONS •WITH CONFIDENCE POLARIS • KNOCKED LOOSE a BELLE HAVEN ifivitir_ SIENNA SKIES a MIRRORS
HANDS LINE HOUSES 1 HELLIONS • STICK TO YOUR GUNS KNUCKLE PUCK .MAKE THEM SUFFER . BEING AS AN OCEAN ROAM • VOID oFVISION • CURSED EARTH • YOUNG LIONS • OUTRIGHT INTROVERT •DEAR SEATTLE • THE BEAUTIFUL MONUMENT SAVE THE CLOCKTOWER • ARTERIES
TICKETS, BUNDLES AND VIP PACKAGES AVAILABLE NOW
FROM 24HUNDRED.NET
▪
COUN ST5 T R Y WITHGUE
THE BRAINS HELLZAPOPPIN
IrOLIYKERRY MCKEE
JAN•013 - COILUATEUS. ON • NIEWPORT 04USIC NALL JAINCIT • TORNINTO. YII - THE OPERA HOUSE JANOS PIONTAF ALL CC • ASTRAL JAIN11 • NLIA, TORN. NT 6RAPILACT TRE.ATFIL 2AN•42 MST°, KA • SINENTUR JAW, • rALtimone. HO • EALTINCINC SeuNOi -TAac J rkrtidi 14111LAULLPHIA_ PA • Y.L.A_ JAN•113 LUILAbl4ILLE EY • YEERCIERY BALLROOM J AN•IT • ATLANTA oA - 1H OLICK14104) yi4Ayelic 41 a FIP IS el C44 04:PLEANS LA • I-MUSE OF !BLUES P.N.* 1-KIRMTON TA HOLIGE. OF MAKS 1,0140 • PALLAS TX • /0[0.1114 OF OLLIE* JAN•21 • EAR AIM MAR TX • THE AZTCC THEATRE J 1104121 TrUPC. 1MTr The NAROUCC JAN44 L ANCIELIEL CA - =SINT THCATEffil
SACAAPIENYOL CA • ACE S SPADES J AN-26 - SOM. 03 • KNOTTING FACTORY JAN•27 • SPOKANE WA • KoorrynaG rincropy J oupt-as - E&ATTI.G_. WR - IMO= AGELPI J AN•Xl • SALT LAKE crry. UT • TIM COMPLEX Joirum DirkYrA, t n 31ATMMtT rescre • LANCIILN, N.0 • DOUREEIN THEATRE IPENCIE CHI(AGO IL • THE onalliM Laufial YeDO) 1 3*(01 DAY. WI -'SAND LOT FEROS LAWRENCE- AS GRANADA FEDO? ORTROIT, MI fRT. ANIJAgINS HALL. FIN101- CLIWALANO. G H - FICUS& Et BLUES PESOS - IESOURNAPC111 lel • DELUXE
rime • miLwAuicer, MN THe FRAM • =LEND HAMM
'11
UTRECNI T. PA f IRMO VINEDIEMILIPIO NIARA4 - PAM, FR / LE TRIANON MARIS • LILL& FR I LE SPLENOILI toriam 1 S - ILCRICad IUTON AV-1-1KLILV NALL HART, • SEIT-NIKLAAN AL Et CASINO MARIN - COL 14i. IN # LIMON PIAR.20 • MEMIS R11 / LA CARCLIPINLNIIL MAR.21 • 1,101ES. FR i" PALONA INAR.2? - COGNAC. FR / WEST ReCK MAR 21 MIRKA rn o ALA m-aktripult 2? NPR .14 • 1+'1+4 >O IS if SALM Wm I-IVA MAN 2S. • EARCEICRIA. EA, MAUI. EliKirti
PIAA•211- LYON. PPI r LC TAANOODAr" HARI? • SCRUM. CH L Orion MAR.ZO - LURCH. CH 12101AMO NAN 39 MAN, IT J ALCATRAZ ARON • IPHONENI. TreHNECUM - PRAGUE. CE LLCIPINA MU= oAle APR-3 • OLNLIPI DE i WNW AP111-4 • HArli:ViR,Ci DE GOHJEFISPAIN APRA • COPCIIHAGek. ON A PUMPE MUSE T APO ri ilfirr N+4E.14 #W i KLUralt N rriyomuP.r.'"
A PN 7 011Tr WPM, Ng f
INCE/M=71C411
riviVENT Of THE UNUSUAL ,N4410( CON/NG TO YOUR 70141
pGA11rI
Contents Fall/Winter 2017 Vandals 8 ALBUM REVIEWS
MUSIC FROM AND INSPIRED BY THE DOCUMENT
--FEATURING MUSIC FROM
CHRISTINA AGUIIIRA * P!NK * GWEN STEFAN! PAT BENATAR * NATASHA BEDINGFIELD *LITTLE MIX LIZZO * DOROTHY * LYKKE LI * CHELY WRIGHT LION * MAYA HESLOV * WILLA AMAI
Dustin Griffins Ten Best Album Picks of 2017 Curtis Harding - "Face Your Fear" (Soul) Bobaflex "Eloquent Demons"(Rock) Cyhi The Prynce "No Dope On Sundays" (Hip Hop) Lindsey Stirling "Warmer in the Winter" (Christmas) Served Like a Girl Soundtrack feat. Pink, Gwen Stefani and More Robert Plant Bares his Heart on Latest Album "Carry Fire" (Rock) The Road Hammers - "The Squeeze" (Country)
2 2 INTERVIEWS 22 Stolen From the Black: An Evening With Frank Turner 30 No Rest For Stiff Little Fingers Interview with Jake Burns 44 Moon Rocks and Spaceships Are Upon Us! Interview with Freeze 52 Out of the Fire An interview with Joel Grind of Toxic Holocaust
34 COVER STORY 1 1#4Kir *,
Cur r C
r
r I Li-
•
?r,
10
ddr MOON ROCKS
• fi SPACE SHIPS
"If I had to live or die based on radio play, I'd have had to get a day job by now I survive on cultural currency." - The Talib Kweli In
58 LIVE MUSIC & REVIEWS
58 8
111504 1111 8
TOUR
JAY: 4 • 4 4 no
m
Jay Z: The 44 Tour, Rogers Arena Vancouver, BC Like a Freight Train: Review of Jonny Lang and Zane Carney Marley Sons Lead Army of Pop Stars in 40th Anniversary of Exodus Album Live Barenaked Ladies "Fake Nudes" Tour Hollywood Undead Photo Highlights Avatar Photo Highlights What does Atlas Genius do backstage after a show, on their North American Tour? Big Sugar is Back on the Scene Guerilla Warfare A Soulfly-As-Nailbomb Show Review In This Moment, Of Mice & Men Photo Highlights
04 VandalaMagazine.Com Fall/Winter 2017
"If I had to live or die based on radio play, have had to get a day job by now. I survive on cultural currency." The
TALITIWELI Interview
From the, Black Evening urner
Front Cover Design By Erin Torrance Fall Winter 2017 - VandalaMagazine.Com 05
I
Mar 11 Albuquerque, NM Launchpad
Feb 16 Cleveland, OH Grog Shop Feb17 Grand Rapids, MI Pyramid Scheme
Mar 13 Santa Fe, NM Meow Wolf
Feb18 Ann Arbor, MI Blind Pig Feb21 Kansas City, MO Riot Room Feb23 Omaha, NE Waiting Room
Mar 20 Dallas, TX Trees Mar 21 Houston, TX Warehouse Live Mar 22 Baton Rouge, LA Varsity Theater
Feb24 Madison, WI High Noon Saloon Feb27 Boulder, CO Fox Theatre Marl Jackson Hole, WY Pink Garter Mar2 Missoula, MT Top Eat Lounge Mar 5 San Francisco, CA The Independent Mar? Los Angeles, CA The Regent Mar 9 San Diego, CA Music Box
Mar 2k Atlanta, GA The Masquerade Mar 25 Greensboro, NC The Blind Tiger Mar Mar Mar Mar
27 28 29 30
Virginia Beach, VA Shakal s Live Richmond, VA The Broadberry Washington D.C. 9:30 Club** Ardmore, PA Ardmore Music Hall**
Mar 31 Cambridge, MA The Sinclair** **With Soul Rebels 11,
.,
c.44Piteiga." - COYIA
eteab
AkPi64\,
Editors
Vandala Magazine
Editor In Chief Crystal Lee (Photojournalist)
Comments, Questions, Article copies Interview/Show Coverage Requests VandalaMagazineÂŽVandalaConcepts.com
Editor 3. Henkel
Submissions
Design & Layout Assistant Erin Torrance
All Submission Guidelines can be found on our website at www.vandalamagazine.com
Editorial Staff & Contributors
Advertising
Dustin Griffin - Journalist Chad Thomas Carsten - Journalist
To advertise with us or to get our rates Advertising@vandalaconcepts.com
Mariko Margetson - Journalist
Snail Mail
Matt Harding - Photojournalist
For Address Email: vandala@vandalaconcepts.com
L. Paul Mann Photojournalist L. Paul Mann Photography
6;13scribe Nom
Cielo de la Paz Photographer CieloD Photography
-
Michael Smith - Journalist
Subscription to Vandala Includes:
Matt Bacon - Journalist
* Vandala Magazine Emailed to you Every month!
Sean Barrett - Journalist
* Subscriber Exclusive Content, Music & Downloads
Heiko Ryll Photographer Heiko Ryll Photography
* Free mp3s & Downloads * Automatic Entry into our Contests
Claire Bourgeois Photojournalist Claire Bourgeois Photography
*Unsubscribe at anytime 1000/0 FIlLt
Follow Us Online & On Social Media www.VandalaMagazine.Com r;
It.
r;
r;
r;
[al
f L
Dustin Griffins Ten Best Album Picks of 2017 2017 was a great year for hip hop and neo-soul music. It was a good year for r&b and rock and punk music. I don't listen to metal or country, so I can't comment on those genres. But the music I got most excited about this year was definitely hip hop. As such, my best of list reflects this genre primarily. But I really enjoyed Martha High's collaboration with Japan's Osaka Monaurail, "Tribute To My Soul Sisters"; Thundercat's "Drunk" album was super weird, in a super good way; Comeback Kid's Outsider album was hard and catchy in all the right ways; Western Addiction released a cool hardcore album; and Propagandhi's album Victory Lap, the third in their six year trilogy of thinking man's progressive punk was as solid as cold marble. Still, the stuff you like best in a given year is the stuff you like best. And I happened to like hip hop best. Which is why my list looks like it was curated by someone at XXL. Hip hop has truly become the world's most dominant genre. And it's most exciting. 10. Joey Bada$$ "ALL AMERIKKKAN BADA$$": Joey takes on the division and discontent which had defined his country this past year. The songs are at times soft, at times hard, always thoughtful and even revolutionary in their observances. These songs stand as anthems for the disenfranchised. Rockabye Baby', with that certain lyric (you know the one), is the biggest amp up of the year. falib Kweli - "Radio Silence": A hip hop legend, Talib is a deep thinker with roots in the streets and razor sharp bars for days. His latest album is everything that is good in hip hop: Jazzy instrumentals, plush bass, lyrical wizardry that isn't afraid to say something real. All that and it features Waka Flocka's best feature, possibly ever. 'Let It Roll' is the most nostalgia triggering song of the year. 8. Oddisee & Good Company - "Beneath The Surface" Oddisee is possibly the best hip hop artist you've never heard of. "Beneath The Surface" is a live album and greatest hits package all wrapped up into one. Oddisee on stage spitting bars against a live band playing some of his best songs? Yes please. 'Like Really' is the best live song of the year. Lute - "West 1996, Pt. 2"- 3. Cole knows what he likes. And he knows what I like
apparently, because every artist he signs to Dreamville is dope as hell and Lute is no exception. "West 1996, Pt. 2" sounds like it came from, well, from 1996. Cole's influence on the album is palpable, but Lute brings enough of his own originality to avoid being labeled a biter. 'Ambitions' is the best one minute song of the year. 6. Big K.R.I.T. "4eva Is A Mighty Long Time": Everything about "4eva" is an amplification of Krit's previous two albums. Bigger bars, bigger beats, bigger features, bigger tracklist. And an even closer examination of the topics that knock around inside the man's head on the daily. Namely, guns, God, and Georgia. Krit's verse on album opener 'Big
might be the best performance of the year.
5. Big Boi "BOOMIVERSE": Who knows if we will ever see another Outkast album, but if we don't, I rest easy knowing Andre 3000 is out there laying down the best features known to man. And that Big Boi is out there releasing some of the funkiest, most fun hip hop albums of the year. Every year he does it. The song 'All Night' is the enjoyable song of 2017. 08 VandalaMagazine.Com - Fall/Winter 2017
4. Cyhi The Prynce - "No Dope On Sundays": Gospel bap is a thing. Heavy religious themes mixed with hefty beats and catchy hooks, infused with tales of the gritty city streets and gangsterism. Cyhi, with his clerical collar fashion statement and vocal chords like a chain-smoking pit bull, possibly does it the best. I find myself returning to this album on a daily basis. 1
Movinr Around' was almost the best song of 2017.
The best soul record of the year. Reminds me of all 3. Curtis Harding the great soul/funk masters of old in every good way. Curtis Harding is now two for two. If his next record is as perfect as his Cast two were, expect this man to blow up in a big way.
THIS IS [I1 13TH STUDIO ALBUM
'On and On' is very likely the catchiest song of the year. 2. Jay-Z: "44 In the Ron Howard Beatles documentary Eight Days A Week, Elvis Costello says that when Rubber Soul came out, he initially hated it. A few months later, he couldn't live without it. 'Miff said. '444' is the most honest, vulnerable song of the year. 1. Kendrick Lamar - "DAMN.": That Beatles reference I just made was a good segue to the man I call the John Lennon of his generation. Pharrell calls him the new Miles Davis. Either way, Kendrick Lamar is special. Not in terms of how many records he's selling, although anyone who outsells Drake in a given year should be given a plaque of some kind on that accomplishment alone (maybe one in gold, or platinum). K Dot's special because his music is revolutionary, his lyrics have deep meaning and multiple layers, and his refusal to compromise his artistic vision and achieve the success he has, puts him in direct lineage with hip hop trailblazers like N.W.A., as well as soul and pop legends like James Brown and Prince.
:
Listen to it forwards, listen to it backwards. Listen to it in the car, at the house, at work or in the gym. Just listen to it. It's the best thing I've heard since To Pimp A Butterfly. And the best thing likely hear until Kendrick returns with his fifth. 'Element' is the best song of the year. Fall/Winter 2017 - VandalaMagazine.Com 09
Curtis Harding - "Face Your Fear" (Soul) By Dustin Griffin - 4.5/5 Dragons
CURTIS HARDING 11
Curtis Mayfield. Sam Cooke. Al Green. James Brown. And then there's Leon Bridges, Benjamin Booker, JD McPherson, Jack White and The James Hunter Six. This is the lineage, past and present, to which Curtis Harding belongs. Funk, soul, classic R&B. The music pays tribute to hey-day Stax records, the swinging 60's and the free love 70's, in equal measure. Harding's last album Soul Music was an amalgam of genres inspired by everything hot in the 60's, including rock n' roll and surf music. Face Your Fear is a more focused record, landing largely in a single category. Eleven tracks of pure, aching, shaking soul music for the new millennium.
Of course, modern soul that is made in the direct vein of those classic Stax releases is in danger of being little more than an exercise in musical plagiarism if the artist doesn't bring something new to the table. Even if that something new is simply a certain attitude. And Curtis has that handled. Having worked with the great CeeLo Green means having worked with a plethora of highly skilled songwriters and producers, many of whom, probably all of whom, are acutely aware of the influence classic soul music has had on their lives and therefore their music. And as much as Face Your Fear sounds like an unreleased Curtis Mayfield record, it can also sound like a stripped down Danger Mouse record (Danger Mouse produced the record), or, yes, a CeeLo Green album. Particularly on songs like the silky smooth 'Dream Girl', or the jumpy 'Need Your Love'. But the album's best tracks, opener 'Wednesday Morning Atonement', closer 'As I Am' and the album highpoint 'On and On', sound vintage in the best possible way. Harding gets ethereal and contemplative on the tracks 'Welcome to My World' and 'Ghost of You'. The latter song, featuring a hook that threatens to remain stuck firmly in your head all week long, is a true road trip necessity. Particularly if you own a convertible. The saccharine 'Need My Baby' and the psychedelic swing of 'Till The End' are the album's low points, but are both great songs, which tells you how good this album is. This album is so good in fact, that I've listened to it more than any other album that's come out this year, save Kendrick Lamar's DAMN. I'm a person who likes new music that sounds like the music I love and am influenced by. As long as that music embodies the spirit of its predecessors without outright stealing from them. When it comes to hip-hop, that means music that's made today, but sounds like it was made in the mid 90's. Like Lute's West 1996, Pt. 2. When it comes to classic era soul or R&B, my other musical passion, that means music that sounds like it was made in the late 60's to early 70's, like Face Your Fears. One of the best albums of 2017. www.curtisharding.com 10 VandalaMagazine.Com - Fall/Winter 2017
Bobaflex "Eloquent Demons"(Rock) By Crystal Lee - 4.5/5 Dragons If you're looking for a polite and none offensive band move on to the next review. Bobaflex continues to be in your face with their hard-hitting rock songs telling you what they feel and think and most of all say what we all want say at times. This is the band that brought you "I'm Glad your Dead" after all. a.
First I would like to say their songs are hard-hitting though dealing with them and their agents have been nothing but amazing. They are a great group of guys and show how you should treat others in the industry. Our USA staff have seen them live and I am I personally still waiting to see them in Canada! Of course, they start out this album with an intro and in this case "Eloquent Demons". Yes political and very well done to get their view across though I am doing the Dolly Parton on this one; staying out of politics and make breast jokes if all else fails. Bobaflex since I last heard them I know their sound and style as their own and it's very clear with the first track "I Am a Nightmare". Lyrics are like the intro clear and to the point which again with this album like the last they say things we all want to say. They are also back with harmonies, layered vocals (which they do extremely well) and addictive lyrics including the chorus. Add in their guitars you got a song that gets on my high rotation list. "Say What You Will has the double bass which is what I love about Bobflex and to be honest they can let 5ymmy Tolland do more of that. The guitar lines are also very well done especially the solo; which is enhanced by the bass. Overall I think the band got nicer compared to their last album - does it make it any less quality no, it just makes it a different album to have. Overall start to finish they have given a full album to listen to and to buy, unlike some bands who only focus on singles not albums that flow with quality. Most of all the tracks all have their own sounds within an excellent concept and making it an album to grab. www.theofficialbobaflex.com
COUNTRY miTHEBRAINS ei- HELLZAPOPPIN V iforikERRiiirKEEli Allow IIMIk k NL_ Q7-0- NORTH AMERICA 4.11A-CA - CfmulAEr.JA EIRLI . taw PAM I Rule 3.0.1.1.
.hkricir • TORCINTCL 171f WC OPERA HOUSE
[AT
,r.p.k-iii • sh/*01.1411470, CA - ACC Ci. gamma
.14•1•2A • OUSE 1.0 • IS NTTTRPO FALTER T JAMCM • MONTREAL DC ASERFLL J/0127 - IFEIMANF- VIA • 1414FFTAFG EA CTEMFF • • • J11111•Li• AOSTON MA • BAFOHTEN .14•1•312 • SALT LAME CRT- UT • THE CCPMPL CZ J AN E • EALTIHOPIE. HO EIALTWIDRE SEINIOSERGE Jail AI . DENIAER. CO • SUMMIT MEAL MALL 4A.N.1.1 • PHILACIEILAWIA PA • T L A FIG40 • LARPIX M. NE • 11441 It NM THE A Tilt J AME. • LEVIa.VIL Le. FT • MERCER? 110141REO1 FNMA ENIER1211 11..• THE ECITTOR LOUNGE . JAME • NEW ORLEANS LA • HOUSE OF SLUES rhea' k.h....mgoich, wp • COLANACLA. AMA • IAIXISION. TA • 1.114)DE OR ELVES FIE471. 1:14Trkowr. ru • D. Rhipl•dsvoli HAILS J.1U120 • DALLAS TZ • HOUSE OF SUES FEW= C LLLLLL NO. IRI PICAMSL EF ELLPES J AM-.11 • SAN ANTONIA TX • THE AZTEC TH EEEEE FE60Y INCEANA POEM, IN • CALUXE .1144,43. • TE.0101. A Z • 'flirt ....mitt 014140 • Maw MACE. WI • 1711 PhrmE I .154124. LOS ANGELES CFI ..!- GEFFF 71.IEATER MEM . GRANO RAMOS MI • OFFERSEC71:111
EUROPE
174,9
AE1R-1 7 • UTRECHT. Nt 41,44101141,411 011114-14 • PM& PR .1 Le /MANN roireis • LILLE TR J LE GRAMM]
mankte - LYOK IrR J 1.1 ThinhillIOR444447 PIIIN111 • CCNIVI. CH r L-LrhulhE MIRR,TE - EURPCM. Cl I WARM.
PEI.R-17 • AiltraNKLAMA EA 1 DC COUILMAI i•EIR-01. • COI.C4A1, OE t LUXChl 4141449) • Aim". 01 .• LA Ch.14/01101111C MUT 21 • MMES. FR 1 FRILBRIA AMR 22 • EEIGNAL FR r WRIT MEM AMI.R.21 • ISIL•Afly EA f "MIA *RATA NM Al AEIR-24. • MACRO. RI J .ALA P .Ni
• MLIRICH, DC I T[LIHRIIKLIM APP.] • FANOQC Cl 0 44.1.1 CRNA PEAK II! Pilel• • WIWI. DC e Eh redo ARRA.. HFIMMERD. EC I Gruperorpoi ARMS DIRK141.11112Ert CIA I INORREIGMET APPAL • •IFIEKEIAIDE LE FRYLAUF.1 011M-1. - 4OTE110110. OE J 111a04010111
MR48 • Difreiublii. CO 0 &ILA Mali
Fall/Winter 2017 - VandalaMagazine.Com 11
Cyhi The Prynce "No Dope On Sundays" (Hip Hop) By Dustin Griffin - 4.5/5 Dragons I try to keep my finger on the pulse of hip hop's beating heart. I keep an eye on the up and corners and an ear on the airwaves. But I have to admit that somehow, like many, I have managed to sleep on Cyhi The Prynce these past couple years.
ot vita the Prpice —
Then all of a sudden, everyone was sharing this video of Cyhi banging out a crazy freestyle on Sway In The Morning. And then came the single 'Coat Side', featuring Kanye West. And then came the announcement for Cyhils debut album No Dope On Sundays. And then a week later the album was here.
■
•
Dope on tiutittaijil
To me, it feels like Cyhi just appeared overnight and became one of the most exciting new artists in hip-hop. But to those in the know, the excitement surrounding Cyhi has been a long time coming.
According to Wikipedia, Cyhi signed his first major label deal with Def Jam imprint Konvict Muzik in 2009. A year later, he signed on with Kanye's GOOD Music. He even appeared that year on Ye's Dark Twisted Fantasy album on the track 'So Appalled'. A track I've listened to a hundred times and never thought to question who that gravelly voiced rapper was who spits arguably the best line in the whole song: "If God had an iPod, I'd be on His playlist". Since then, he's released nine mixtape's and guested on a number of high profile hip-hop releases. On No Dope, Cyhi, like Kanye and Chance the Rapper before him, paints a vivid picture of two conflicting ideologies. Religion and gangsterism. For a guy who uses a clerical collar as a fashion statement, it shouldn't be surprising that many of Cyhi's lyrics are filled with prayers and rumination's on God and church. These are infused with a healthy dose of street rap, creating an illuminating, if at times strange, dichotomy. No Dope On Sundays isn't handcuffed to these topics though. One of the album's best tracks is the airy, jazzy, '80's Baby', which is a story that is told entirely from the perspective of an in utero fetus growing inside of its mother's stomach. It's a song unlike any I've heard in hip-hop or anywhere else. Another of the album's best tracks 'Nu Africa' speaks of tearing America down and building a new Africa in its place, effectively returning humanity to its ultimate roots. The narrative speaks of making Obama the president of this new motherland and having Michael Jordan provide new shoes for everyone. Sounds good to me. This song is also one of the best examples of Cyhi's ability to marry complicated rhyme schemes with his uniquely smooth, yet gritty, flow. 'God Bless Your Heart' sounds like a mid-90's Common track. All jazzy horns against a boom bap backbeat. It's an autobiographical story of Cyhi coming up in a rough area of Atlanta and clawing his way up to Kanye West's good graces and music stardom. Cy plays around with the ever-present-in-today's-rap-music auto tune effect on the love song 'Looking For Love'. It's a nice song with a cool sounding, reversed playback beat. But 12 VandalaMagazine.Com Fall/Winter 2017
I wish he would've left the auto-tune alone. Cyhi's voice is unique and his flow is impeccable. Auto-tune adds nothing to his delivery and takes away from what makes it special. But that's probably my only real complaint with this entire album. At times, No Dope sounds like another mixtape. Which isn't a knock. All of the Cyhi mixtapes I've heard are amazing, particularly 2014's Black Hystori Project. And this album definitely sounds more expensive, on the production side, not to mention the laundry list of upper echelon guest spots. And it bangs and slides and grooves in all the right places from beginning to end. No Dope On Sundays is a near masterpiece in my opinion. Don't sleep on it. www.facebook.comicyhitheprynce www.twitter.comicyhitheprynce www.instagram.comilcyhitheprynce
Lindsey Stirling "Warmer in the Winter" (Christmas) By Mariko Margetson 4/5 Dragons I have a confession. I'm not a fan of Christmas music and I don't often condone using the word "fresh" to describe any form of art. However, YouTube sensation Lindsey Stirling's new Christmas Album Warmer in the Winter is fresh in a very good way. I've listened to it a couple time now and can honestly say that I enjoy it. It even managed to make me curious enough to sample a few of her YouTube offerings.
LI\DS c)TIRLI\G
There is a visual element to Lindsey's body of work and it's not hard to see why the talented violinist has earned over 10 million subscribers. She is a violinist with attitude whose artistry delves deeper than just her music. Most of her videos are full-blown concept collaborations with other artists. In fact, leading crooner John Legend lends his vocals along with his hit All of You while Lindsey sways on her violin. The video that sold me as a fan was the cover of Rihanna's We Found Love with the now (unfortunately) defunct Ven Tribe. Kudos to you, on that one, Ms. Sterling. There is a lot to like about the Christmas album, it has a little bit of everything. Thirteen tracks in all, the majority of which are contemporary takes on some old classics, from the jazzy big band sound of Jingle Bell Rock to the rock-pop hooks of Time to Fall in Love, which features Alex Gaskarth of All Time Low on vocals. I really enjoyed the first track, an enchanting rendition of Dance of the Sugar Plum Fairies. I also loved Carol of the Bells which manages to keep the haunting orchestral sound of the original folk song while adding a fresh, modern electronic flavor. As far as Christmas albums go, Warmer in the Winter is a winner. It's easy to listen to, but it has the depth to grab the attention of music nerds that perhaps wouldn't otherwise be drawn to Christmas tunes. It's also a great introduction to the talents of Lindsey Stirling, an artist on the rise. www.lindseystirling.com www.facebook.comilindseystirlingmusic Fall/Winter 2017 - VandalaMagazine.Com 13
Served Like a Girl Soundtrack feat. Pink, Gwen Stefani and More By Mariko Margetson - 5/5 Dragons MUSIC FROM AND INSPIRED BY THE DOCUMENTARY FILM , 4e,
S RifoP * Nikw
FEATDRIN6 MUSIC FROM
CHRISTINA ABUILERA * * GWEN STEFAN! PAT BENATAR * NATASHA BEDINGFIELD * LITTLE MIX U770 * DOROTHY * LYME U * CHELY WRIGHT LION *MAYA HESLOV * WILLA AMAI
On the surface, this is a star-studded soundtrack to a documentary that sheds light on the resilience of female veterans who have been wounded in the line of duty. On another level, it's a megaphone for the voices of the women in the film, allowing them to reach an audience that might otherwise not hear them. The opening track by Natasha Bedingfield is a fun, funky, paradoxical tune that manages to highlight a few hot-button topics regarding gender equality in a playful way that is likely to have you reaching for your air microphone and prancing around your living room. For those who don't know, prancing is like dancing where you have an audience that is either a pet or imaginary. Grownups do it too. Promise.
Soul and hip-hop diva Liza's contribution Good as Hell is a divine tune about friendship and how empowering it is to remind yourself how freaking awesome you are, while Maya Heslov's song Fighter takes the album deeper with an intimate exploration into finding inner strength in the face of loneliness, depression, and self-doubt. This theme is revisited later by the rich, languid tones of Willa Amai on her contribution Scars. Heslov pushes open the door and Amai sets up a living space in the room revealed. If there is one song that sums up the album, it might be Dancing Through the Wreckage, a classic rock anthem from legendary Pat Benatar. It's the one song that seems to speak specifically to veterans. While the rest of the album creates connections between women, this song addresses themes that might connect those who have or are serving in the military. America is a heartfelt love song belted out by superstar and vocal powerhouse Christina Aguilera. Metaphorically, it's about everlasting love and working through the difficult parts of a relationship. With minimal musical accompaniment, Aguilera's powerful vocals convey the emotional struggle of believing in something when it looks like it's starting to fall apart. Bad-assery rides in under a smooth veil of confidence in the bluely, psychedelic cowgirl song Naked Eye from up and coming artist Dorothy. Gwen Stefani lends her talents to the mix with an acoustic ditty called Medicine Man. It's an unused cut from her album This is What the Truth Feels Like, so it's fair to assume she's referring to a certain English musician. It's just that at times it sounds so much like she's taking aim at a certain American politician. The song made me focus on how much language plays a role in shaping the way we think. Pink. When I was young and stupid and refusing to like pop music out of principle, Pink was my guilty pleasure. Her power ballad Halfway Gone was a reminder of why she has always been impossible to resist while the lyrics, apparently penned by producer Linda Perry simultaneously reminded me of how much it sucked loving someone with an addiction. Looking for redemption? Shine a Light might just be the song for you. The contemporary 14 VandalaMagazine.Com - Fall/Winter 2017
country sound of Cheryl Wright complete with the background wail of a steel guitar reminds us that forgiveness is indeed a necessary part of the healing process. An artist by the name of Lion has a lusciously tortured voice and her song Joyride is one of the most intriguing of the album. Easily a memorable tune on any record, it conveys the agony of recognizing a toxic, love triangle and being in love with someone who can't love you back. I wonder if anyone else will draw real-world parallels when Lion hoarsely whispers we love a bad, bad man. I found it interesting at first that an album that began with so much energy ended with a song that seemed so wrought with hopelessness. But after listening again and again, I'm not sure that describing Lykke Li's moving and vulnerable offering End of the Night as hopeless is accurate. The song is just honest, which is what pulled me into the record in the first place. I'm sure I'm not the only one who can identify with feeling lost and alone at least once in their life. The album is full of songs that can be seen from a personal light, but that also speak metaphorically to the times at hand. For me, it was impossible to listen to it and not recognize that even the mightiest of heroes can feel lost and alone sometimes, just the same as you and me. Maybe watching a hero overcome adversity will help us find strength in ourselves and hopefully it will inspire us to help alleviate some of the adversities they face. As cheesy and contrived as these things sound, I think it's also kind of the point. Bonus: 100% of the proceeds from the album will go to the charity Final Salute, whose mission is to provide homeless women veterans with safe and suitable housing. Listen and get the Album HERE For more information on Served Like A Girl, visit www.servedlikeagirl.com. (Youtube Link HERE)
LIVE IN CONCERT
THU 03-01 MILE ONE CENTRE ST. JOHNS. NL SAT 03.03 CASINO NEW BRUNSWICK MONCTON. NB MON 03.05 SCOTIABANK CENTRE HALIFAX, NS WED 03-07 MTELUS MONTREAL= THU 03-08 THE ARENA AT TD PLACE OTTAWA. ON FR 1
03-09 FIRSTONTARIO CONCERT HALL HAMILTON, ON
SAT 03-10 BUDWEISER GARDENS LONDONION TUE 03-13 TRIBUTE COMMUNITIES CENTRE OSHAWA, ON
LADY PEACE MATTHEW 60
THU
03-15 MASSEY HALL TORONTO. ON
FRI
03-16 REBEL TORONTO, ON
SAT 03-17 CASINO RAMA ORILLA, ON TUE 03-20 BURTON CUMMINGS THEATRE WINNIPEG, MB WED 03.21 BURTON CUMMINGS THEATRE WINNIPEG, MB FRI
03-23 GREY EAGLE EVENT CENTRE CALGARY, AB
SAT 03-24 WESTERN FINANCIAL PLACE CRANDROOK, BC MON 03-26 NORTHERN ALBERTA JUBILEE AUD EDMONTON, AR TUE 03-27 NORTHERN ALBERTA JUBILEE AUD EDMONTON, AB WED 03-28 CN CENTRE PRINCE GEORGE, BC F R 1 03.30 PROSPERA PLACE KELOWNA, BC SAT 03-31 ABBOTSFORD CENTRE ABBOTSFORD. BC
Fall/Winter 2017 - VandalaMagazine.Com 15
Robert Plant Bares his Heart on Latest Album "Carry Fire" (Rock) By Mariko Margetson - 5/5 Dragons
ROBENT PLANT CARRY FIRE
Simply put, Robert Plant is a musical genius and his newest album Carry Fire is a demonstration of said genius. The eleven song collection is a divine infusion of abstract musings, poignant observations, ethereal sounds, and tribal rhythms guided by Plant's omnipotent transmission of emotion. I thought I was listening to Led Zeppelin halfway through the first track, May Queen, a pulsing, guitar-driven reference to a lyric from Stairway to Heaven. An echo, it seemed. In fact, the entire album is outlined in echoes. Echoes not only of Robert Plant's own past experiences but of the world in different times and places. May Queen conveys a warmth that in some ways helps to set the overall mood for the album as one of waking from a deep sleep and welcoming in a new season.
The album in its entirety is like the musical equivalent of an impressionist painting where every track is a brush stroke of a larger piece of work that is both beautiful and slightly out of focus. A singular expression unto itself. Even the title Carry Fire seems to suggest a detachment from Plant's past. We use the expression on fire to describe someone who seems larger than life, like the lead singer in the world's most influential rock band. But to carry fire requires wisdom, an innate knowledge of how to balance elements of the spiritual, emotional and inevitable so as to illuminate. For the most part, Carry Fire is a subtle affair. Yet, every note and every beat has a purpose. From the jangly guitar chords and foot stomping beats of New World to the tender, heartfelt ballad Dance With Me Tonight, or the vocal commentary and tribal beats of Carving up the World Again, Robert Plant and his band the Sensational Space Shifters weave a vivid tapestry of sounds that fill the spaces between Plant's ethereal vocals. Highlights for me include Bluebirds over the Mountain, a psychedelic take on an old rock-a-billy classic from Erse! Hickey. The remake features the vivid vocal prowess of legendary Cprissy Hynde with Plant's own rich tones to help give the song a lift. Literally. If the songs were colors, this would be a shade of blue - perhaps teal or cobalt, while the rest of the album spans warmer hues of reds, magentas, and gold. A Way With Words also stood out to me for the way its minimalistic sound enveloped Plant's malty vocal tones in the lower register. A burning ember, softly glowing around the edges. Another aspect of fire that must be explored if one wishes to carry it for any length of time. As with every single album in Robert Plant's fifty-year career, Carry Fire is worth adding to your collection. It's one you are likely to play over and over again and find something new to love about it with every listen. www.robertplant.com www.facebook.comirobertplant twitter.comirobertplant 16 VandalaMagazine.Com - Fall/Winter 2017
THE KILLERS
FRIDAY, MAY 18
ZEDD • PORTUGAL. THE MAN • GALANTIS • COLD WAR KIDS BLACKBEAR • OH WONDER • UM SULTANA • LAUV •LOST KINGS ANDERSON EAST • DE, LOAF • PUSSY RIOT • NOTHING BUT THIEVES • BANNERS RON GALLO • THE GREEN • THE GLORIOUS SONS • CAROLINE ROSE • BONES
THE CHAINSMOKERS
SATURDAY, MAY 19
HALSEY • LOGIC • ANDERSON .PARK 8 THE FREE NATIONALS ST. VINCENT • GROUPLOVE • BLEACHERS • MANCHESTER ORCHESTRA TANK AND THE BANGAS • CASHMERE CAT • BAHAMAS • HONAME • SAN HOLO SON LITTLE • KASBO SKIP MARLEY • GOLDFISH • R.LUM.R • MIKKY EKKO •
KENDRICK LAMAR
SUNDAY, MAY 20
°DEM • Mk • FOSTER THE PEOPLE • AWOLNATION SLIGHTLY STOOP1D • LIL PUMP • THE STRUTS • GETTER • NF • GRETA VAN FLEET WHETHAN • ALICE MERTON • MAX • AM • POOLSIDE • HIPPO CAMPUS • MELVV ALEX LAMY • WELSHLY ARMS • MANSIONAIR • SUNFLOWER BEAN • HOTEL GARUDA
The Road Hammers - "The Squeeze" (Country) By Crystal Lee - 3.5/5 Dragons In this business you miss albums and when you miss a really good one it's a kick in the pants as getting that special music early is like an addiction. Though here I am making amends and "Haulin Ass". Actually, that's the track that just had the music video released for it and attracted me to the album. The music video was released and I loved the video with the "Oh Brother Where Art Thou" flavor. This video even gave the song more of the entertaining effect as it has convicts, Jason McCoy playing with a toy donkey, a real donkey, and even an offensive license plate "assman" (since those are the latest thing to get offended by; thumbs up! Wonder how long it would last as an actual plate). In their own style and true to their sound this is a track that will make anyone smile. I guess when I miss the highest selling Canadian country band in history release a new album I am the "Ass". In this album, they touch on the theme of love in the "Squeeze" but with a spin. I loved it as it talks about "how the juice is worth the squeeze" and making someone work for it I may be married but we all make a partner work at times and the Road Hammers bring a very honest song about it with a very upbeat positive vibe. Another favorite track is "Your Love is the Drug" with the southern flavor about love. We all know that feeling and to be honest, love can be a very powerful drug and all the feelings that we all have had The beautiful harmonies throughout the song is one of the things I like about it and in this song it sounds classic which you cannot go wrong with. I did watch the music video for the track and add in "Haulin Ass" I am convinced this band has the most fun out there! If you love their beautiful harmonies another track that should be a must listen to is "Easy Rider" and with more of the guitar standing out like the rest of the album. The band also teamed up with Tim Hicks and to be honest it was the first track I listened to off the album as it was more curiosity to see how they would fit together. "One Horse Town" is country music with a little rock flavor that makes you want to hit the dance floor and sing along. It is my favorite track as it has great lyrics, guitar, twang, a touch of rock, and anthem-like sing-along chorus. This is a well-rounded album that has stuff for various genres along with the traditional Road Hammer fans. Lot's of songs for the pickup truck, and all types of fun along with hitting pop, rock to country. Thus proves why they are one of Canada's top acts. The Road Hammers Online: www.theroadhammers.com www.twitter.comitheroadhammers www.facebook.comitheroadhammers www.youtubeicomtheroadhammers 18 VandalaMagazine.Com - Fall/Winter 2017
111111
EMIR
•
JAN JAN 19 . JAN 10 JAN22 JAN 23 JAN JAN JAN 21 JAN 29 IAN REB 01 R33
PETERBOROUGH $ ENUE TORONTO, I -REBEL *II MONTREAL, I t.CORONA THEATRE MONCTON, NB IDE & BOAR BALLROOM FREDERICTON BOYCE'S FARMER'SMARKET CHARLOTTETOWN 9 PEI BREWING CO. HALIFAX, NS MARQUEE BALLROOM • NGUIN COMMONS OTTAWA, WATERTOWN, EXHIBITION HALL E FOUNDRY PHILADELPHIA, I PITTSBURGH, PA ERG ELS CHICAGO, IL .INCOLN HALL ALCI TOWN BALLROOM OSHAWA, OSHAWA MUSIC HALL MAXWELL'S WATERLOO LONDON, I LONDON MUSIC HALL HAMILTON PLACE HAMILTON DETROIT, MI .A111PREW'S HALL SAULT STE MARIE, I MACHINE SH
FEB15 FEB16 FEB 11 FB 19 FEB NI FEB FB FEB Z4 FEB RE21 MAR 01 MAR 02 MAR IB MAR 05 MAR 06 MAR 08 KAR 10
I
BRANDON,
BURTON CUMMINGS THEATRE THE 40 CASINO REGINA O'BRIANS BO'S BAR AND GRILL R THAN FRED'S 1
: 4E.AGLE RIVER CASINO E STARLITE HE STARLITE
PRINCE GEORGE, ANCINNER,
VANIER HALL MMODORE BALLROOM
COMMODORE BALLROOM CAPITAL BALLROOM KELOWNA COMMUNITY THEATRE
1.
E CROCODILE NOEPENDENT
SANTA ANA, CA WEST HOLLYWOOD, (A
LLATiON ROOM HE BOXY
AEG and AGI in association with KMGMT & Hopeless Records Presents:
I
mulliiim
=um
WATM1 tWORPNI
IMP:14NRCI =Mill WIN OCP1:14 NM* OXIC OXIC OM COCK =10 c0:16 lelArm AC* MAY) XCCI 14:04 beeXIt OM =IX itenC -rr•polv war teMit tm3i2e need &Wet mar ft:M/1=W EmichL Gawp ......9.4....mpo,Ampo ~wampum 114.N.Pli RAM
MR MEND XPIX '•%-: COX 000T
"PLY orkMAJ NUL% “Semir NWIWIld glow' idiedeple ...-.1 43CPTECIPC4 Dodo MOEN own inca imple --ggpm `e6 'WO u+lbeFidhPir m'apl% WIMP, 'MEW VWscosommompmawa r
1112'
fif
.M..
VIM 1. • .•meoll *Wm* and
LIDGEMEP. !Mil IIII1 H mil III jI9; Elul Iii ME iliI;
=MI OM=
MMS IMO NNW l!k7f1 IONMS Win filineje OMNI =NMI i;pL IgNINp pm= UNPLIC mama m;Nxj xxN; Mho= Cp1XXI DOW CNAN)
ICUMIg OMMMild. WNW' *NM =Pm immXIMMOCIO
ISIW Mirarl !ENV! woe CNXIC tNENDO CCM) MXN)
OW& MX CHM NEW MOO MN CRICK 013,34 0024 11300(1XIM COM MOD MON ZN5515 5151Ma MOM ini511 ICICI =01 POW 'WC CCM MDCM31 )000 )1102 SOCCM 101XIC CICMSCI =IOCCOM INg2I aatiEd EERM MOD 51 eratrs &ism finerwhit mold! we Farm OBOE adat Olathe #WW!le &NW WIC= OMB MOM Men INN NMI NEM a c•;• ®Atuw moo =km woo cmcm gKEN3 imam cpmin wow mum wpm pgpimm maim NANN W woo maRAF Dili WIN 111Wd imam wow APLPIM Ni ma IMPIN Mina oral arra& wise ear I 2/ C EV'OCCIDOE ChM sere WWI! COCIICEOCICIMC twi t Mee MCC CCMWM 43pcm =mg cap= maw -Amp 74 %Mg GMT Fimmic pnimm' --11r" 1061P" -41ANS 513615211100 tato,- -,erse ur
tml• Veg
MCI ir
w
ow-
sew
t Clean mom cammex mammy 4I.NNININNIMPION NS "14. mime coma
vi
-41
p-g
115
Jan 18 Santa Ana, CA - The Observatory Feb 0€ Toronto, ON - Phoenix Concert Theater Jan 2( Phoenix, AZ - Marquee Theater Feb O Detroit, Ml - The Majestic Jan 2: Dallas, TX - The Bomb Factory Feb-1( Cleveland, OH Agora Theater Jan San Antonio, TX - Alamo City Music Hall Feb 1 Chicago, IL - Concord Jan 24 Houston, TX - Warehouse Live Feb 1: Minneapolis, MN - First Avenue Jan 2(_ Atlanta, GA - Center Stage Feb 1z Kansas City, MO - The Truman Jan 27 Tampa, FL - Orpheum Theatre Feb 1E) Denver, CO - The Ogden Theater Feb 17 Salt Lake City, LIT - The Complex Jan Orlando, FL - Plaza Live Jan 3( Norfolk, VIA The NorVa Feb IF Boise, ID - The Knitting Factory Jan 3' Baltimore, MD - Ram's Head Live Feb 2( Calgary, AB - MacEwan Ballroom Feb 01 Philadelphia, PA - Electric Factory Feb 21 Edmonton, AB - Union Hall Feb 02 New York, NY - Playstation Theater Feb 2:'; Vancouver, BC - The Vogue Theater Feb 03 Worcester, MA - Palladium Feb 2z Seattle, WA - The Showbox Feb 05 Rochester, NY — Anthology Feb 2,t Portland, OR - Roseland Ballroom Feb San Francisco, CA - The Regency Ballroom Feb 06 Montreal, QC - Club Soda Feb 2E, Los Angeles, CA - The Henry Fonda Theater NEW NECK DEEP ALBUM THE PEACE AND THE PANIC OUT AUGUST 18th
orISMI
NIIM 6OVINIF .
,A4
T
ogRE ROCK L %alma
144/ /4, .1
*IAN
IA 'S- 1S. 10. 20
("()LI - NlItI",.4. ()II
TOOL AVENGED SEVENFOLD ALICE ff CHAINS GODSMACK A PERFECT CIRCLE STONE SOUR BREAKING BENJAMIN THREE DAYS GRACE STONE TEMPLE PILOTS MACHINE GUN KELLY BULLET FOR MY VALENTINE THE USED TECH NONE UNDEROATH BABYMETAL BLACK VEIL BRIDES ASKING ALEXANDRIA I PREVAIL GRETA VAN FLEET YELAWOLF TRIVIUM BODY COUNT • UNHAND • RED SUN RISING BARONESS ANDREW W.K. AHEM ANTI-FLAG WE CAME AS ROMANS THE BRONX 10 YEARS SENSES FAIL NEW YEARS DAY MORE HAWTHORNE HEIGHTS TURNSTILE MISS MAY I CODE ORANGE POWER TRIP DANCE GAVIN DANCE TYLER BRYANT & THE SHAKEDOWN STICK TO YOUR GUNS WILSON FROM ASHES TO NEW 4/ BLACK FOXXES LIKE A STORM SHAMAN'S HARVEST WHILE SHE SLEEPS THE FEVER 333 ISMS MINDEN MUM HOME CANE HILL missal STICHEDOPHEART THEM EVILS SPIRIT ANIMAL LIKE MOTHS TO FLAMES SHIM
MAPFRE
STADIUM
TrN,4!!3.17.4%
AEG
itk
I'm driven by a knowledge that life is finite and that makes me lose my mind. I'm like 'fck man, there's not enough time to do like a hundredth of the things I'd like to do in a lifetime. Get the fuck on with it... like immediately. Stop fucking around!' Frank Turner makes a face that closely resembles a grimace and raises both hands in front of his chest as if holding an invisible football.
can't handle the idea that there's not enough time.' He looks down at his hands and laughs. 'It really bothers me.' fI
Like everything about Frank Turner, this statement is both shockingly honest and remarkably intense in the most endearing way possible. It's a few hours before his September 13th performance in Vancouver and the subject of Frank's favorite author has steered our conversation into some deep water. I ask the next obvious question. What's the biggest thing you'd like to accomplish in your finite time? Frank starts to answer almost before I finish asking. The biggest thing I'd like to accomplish is the thing that I'm working on.... He pauses, shifting on the couch we both sit on, before basically starting over. I'm not really sure I believe in legacy as a concept because... who gives a fuck after your dead? It doesn't matter. I don't believe in any sort of continued existence after death. But I'm also trying to... amass a critical body of work that is coherent and that can be considered weighty. As he says the word weighty Frank's hands float in front of him again, except this time instead of a football, he's caressing an imaginary crystal ball. So whether or not I'm succeeding at that is not really for me to judge - I mean, that's kind of the nature of what I do is just put art into the world and then other people have opinions about it... Tonight I'm going to go on stage and play for two hours and try and create an atmosphere and a mood and a connection with a room full of strangers for two hours and when it's done it's done and if you weren't there you weren't there. I was back at the Commodore Ballroom six hours after we wrapped up our conversation to watch him play to nearly I,000 of his fans. Full disclosure: I consider myself one of those fans - and I can confidently report that he accomplished his mission. And as far as his body of work is concerned, my opinion is that Frank's live performance should be considered his opus.
I'm certainly somebody, you know if I've got a big crowd that's going nuts then that completely energizes me. He admits during our conversation earlier in the day. And it's not to say I don't like playing small shows - I love playing small shows, but .. Tonight we've got a thousand people... hopefully enjoying themselves and loosing their shit and that will, you know pull me through the show. My best guess is that somewhere in this confession is the secret to how Frank Turner manages to convert a roomful of strangers into a frenzied dance party where the guest of honor is kindness. Because if you go to see Frank Turner play he will force you to participate and become part of this transformation. There is something universally likable about Frank Turner that appeals to the craving we all have for belonging and connection. We're also probably a little scared of what might happen if we don't do as he says. There are two rules at a Frank Turner Concert, which he let us know three or four songs into his set. The first is don't be a dick and the second is if you know the words you have to sing along and if you don't know 24 VandalaMagazine.Com - Fall/Winter 2017
the words you have to dance. He most likely isn't going to ask nicely for anyone's compliance either, he's going to demand it. Loudly. Often. He reminds me a little bit of Justin Trudeau. A friend of mine remarks, immediately after Frank has laid down the law. This friend of mine is kind of a genius, so while I have never heard our Prime Minister curse like a trucker when addressing a crowd, I am inclined to contemplate her assessment. Much like Frank Turner, our Prime Minister is tall, dark, handsome, and comes from an affluent background. I have also heard him speak about compassion and understanding, which is a central theme of Frank's performance and something he touched on earlier in the afternoon when discussing his upcoming album.
I can say that the last two records I made were kind ofsisters if you like.., they were about internal affairs... and this new record is more about external affairs. I've been kind of reacting to the world. I actually wrote a whole other record of songs about women in history who have been ignored by the historical record. Which is done, but then Donald Trump got elected and I sort of felt like I needed to respond to that as a human and as an artist. The thing that worries me about the way the world is going is the desertion of the center ground in politics. Because if people don't engage with each other in the realm of ideas, they tend to engage each other in the realm of arms and that's a bad thing....Mutual incomprehension is a bad thing, and I think it's really important for us to try and have civil conversations with people we disagree with. And I think its really important for people to reach out and try and build bridges. The first of three well chosen songs Frank Turner and the sleeping Souls play from the new album is called Be More Kind. It's a simple and resonant tune with the easily digestible sound of a hit single that I'd be quite happy to hear topping the charts next spring. Another is called There She Is a full blown happy love song, which Frank admits is new territory for him and the result of being in a settled relationship. The last was a punk flavored number called 1933, which is partially a response to his displeasure over people trying to amalgamate the alt-right with punk rock. Frank considers the punk scene his chosen family and the ideology of punk rock is a topic he speaks about passionately.
Punk rock is counter-cultural but it contains its own values as well and it's not enough for something to be punk for just to be counter cultural. It also has to subscribe to some of the original values of punk rock... Being counter cultural for it's own sake isn't enough to be meaningful, in my opinion... It matters what the mainstream is. If the mainstream is good then being against it is bad. As if to demonstrate this outlook, Frank orders his audience members to participate in a modified death metal tradition that originated in punk culture called a Wall of Death. He divides us down the middle of the room and instructs us to face each other. On his command we charge the row of people facing us and embrace at least one of them. If it were a Wall of death, we would all be trying to fight our way through the wall, so while I share a little more sweat with strangers that I am accustomed to, Frank's Wall of Hugs is a much preferable alternative. Frank Turner is every bit as passionate about tattoos as he is about punk rock, possibly even more so. To me, punk rock is self creation. It's the choice to be a certain type of person and defining yourself. And tattooing is a sort of externally visible manifestation of that... The first time you get tattooed is very 26 VandalaMagazine.Com - Fall/Winter 2017
interesting because it changes your self perception and the boundaries of possibility of yourself. And that's.. I think why tattoos appeal to me is that it's about self creation and self definition, which is also to me what punk rock is about. Its about choosing who you are... All of Frank's tattoos have a story to them, so in some ways the folk-punk rocker is a walking depiction of the things that define him. His first tattoo, a four-letter tribute to the United Kingdom Hardcore Scene is fairly straight forward. The giant bull skull that adorns his back and is in his own words Cool as F*ck, as well as a portrait of the comedy duo Reeves and Mortimer which cover his entire calf elude to a more complex ethos. Perhaps if you are going to contemplate Frank's body of work, you must take into consideration the man himself. A man in a constant state of transformation; a man evolving. Perhaps it would be worth mentioning his favorite author is Clive James, a terminally ill poet and literary critic whose writings on death have been completely re-arranging my(Frank's) mind. Perhaps it would be worth knowing Jason Isbel's song Vampires makes Frank's blood run cold. Perhaps one would acknowledge there is a recurring theme of defiance, an unwillingness to succumb to being content all throughout Frank Turner's catalog of albums. Two thirds of the way through his performance, an attractive blond haired girl balances on the railing in front of the crowd. This is my friend, Alice - do NOT drop her! Frank bellows, pointing in her direction. Keep her safe! She reaches in front of her and takes the hands of the people in the front row, who help to steady her while Frank explains that her task is to crowd surf her way to the bar at the back of the room, collect two shots of whiskey, and then continue to crowd surf her way back to the front of the stage. People around us immediately start cheering while I imagine a trail of Whiskey spilling over the ballroom floor. The final instructions to Alice, are that she is not to start crowd surfing until he counts to four. Frank and the Sleeping Souls begin the opening refrain to If Ever I Stray while Alice and the rest of us wait for the countdown. Approximately sixty seconds later it arrives and Alice gracefully leans forward into the waiting arms of strangers. Somehow, magically, she manages to pull off this crazy feat and she hops up on stage with her friend Frank Turner and the two of them each down a half full shot of whiskey. It's good to see you! Frank exclaims as their shot glasses connect. And then as mysteriously as she appeared, she was gone. Perhaps if you are going to contemplate Frank's body of work, you must take into consideration the man himself. A man in a constant state of transformation; a man evolving. Perhaps it would be worth mentioning his favorite author is Clive James, a terminally ill poet and literary critic whose writings on death have been completely re-arranging my(Frank's) mind. Perhaps it would be worth knowing Jason label's song Vampires makes Frank's blood run cold. Perhaps one would acknowledge there is a recurring theme of defiance, an unwillingness to succumb to being content all throughout Frank Turner's catalog of albums. Most likely, though that's not it at all. Ask yourself if you enjoyed the experience, and if the answer is yes, simply be glad you were there. www.frank-turner.com Fall/Winter 2017 - VandalaMagazine.Com 27
2ND ANNUAL
411%r
6-8 2°: ifi0111711
kl
COUNTR
SIC
FESTIVAL Castlegar, BC at the Pass Creek Exhibition Grounds Tickets available at: kootenaycountryfest.com
lreoldrir KISSEZ1
•
IallosaBOARD moo ovaRSON DRIFT
•
p Cory Marquardt
•
The Lion, Bear & Fox Chris Buck Band .1111111, Lisa Nicole Lauren Mayell Karen Lee Batten Beamer Wigley Mosquito Creek Me & Mae NGBURN IlLOSOil IT
__maw
It141Z01 1"1 2018 ONEEOSOME, FLORIDA el ..$11111 HEADLINERS LISTED IN ALPHABETICAL ORDER ‘$ $1t141111. :411Eie—e;g4AL
4hp 0
%
fik.LAVISRCADE h4S5NECitiR HMS Nosiogiaigraliat; SCOT:441T X 2 SETS
.441D.'•
eticLuo-im4 DAv
SPECIAL FULL 11C SET SET
FILMING ZEDS Lin DEAD 5LIGHTL4 3TOOPID TIPPER BIG GIGANTIC STSci
KUM ACIIIVA LEON BRIDGES F rtunt"-; 4-14fr,_-_t
11-1(
Ler(Fit. GRAMATIK iLLENIUM BLACKBEAR THIEVEri NATIVES CCIVeltilw10/4 tit 1)0140110 A SUPERSTAR titiStita rr. SPRI41. TLICHCr SYLVAN ESSO auDAFI t39 THE LION KYLE MISTEROViS 50F1 TUNIcER MAGIC! LETTUCE BILLIE EILISH
O.
GPNJP. WHITE NIGHT + 4:11ETE TAin-H BOOGIE TAD DIET MONKELI
Lic*
Is
•
JAI WOLF G JONES BIG WILD DElviEL CURRY VUU tirt
NiGi-limPKC5
QUINN X(II ALLAH-LAS
ON iNIPXaa,) TWIDDLE
CHICANO 8ITMW CORY HENRY AND THE FUNK APOSTLES HIPPO CAMPUS TORKUAZ - HISS GOLDEN MESSENGER TOO MANY ZOOZ ELLA VOS BOOGIE T THE DISTRICTS BASIA BULAT POOLSIDE CLOZEE FLAMINGOSIS THE MAIN SQUEEZE TWO FEET
O'KEECHOPBEE GOSPEL SOUL EXPERIENCE
WIN
SON LITTLE
AND
FRIENDS
USTO MAGIC CITY HIPPIES SHALLOU NERVE - THE GHOST OF PAUL REVERE DIRT MONKEY ASHE MAD ZACH THE SH-BOOMS MIKKY EKKO LEON OF ATHENS SOUTHERN AVENUE INVT JUNGLE Si AND MORE TO BE ANNOUNCED' -
‘: / (7/141.4/14.,010EE010bEffEST.(0t1 .
• 61! •
x• .
No Rest For Stiff Little Fingers - Interview with Jake Burns By Sean Barrett
By way of celebrating their four-decade anniversary, the lads from Belfast, Ireland's Stiff Little Fingers are doing what they do best: not stopping, and not slowing down. By that I mean they're touring the world with their loud, high-energy, and catchy brand of punk rock. Pioneers and legends though they may be, they're still releasing material (and it's good!) and laying waste to venues. In the back of one such venue, Vandala Magazine got a change to talk with Jake Burns (guitars, vocals) and get a better idea of how Stiff Little Fingers operates. Congrats on 40 years as a band! Well I'm never sure if it's worth congratulations on; we just haven't had the decency to die yet. We never would've believed it. Certainly, I wouldn't have believed it when we started. I don't think anybody does when you join a band. You're still playing good sets. Jake: Well, thank you. That's more for the audience to say than for us to say. If you think we're still doing good, then that's great. That's the point. They were a great crowd tonight. It's always a good time to come to, and it's always been fun for us. It was great. Huge age-range out there, from 21 to 61. Jake: That's something that's been a feature for some time. I've heard lots of bands say
"oh, our audience ranges - like you said - from 20 through to 60" and I've thought "I've 30 VandalaMagazine.Com - Fall/Winter 2017
stood in the audience. No, they don't. They're all the same age as we are," but our audience really is like that, and I've got no - I don't no why that should be, but it just is. We're very grateful for it, but if there is a downside to it, you've got to look at the young kids at the front who are going crazy and thinking "I'm gonna be doing this on a walker, aren't I?" 90 years old and still playing in a punk rock band. Who knows? let Iggy get there first. It's a real no-nonsense set-up you've got, just three stacks and a drum-kit. That's what we've always done. We'll use the occasional effect and stuff in the studio, but as far as I'm concerned it's just one more thing that can go wrong. Even having my guitar-tuner on stage tonight, it managed to crap out on me at one point, and that's not even an effect. I try not to put anything between the guitar and the amplifier. It's much easier. So tell us about this line-up. I know you've got the original bassist back into the fold. Jake: It's kind of funny, the other boys, the new boys, they've been here for over twenty years. Steve, I knew from when the band split up the first time, I put another band together called The Big Wheel, and that's where I first met Steve; he played drums for me then, so I've known him since like 1984. Ian I've known since I moved to Newcastle, so I've known Ian for the best part of 30 years as well. A band that's been together as long as we have, obviously people drift off or people get fired for whatever reason, but in this case it was just sort of natural. Our previous drummer, Dolphin, he quit because he had basically missed his first kid growing up because we were on tour all the time, and his daughter was born and he didn't want to miss her growing up, so we can't really argue with that. Steve, obviously I had worked with him before, so he was the first guy I thought of and we got hold of him. We had gone through a bunch of guitar players and people could only play with us for a certain time; we had Dave Sharp from The Alarm play with us for 6 weeks, which was as much as he could commit to and as much as we could offer him with times that we weren't recording - we had just made an album and I played all the guitars on it. I knew Ian from Newcastle, and whenever we were looking for a guitar player, I said Ian's a great guitar player. He's also a great backup singer...and he's an easy guy to get on with. I think that's the key thing is that we're all good friends; we're all pals first and in a band second, which makes life a lot easier. That's awesome to hear. You see a lot of, especially with older bands, bandmates who don't hang out socially at all. Jake: No, absolutely, yeah. That's not the case with us; we do actually all eat lunch
together, and if anybody's going to a bar, you get a phone call saying, "I'm at this pub down the road. Y'wanna come join me?" "Yeah, sure." Particularly, like you said, after this length of time, it's nice that we're not ready to kill each other - we're more ready to kill each other when we've been together like this, for 4 weeks living on a bus together. That's when you're ready to kill somebody rather than 40 years. What's next for Y'all? There's a bunch of stuff in Scandinavia taking us up to December, then were taking Christmas and New Year's off, and start again in February in Australia. It never ends, y'know? It never ends. No rest for the wicked, eh? Jake: Not just the wicked, also us! Fall/Winter2017 VandalaMagazine.Com 31
Australian Tour 2018 Monday 19TH February Perth The Rosemount Tuesday 20TH February Adelaide The Gov Thursday 22ND February Brisbane The Triffid Friday 23RD February Sydney Metro Theatre Saturday 24TH February Melbourne Croxton Bandroom Get your tickets now from metropolistouring.com and the venues
B WriLi Ha I.
UK 2018
0
AVEPPED SEVENFOLD •
JUST ANNO NCED •
MARILYN MANSON
~ULLt'T FOB MY
RISE AGAINST AcEXISONFIRE
7AfEirt1/4‘ 4&
BLACK VEIL BRIDES • MA ALEXANDRIA NECK DEEP • MESHUGGAH • IN THIS MOMENT THE HIVES • BODY COUNT FT. ICE T • MAYDAY PARADE DREAM STATE • WSTR • THE PINK SLIPS PLUS MANY MORE TO BE ANNOUNCED
TICKETS ON SALE NOW 8-10 JUNE 2018, DONINGTON PARK DOWNLOADFESTIVALCO.UK Nom
ILAKEROM
sot q7
pixy
LIVE 11.01001
ticketmaster.
ILL SLELNCI- TO 0411. NCE
"If I had to live or die based on radio play, I'd have had to get a day job by now. en,f I survive on cultural Currency."
When future generations looks back on the story of hip-hop music, there will be a handful of albums which they will looks to as the benchmarks for the level of craft, consciousness and influence the genre has had on the world. They'll look at Illmatic, of course. Ready To Die. The Chronic and Straight Outta Compton. Low End Theory and Midnight Marauders. Enter the Wu-Tang. It Takes A Nation of Millions To Hold Us Back. My Dark Twisted Fantasy. To Pimp A Butterfly, to name a few. And they will look at Black Star. When Mos Def (now Yasiin Bey) and Talib Kweli's Black Star dropped back in 1998, it changed a lot of things for a lot of people. In part a reaction to, perhaps even a rebuttal, of the gangster rap era and the glorification of that lifestyle, Black Star was a thinking man's hip-hop album, with socially conscious themes from two of the genres deepest thinkers and most skilled mic-men. Black Star is the only album Bey and Kweli have released under that name, but both have gone on to highly celebrated solo careers. And Black Star shows do pop up every now and again as part of festivals or in locals around southern California. But while Black Star may well be a one and done deal, as far as their recorded output is concerned, Talib Kweli has remained extremely prolific ever since Black Star dropped nineteen years ago. On Radio Silence, Kweli's eighth solo album and (fifteenth, I think?) album overall, you will find the same deep thinker, the same jazz-influenced, and a socially conscious rapper that you did in 1998. There are few rappers around today with the lyrical depth and technical rapping ability that Talib possesses. And if you are into hip-hop and haven't heard of this man, this is the eternal conundrum that is Talib Kweli's musical career: how does commercial success continually seem to evade one of the best artists in the game? You can look to the title of this article, or you can read the interview below. Dave Chapelle speaks some serious truth at the end of the 'Traveling Light' video. What does it mean to you to 'happen in real life? Talib Kweli: That's what the video is. A lot of people's interactions in the digital age is solely on social media. We're doing Christmas shopping on Amazon, we're traveling around in Uber. We don't take the time to truly interact with each other. The weekend that that video was filmed over was a special weekend. A lot of the people who I respect and have been around in this business and a lot of people who are newer in the business, like Anderson Paak, as well as old friends of mine, like Q-Tip, Mos Def, and Dave Chapelle, were all in New York that weekend. A lot of people want to be around Dave Chapelle because he's such a lightning rod of energy and positivity. And that was right at the end of his Radio City run. So a lot of that video was all of us hanging around. It was also the same day as Spike Lee doing his annual block party. And I grew up on Spike Lee, but I had never met him. When you saw me in the video with Spike, that was the first time I had ever met him, even though he was one of my biggest influences. And now when you look at (the new Netflix show) She's Gotta Have It, I'm mentioned in that. So it's a cycle. Spike Lee did a block party right on the heels of Prince's passing as well, didn't he Talib well Spike Lee does block parties every year. When I was 14, 15 years old, I was going to Spike Lee's block parties. But he did do one dedicated to Prince. And D3 Fall /Winter 2017 - VandalaMagazine.Com 35
Spinna, who's famous for his Prince vs. Stevie Wonder parties and Michael Jackson parties, he's integral part of Spike Lee's block parties all day. But he did do one dedicated to Prince after his passing, yeah. That's interesting because I've always seen you as a bridge between those two things. Someone who connects the old hip-hop guard, so to speak, with the wave of new talent. Yeah, and to take that even further, I've referred to myself as the connector in several interviews. But before I could be seen as the connector between the past and the present, I was the connector between what was considered commercial and underground. You know, on my records I have had Nora Jones and Justin Timberlake, Peter Rock and KRS-One on them. And not too many artists are able to pull that off. Well this album, Radio Silence, is full of the stuff that made me fall in love with hip-hop in the first place. Lush, jazzy instrumentation, expansive bass, thought-provoking lyrical content, dope features. And with all due respect to rappers who employ this, but it's refreshing to hear an album without auto tuned vocals all over it. Talib: There is auto tune on it. Auto tune is a studio tool that is used all the time. It's just you have younger, new hip-hop artists who have taken it to a new level. And they lean on the autotune and they use it as an actual instrument. Anytime you hear an R&B song, a pop song, you're hearing autotune, but it's just not employed in a way where you can recognize it. Now people are doing the whole autotune style of rap, which is something that can be great and sound good. Like Roger Troutman, those old funk Roger Troutman records were filled with auto tune. You know, Kanye really revolutionized it with 808's & Heartbreaks. And T-Pain is somebody who's used it to great effect. Future. There's a lot of copycats as well, who take it and it sounds like a copy of Roger Troutman or T-Pain. And that's why it's called 'mumble rap', because to the untrained ear, it makes it so people can't even understand what you're saying, if you're not in the culture that way. But I get your main point about what you like in hip-hop, and that's what I like too, which is why I made this album. Yeah and regardless of how much auto tune is or isn't there, your bars on this album are crisp and clear, as usual. You don't seem to be influenced by what's popular or what's happening on the radio and instead focused on your own artistic statement. Tatib: Well I've always tried to say that I try to pay attention to the trends by not following them. I take your critique to heart because what I attempted to do with this album was take an album that was nostalgic for fans of Train of Thought, fans of Black Star fans of 36 VandalaMagazine.Com - Fall/Winter 2017
Quality, but that wasn't mired in retreads of those themes. I was trying to be futurist with this album, while at the same time holding on to those fans who have been with me from the beginning. I've done other songs that my true fanbase, sonically, it's not what they're into, it's not what they like to hear from me. It's not what they enjoy. But it's what I enjoy, and I try to challenge myself. But I didn't challenge myself in that way on this album, with the exception of two records: 'Chips' and 'Radio Silence'. Those are the two records I sort of veer away from what my fanbase has come to expect from me, but I had to trust that my fanbase would trust me on those records. And for the most part, the feedback that I'm getting is that they do. 'Chips' is a great song. Waka Flocka is amazing on it. I also think it's perfectly placed. It comes just about half way through the record and follows some of that jazzy boom bap I mentioned before, and is followed by some more jazzy stuff later in the record. It really gives you a good wallop at just the right time. Talib: Well thank you so much for saying that because that song had been taken off the album, then put back on the album, then taken off the album, because I didn't feel like, thematically, it matched the rest of the album. But I did feel like the middle of the album needed a jolt, which is exactly what you described it as. I mean, I played that song for Q-Tip last year, and four or five seconds into that song, he was like, 'no. Take that record off the album' (laughs). I was like 'don't you even want to hear Waka Flockar He was like 'no'. And I mean, he's my hero. And he's made the best hip-hop albums of all time, arguably. So I took the song off the album. But then, a year later, I thought, no, this song has a purpose. It's not a Tribe Called Quest album, it's not (2-Tip's album, so I have to do my own thing. But it's interesting that, I went back and forth on it, precisely because of what you just said. Yeah, and taken out of context, I can see why Q-Tip might have that reaction, but albums should be listened to as a whole, and as a whole, it's a perfect fit. Talib: Thank you. And God willing, I could do an album executive produced by Q-Tip, and he could make all the decisions. Agreed. This album is full of deep, meaningful lyrical content, all your projects are, and one track that I found really touching was 'Write At Home'. I thought that was a really special way to end the album. What's the story behind that? Talib: That was another song that was hard for me to place. That was produced by Glasper (Robert Glasper), who showed me the bare bones track when I was in Ferguson and he was inspired by some of the things I was doing there. The poem comes from a fan of mine. I have a website called kweliclub.com, and a fan of mine wrote that to me. He didn't say it was a poem or describe what it is, and I read it. It was so moving and so beautiful. So I contacted him and said 'what is this?' And he was like lit was just on my spirit'. He's from Ottawa, Datcha, so I got him in a studio in Ottawa and asked him to record it. I still haven't met him to this day. So for a long time it was just that Glasper track with that Datcha poem. Bilal heard it, he added some vocals. And the only reason I have a short verse on there is that I wanted to put it on my album and then I could be a part of it somehow. That's incredible. It sounds like something written by Neil deGrasse Tyson. Talib: It's interesting that you say that because I did Neil deGrasse Tyson's show at one point. I don't think he ever put it out, but we had an interesting discussion, because he asked if I wanted to ask him anything, and I wanted to ask him about God. Fall/Winter 2017 - VandalaMagazine.Com 37
Iknow how he feels about God, but I wanted to have a discussion with the greatest scientific mind in the world about spirituality. And what I like about the Datcha poem is that it doesn't ignore that there is something, a higher power that connects all of us as human beings, but it's also very very very scientific. Spirituality courses through the veins of all your work, Radio Silence is no different. One thing I noticed about it on this album though was that there doesn't seem to be one single definition of what God is, or even what spirituality is. There seems to be this fluid spirituality based on the unpredictable nature of energy that transforms itself in different ways at different times in your lyrics. Are you able to attach your own personal beliefs to any single label or definition? Talib: No, I'm not. That's very limiting for me. There's greatness that can be found in all religious beliefs, there are awful things that can be found in all religious beliefs, so I try to stay away from any labels. But I do participate in my own spirituality. I wanted to talk about one particular lyric in 'Write At Homer that kind of blew me away. You say "rolling a blunt on a copy of Native Son". Obviously, you're talking about the Richard Wright novel. I read Native Son years ago and it hit me pretty hard and put a lot of things in perspective. Especially for someone who isn't African American, who isn't from America. But the novel to me seems to represent three major American f*ck ups. The first obviously being slavery, the second being the continued mass incarceration of African American men and women, and the third being the resulting identity crisis by some African Americans who are struggling to fit into a country in which they were initially brought to against their will. Is that a fair assessment? Talib: I think that's a very accurate, academic assessment of what that novel is. Richard Wright, he became world famous for it. As someone whose mother is an English professor, and I've owned and run a bookstore (Nkiru Centre for Education and Culture), literature has always been a part of my outlook in terms of my lyrics, from James Joyce to Richard Wright. And what I 'm doing with that lyric is sort of 38 VandalaMagazine.Com -Fall/Winter 2017
dealing with the duality of my life. You know, people who smoke weed don't even smokeblunts anymore, they smoke it like spliffs. And I come from the era of, we were smoking big, fat blunts. So while I was smoking blunts and drinking 40's, skipping school, I was also reading The Autobiography of Makom Nigger by Dick Gregory, and Native Son by Richard Wright. It's the duality of gaining this knowledge, but also living this debaucherous lifestyle. So the idea that I'm rolling a blunt on the cover of Native Son, that's a very visceral image that a lot of black people my age, who grew listening to hip hop, grew up in academic settings, will relate to. X,
It's a powerful image, as is the cover of this album. It looks like a painting. It looks like Jimi Hendrix, actually, I don't know if that's who it's supposed to be. No, it's a painting of a woman. I don't know who this woman is, but it was painted by Jerome, who did the Reflections Eternal - Train of Thought album cover. It's an oil painting, just like Reflections Eternal. And I discussed with him what I wanted for Radio Silence years ago. So he painted that after listening to some of the album. The title of the album, I don't know if I'm reading too deeply into this, but Radio Silence. Although you've always been one of my favorite hip-hop artists, I think you are, and I feel the same way about Black Thought from The Roots to a certain extent, but I think you are perpetually under appreciated. Not by hip-hop heads, to whom you are a true legend. But due to the fact that you don't enjoy the same commercial success as many of your peers. And your albums don't get the attention they deserve. I can count on one hand the number of times I've heard one of your songs on the radio. Which is a crime. Which is what came to my mind when I heard that the album was to be called Radio Silence. Is that on point at all with your intention, or am I way off base here? T- 111: No, that's pretty accurate. It's the idea that the radio could be silent, but I'm still going to be here. That artists like myself, Black Thought, people like that, don't need to depend on the fickleness of the radio crowd. And I guess the thing that frustrates me about that is also comforting in a way. The idea that, it's not up to the radio, or the mainstream or whatever you want to call it, to decide your fate as an artist. That's exactly right. If I had to live or die based on radio play, I'd have to get a day job by now. I survive on cultural currency. No doubt. I wanted to focus on your new album in this interview, but I have to ask this before I let you go: Yasiin Bey mentioned last year that he was going to drop a couple albums and then retire. Unless there are some unreleased tapes sitting in a studio somewhere, does this mean that any hopes of a Black Star reunion is out of the question? We did several Black Star shows this year. (Pauses) I don't put too much stock into musicians who say they're going to retire. Whether it's Al Green, or Dr. Dre, or The Rolling Stones, or Yasiin Bey. If you're a musician, it's not a career choice, it's not a job, it's who you are. You can't retire from being who you are. I think Yasiin is just trying to find new mediums, new ways to release his art the way he wants to do it. I think it's more accurate to say he retires from the music business, but in all fairness, he kind of did that years ago. www.talibkweli.com Fall/Winter 2017 - VandalaMagazine.Com 39
+ WHILE SHE SLEEPS ZURICH, SWITZERLAND
24.01.18
X-TRA
25.01.18
FORUM KARLiN
26.01.18
COLUMBIAHALLE
BERLIN, GERMANY
28.01.18
GASOMETER
VIENNA, AUSTRIA
29.01.18
TONHALLE
MUNICH, GERMANY
30.01.18
PALLADIUM
31.01.18
013
01.02.18
AB
03.02.18
ALEXANDRA PALACE
PRAGUE, CZECH REPUBLIC
COLOGNE, GERMANY TILBURG, NETHERLANDS BRUSSELS, BELGIUM
LONDON, UK
' WINTER S GATE NORTH AMERICAN TOUR 2018
Blaq<st:are,
i t
adh, 444hab ,,
4111".'
MAY 23 CLEVELAND OH, Agora Ballroom MAY 24 WESTLAND MI, Token Lounge MAY 25 JOLIETIL, The Forge MAY 26 ST PAUL MN, Amsterdam MAY 27 MADISON WI, High Noon Saloon MAY 28 DES MOINES IA, Vaudeville Mews MAY 29 KANSAS CITY MO, Riot Room MAY 30 DENVER CO, Hermans Hideaway MAY 31 SALT LAKE CITY UT, Liquid Joe's JUN 2 SEATTLE WA, El Corazon JUN 3 VANCOUVER BC, Rickshaw Theater JUN 4 PORTLAND OR, Hawthorne Theatre SAN FRANCISCO CA, Thee Parkside JUN JUN 6 WEST HOLLYWOOD CA, Whiskey a Go Go JUN 7 SAN DIEGO CA, Brick by Brick JUN 8 SANTA ANA CA, Ma!ones
JUN 9 JUN 11 JUN 12 JUN 13 JUN 14 JUN 15 JUN 16 JUN 17 JUN 18 JUN 19 JUN 20 JUN 21 JUN 22 JUN 23 JUN 24
TEMPE AZ, Club Red DALLAS TX, Trees HOUSTON TX, Scout Bar NEW ORLEANS LA, Southport Hall WINTER PARK FL, The Haven MARGATE FL, O'Malleys YBOR CITY FL, Crowbar CHAPEL HILL NC/ Local 506 HALETHORPE MD, Fish Head Cantina PHILADELPHIA PA, Voltage Lounge MONTREAL QUEI Foufounes QUEBEC CITY QUE, L'Anti TORONTO ONT, Garrison NEW YORK NY, The Gramercy Theatre WORCESTER MA, The Palladium
GRIEV5 RUNNING WILD
-EUROPEANTOUR 2018 Rilmtlar
1 FEB-PARIS,FR 2 FEB-BORLANGE,SE
9 FEB- HAMBURG, DE 14 FEB- BASEL, CH
3 FEB-HELSINKI,FIN
15 FEB- WINTERTHUR,CH
6 FEB-COLOGNE,DE
16 FEB- MANCHESTER,UK 17 FEB- LONDON, UK
7 FEB-MUNICH,DE 8 FEB-BERLIN,DE
(how to live)
AS GHOSTS
WITH
FROM ASHES TO NEW 1/16 - ATHENS, GA 1/17 - HUNTSVILLE, AL 1/19 - TYLER, TX 1/20 - SAN ANTONIO, TX 1/21 - CORPUS CHRISTI, TX 1/23 - AUSTIN, TX 1/25 - TEMPE, AZ 1/27 - SAN DIEGO, CA 1/29 - WEST HOLLYWOOD, CA 1/30 - SAN FRANCISCO, CA 1/31 - RENO, NV 2/2 - PORTLAND, OR 2/3 - SPOKANE, WA 2/4 - SEATTLE, WA 2/6 - BOISE, ID 2/7 - SALT LAKE CITY, UT 2/8 - COLORADO SPRINGS, CO 2/9 - LINCOLN, NE 2/11 - WEST DUNDEE, IL
TOYEARSMUSIC.COM
I can't believe it's been ten years since I was in line for Hallowicked 2007 in Detroit to see Insane Clown Posse for the first time. I witnessed damn near thirty )uggalos surround a blonde female police officer while chanting "Let Him Co!" because the officer tried to arrest the wrong Juggalo that accidentally hit a state police car because the individual skyrocketed a Moon Mist Faygo bottle in the air. And during all the chaos that's when a person wearing a killer clown mask handed me a Long Range Distribution compilation titled "Got That Murdercore?" It had a ton of underground artists on it, ranging from Q-Strange, The Dayton Family, Kardiac, Grewsum, Intrinzik, and even Insane Poetry. I had never heard any of these artists prior, but one artist that stuck out the most was Connecticut's very own Freeze! The Freeze track was titled "Burn All the Bodies", but whoever pressed the discs ended up making a mistake and the Freeze song within the compilation was actually a full version of the track "In It for a Minute". I was hooked! I had never heard anything so raw and fierce from hip-hop before. I bumped the song like an addicted music junkie for days on end! Fast forward almost ten years later and Freeze is still grinding harder than ever! He just rocked the Gathering of the Juggalos, toured with Celph Titled and Apathy, still dropping high-quality videos, and is about to release his latest record "Moon Rocks & Spaceships this Saturday! Get familiar! The hip-hop world needs more cats like Freeze because his upcoming LP "Moon Rocks and Spaceships" is about to shake the underground world to its absolute core! For the unfamiliar, are you able to dissect your onstage name "Freeze" in-depth and how it reflects your own personal life? Freeze: I've always rooted for the "bad guy" in movies and comic books as a young kid. Not that I didn't respect the so-called "Good Guys" but the villains always seemed more interesting and filled with more depth. Even though in a sense, they were the representation of pure evil, they always had a backstory, or some reason why they become what they are. Harvey Dent was burned by acid on one side of his face and manifested his personality into Two Face. The Fiddler felt misunderstood by the world and became what he was portrayed as. Naturally, Mr. Freeze was my favorite. When I started rhyming I had a few different names. Around the age of fifteen, I jumped into a battle cipher that some kids my age we're having outside a high school. I pretty much used the best kid rhyming as a test for my own skills, to see how good I really was {Laughing}.I remember hitting him with a punch line somewhere in the middle of one of my verses and another dude that was there screaming from the background " That's it! He Froze 'Em!" A little light bulb went off! Freeze was born. It's who I am in a sense and represent most importantly as an entertainer. Not everything can be nice and sweet and just because it's darker subject matter at times doesn't make it any less appealing or worthy if ya feel what I'm saying? True Art is dangerous and not typically "Safe Play". The message I deliver comes from a righteous place always! But, I need to show you from the darker perspective at times. That's why I'm the villain. What inspires you to stay motivated and following your dreams to pursue hip-hop after nearly fifteen years as an emcee? Freeze: You make it seem so long. *Laughs* It definitely has been, but I feel I'm still a young man and speak to a wide variety of people with this Martian shit. I've had my ups and downs throughout my career but I have never been at a standstill. My career has always elevated little by little. I've had to build it brick by brick and walk it every mile along the way. No success I've seen was ever handed to me. I've had to act like a relentless predator to achieve what I've wanted and that's the reality of what gaining true success takes to accomplish. It is the worst career path you can choose if you don't know how to play it to your advantage. If done wrong, it will be a man or women's biggest downfall. 46 VandalaMagazine.Com -Fall/Winter 2017
Can you break down what life is like as an independent emcee? Freeze: Pretty much what I was just touching on. Non-stop trial and error. But always learning from the mistakes is how you figure out what f*cking works! *Laughs* I can't speak for anybody else, but for me, I have found success in the realm I am in at this time. My goal is pretty simple. As Jim Morrison said "Break on through to the other side", that's it, man! *Laughs* I will do it. I promise that much. The journey has only begun. If offered a record deal from a major label would you accept it?
00
Freeze: Depends on what the obligations truly were to them as a company and if it overall will benefit my career. So it really comes down to the right situation for me and my life in that moment. Anything is possible. What does the underground hip-hop scene need at this moment in time to stay alive? Freeze: A true message! A lot of people have talent but don't have much to say. You can mystify us with multi-syllable lyrics but can you tell us a story or deliver a message that will genuinely connect with the listener? That's what's lacking to me. So many artists are underground and independent, in a world where they think they are slept on because they are underground. *Laughs* But in reality, they are trying to be or replicate something another artist already did. We all have certain styles and say things that may sound similar at times, so we are put in categories, but a true artist is always separated by originality, expressed by his or her artistic passion. As rappers, most don't look at it as an art form anymore. It's fast money, its notoriety, it proves they are hard, or just all around prove that they are somebody. I get it. I feel those same emotions. But in the end, my music is always channeled from a much deeper place in my heart and soul. I can't dumb it down. I don't know how to at this point. I can't mumble rap for you! *Laughs* No offense to anybody that does. I just can't reprogram myself to deliver art of lesser value than what I'm already accustomed to. You should be majorly proud of the fact you were able to tour with hip-hop giants Apathy and Celph-Titled in Canada! Any tour stories you'd like to share from being on the road with them? Freeze: Man! That tour was one of the best experiences of my life! One, it was my first solo tour.and when I say solo.I mean nada, no one with my crew wise and no hype man. It was a Canadian tour and travel was really only accommodated for artists. So I literally rocked twenty straight shows all by myself and can honestly say I killed it every f*cking night! *Laughs* Canadians appreciated what I had to offer on that tour almost more than any other shows I've ever played. Apathy, Celph and their homie N.M.E taught me a lot of shit in that short time and I also got to see things from a different perspective that will forever help me on my path. As far as stories, let's just say touring is like being a Viking. You invade each town to pillage, plunder and conquer! *Laughs* We did that every night most definitely! It was dope. I would do it again in a second. Those dudes already had my respect as artists, but the respect I have for them now is way more personal and I'm thankful to know them. Good dudes! Fall/Winter 2017 - VandalaMagazine.Com 47
Any plans to do a track with Apathyâ&#x2013;ş and Celph-Titled? If so, what subject matter will the song focus on? Freeze: I originally planned on having Apathy produce a couple jams for "Moon Rocks & Space Ships" but our schedules conflicted a little after the tour. I absolutely plan on working with both of them musically and business-wise in the close future. Both are extremely talented and I like organic relationships when I collab with other artists, so it will work itself out beautifully, I'm sure. What's your relationship like currently with Mercy Count Records? Is Martian Hit Entertainment another outlet to release a different creative side? Freeze: Mercy Counts Records was something I started in 2007 as an imprint for The Album the release of my debut album "Red SNoW " was distributed by Long Range Distribution, owned and operated by a guy named Marc Kempf (Eminem's first manager). So, at the time I needed to have something that represented myself and my brand. As years went on, I guess it became a movement in itself and a lot of artists wanted to be down with what I was doing. But it wasn't until 2014 that I actually put out an artist project that wasn't myself and that was Xplizit. Now, I look at it as no matter what I am doing, Freeze aka Freeze Martian, whatever you want to call me, and is the sole force behind anything Mercy Counts or Martian Hit Entertainment. But they are all one in the same. I'm entering this new phase where Martian music is what drives me and the idea behind all of this. That is the driving force. It was natural. Martian Hit Entertainment came about from this musical journey I have embarked on for sure. It's common knowledge among the hip-hop community you're a strong believer in Alien life and UFO's. Any personal moments dealing with your own individual paranormal encounters that inspired the title for your upcoming effort "Moon Rocks & Spaceships"? Freeze: I've been having things happen to me since a child I can't rationalize anymore without just chalking it up to paranormal! *Laughs* As a kid, it was weird voices and figures I knew wasn't alive in this world. My sister, unfortunately, passed away when she was twenty and I was twelve. Something about that experience forever kept my consciousness aware of other things going on. I became awakened to the spiritual if you believe in those things. *Laughs* Some may call it crazy. But I started gaining all these personal experiences that proved to me along the way that not everything is as it seems. Now, what really inspired this martian thing and movement was a real experience. Something that I took as a true calling. I had come to a point in my career, where I had established a name and respect, was doing big shows and staying busy. But something was missing. One little piece to the puzzle that needed to be found. I was missing a true brand. Something that distinguished me from all other artists on this planet. But I didn't have a clue or idea what it was at the time. One night and not for dramatic effect. *Laughs* But it was a darker than usual spring evening. But the sky was very clear and I remember that detail specifically. My boy and I were chilling and (yes, we were smoking on some fire) but that shouldn't affect my story credibility because I smoke every day and never see Monsters, Goblins or hallucinations I assure you! *Laughs* But my boy wanted to take a drive to this Wal-Mart in another town because he was looking for a particular item they didn't all carry. We drive there, I wait in the car a few minutes, he comes out and we head back home. As we're driving I remember coming over a stretch of highway that was looking down a really large hill. In Connecticut, we have crazy hills and winding roads. Nothing is flat really or on a grid system. So we're coming down this steep stretch of highway and I remember no cars being in front of us insight. Something caught my eye and I looked out the right passenger side of his windshield and noticed an abnormally large light in the sky. 48 VandalaMagazine.Com Fall/Winter 2017
But it looked to me at first, like the light from a satellite tower or some kind of air traffic light. So to make sure I wasn't crazy, or buggin' out, I looked at my boy and asked him "Is that a tower or am I seeing something else?" His response was "Yup...wait...I.don't know "literally before he could finish the light turned on an axis and started rotating diagonally. It then developed a light display I can only describe as rainbow color. It then shot across the sky to our left and hovered above a cliff for what felt like forever. I just remember being in disbelief at what we were seeing and my boy was genuinely scared and almost panicking. We both had this overwhelming feeling, that it knew we were there and was showing us something we needed to see. I can't say it was an alien craft for sure, but it was a U.F.0 no doubt. Whether government or alien it was nothing civilians were NOT supposed to see. From that moment two years ago, I haven't stopped pushing this Martian movement. It's real to me and I genuinely see it as my destiny. To deliver this alien message to the world one song at a time. What makes "Moon Rocks & Spaceships" stand out the most amongst your previous albums? Freeze: It's my best work. Hands down. I musically accomplished things I always wanted to try or do and artistically expressed what I was trying to put across better than ever before. In my opinion. It's a dope album man. I don't like stroking my own ego but it is an album nobody can replicate. At the least, I know I did something original and fresh and that was my goal. What kept your creative flow thriving when first writing "Moon Rocks & Spaceships"? Freeze: This story I needed to tell. Its basically the journey of a Martian from another planet who crashes into earth. His goal is to communicate a message to help the people of earth but the only way to communicate with them is through rap music. *Laughs* From there the album is a story of an alien rapper, on earth delivering his thoughts and messages. In a nutshell. If you had to choose a specific sci-fi book to break down "Moon Rocks and Spaceships" production, what would it be and why? Freeze: 2001: A Space Odyssey. If I had to compare it that's what it would be. If you want to compare musically, the closest thing I could think of would be David Bowie's album " Ziggy Stardust & The Spiders From Mars ". It definitely is a sci-fi journey, filled with weed smoke, spaceships but overall, real human experiences that can make one feel alienated. This is why I started this Martian shit. To help people out there that thinks a little different and may sometimes feel like they don't belong in a sense. It truly is a movement designed to unify the outcasts of life. Even if you just want something different musically, this is for you. If you need something with a little more thought and meaning behind itithis album is for you. Freeze for President! Just kidding, f*ck all that! Are you able to dive into G-Mo Skee (Majik Ninja Entertainment) first initial response when you invited him to appear on the space weed anthem "This Budz For You"? Why did you choose this track as "Moon Rocks & Spaceships" first single? Freeze: I met G-Mo Skee in April, six days after I got off tour in Canada after playing a
show with him and Twiztid. He was talking with Fury (Bizarre of D-1 's manager) and we were introduced. I guess a few fans of mine or Martians if you will {laughs} had seen G-Mo earlier in the day and had been telling him about me. We all started mobbing the streets of Hartford, CT smoking blunts and talking about video games. *Laughs* We kind of clicked and for whatever reason, he was down to work with me and the song was born. I had originally made the song as a solo but when I played it for G-Mo he pretty much insisted on getting on that song. I thought it was a dope idea and good addition to the Fail/Winter 2017 - VandalaMagazine.Com 49
song. It's definitely one of my personal favorites on the album. I wanted to announce the arrival of this album with the perfect first single."This Budz for You" just spoke to me as the song to launch this mission. Lyrically, what does the track "Out to Lunch" represent as a whole? Freeze: It may sound at first like your typical horrorcore song or dark concept but it's
definitely more than that. The song is about friends being your only true enemies. Because friends and family are the closest people to you in your life. You allow them into your bubble and open up to them because you trust them and think they will never do you wrong. When they do though, it can impact your world in a very negative way. You can't trust people as easy when you meet them or take chances with new friends. You've already been betrayed by ones you actually gave a f*ck about, so how do you now regroup? That's the question and message of the song. Friends will snake you and in the end turn on you. But it's what you do from there to move on and learn from it that truly matters. So in a sense it's about finding yourself after your friends have been abducted from your world. If you were abducted simply because other life forms in space were impressed by "Moon Rocks & Spaceships" and wanted you to perform live on another planet, how would you react and possibly prepare? Freeze: At this point, there wouldn't be much preparation homie! *Laughs* I live for that moment to happen and have almost created that world musically at this point anyway. I would be truly honored though and would know for sure...that I am a Martian! Why shouldn't hip-hop fans not sleep on your latest effort? Freeze: It's not hype or bulls*it when I say my music offers something different and it damn sure isn't some publicity stunt. There's a reason I made it this far and have gotten myself to this point. The only thing missing is people just like you to discover what I'm doing and truly find one another. After that, it will only make sense. Yes, I am a talented rapper. I know that much. But I wouldn't be here and climbing this mountain if it wasn't something I was meant for. I just need the world to see that and wake up to what I'm doing. We live in a world where audiences need television and famous people to tell you what's dope and new! I've been on IC! 's radio show and had Violent 3 personally listen to my song and on-air tell everybody its dope. I've had Apathy and Celph Titled take me on tour and give me a platform to expand. So I've gotten the artist respect I guess I should focus on TV. I heard TRL is back on MTV, who knows. *Smiles* Would you like to share your own personal favorite childhood Halloween experience? Freeze: Hmmmm...I would say the first time I ever went to a haunted house attraction. My mom took me. *Laughs* I had to have been eight. I just remember understanding that this was all fake and for entertainment from the jump and that idea intrigued me a lot. It's funny you asked that, because that moment may have been the start of my interest in darker content or entertainment. I don't want people to think my music is all scary and dark cause, for the most part, it's not. It will always walk the edge for sure, but I don't want to scare anybody away. If you listen to two Freeze albums or even one, you will clearly see the diversity my music has to offer. That's why I call it Martian Music cause it's Universally EVERYTHING! Any advice you'd like to share with any music artist from any genre just starting out? Freeze: It sounds clichĂŠ bro, but just be yourself at all times. If you genuinely have something to say then don't stop until your message is heard. But don't waste your time if this is just something you saw on TV and looks like a good time. The worst mistake you 50 VandalaMagazine.Com -Fall/Winter 2017
can make. The fun fades fast if you don't know what to expect. Trust me. Any thoughts on the future of Freeze? Freeze: To the stars and back man! This won't end until I've done what I came here to do...and I'm not quite there yet so I would expect to be hearing about Freeze and getting more music for many years to come. My next tour is still in the works but 11/11/17 is my official release party and show with Block McCloud at The Franco American Club in Waterbury, CT. Oh yeah, get my new album "Moon Rocks & Space Ships" that same day! Available at All digital outlets such as Itunes, Amazon, Spotify and more! Or hard copy via www.freezethemartian.bandcamp.com Freeze Online: www.facebook.com/FreezeMartian
SUBSCRIBE TO
ROTHCEIWRED RADIO a
RSS FEED ยง
WWW. R OC KWi RED. COM
Fall/Winter 2017 - VandalaMagazine.Com 51
Out of the Fire - An interview with Joel Grind of Toxic Holocaust By Sean Barrett
vs.
Thrashing with blackened apocalyptic fury since 1999, Portland Oregon's Toxic Holocaust have been carrying the torch of righteous riffs further still into the nuclear age. At the helm of this wild war-machine is producer, songwriter, multi-instrumentalist and vocalist, Joel Grind. We carved out a few moments to chat one night on their tour with Goatwhore and Venom Inc. I know you're a big of Venom fan. How'd you end up touring with them? It was kind of funny. We got offered to do a tour with Venom - it was either their first or their second tour they did, when they came back as Venom Inc. - and we couldn't; we already had a tour; we had a conflict with another tour booked, so we were like in the running. I don't actually know how we got offered that first one, but I'm a huge fan so I'm stoked. As soon as I hear that, I'm ready to go. Looks like you've been busy doing synthesizer music. How's that been going? It's good, man, it's cool. It's something - I'm still working on the new Toxic record; the new Toxic record's pretty much done except for vocals - so I've been working simultaneously on that and the synthesizer stuff. The synth stuff kind of came out of the fact that I did this record - I guess it was about 52 VandalaMagazine.Com - Fall/Winter 2017
two years ago now - of just horror movie synth type stuff. I just loved those soundtracks as a kid and continued liking them. I finally had some free time in between tours to do a record like that, so I did it. It was in my mind for a long time to do it, and I finally got a chance. Because of that I got more and more offers to do things. I just did the music for a comic book, it's coming out on Waxwork. It's a comic book series and each issue comes with aseven-inch, so I just did music for that. Did you get to read the comic book then decide what it would sound like? Joel: : I did, they sent me a preview of it before it was printed, but basically the storyboard/layout. Really cool. It's about this punk dude. It's kind of this mixture of Suburbia, the punk movie, meets Friday the 13th, so it's pretty rad. It looks like you've been with this touring line-up for quite a while now. When you write a record, is it still you alone in a room or is it more collaborative now. Joel: The past two records I did with my drummer. With this record, we're kind of doing something different because I got asked by a few people to do a record kind of like back to the old days. It's a weird thing: we didn't have a record label so I'm funding this record by myself. Those guys live in Connecticut, I live in Portland, so to fly and find those guys places to stay and all that stuff - it didn't financially make sense, so it was kind of the perfect storm for a record back the way I used to do it. We'll see how it goes. It's gonna be different, but it's not gonna be a throwback musically to old ones but it's definitely, y'know, it's gonna be a little more like that just because I'm doing everything myself, so it'll sound a little different than the past couple records. So how's the producing side of your life? Joel: Busy, man. That's actually why it's been taking so long to do the new Toxic record. I'm just so busy with the studio. It's awesome It's like one of those things where you start your own business; it's hard to turn down jobs because you're trying to get your name out there and you wanna keep that going. So that's why it's been taking so long to do a new record. It's finding the time to balance both. I didn't expect it to be quite so busy, the studio stuff, because I'm still getting my name out there; I'm not an established producer yet, more known for the band. Think you'll do a headlining tour on the new album? Yeah, I'm sure once the new record comes out, we'll do some headlining stuff. I still don't know when the new record's gonna be out. That's a whole other thing, waiting for the label to put it out because there's a whole cycle thing. It's the business end that I don't really understand fully. You do a record and you're excited to get it out there and then you gotta wait for six months. It makes sense because they do a whole advertising thing leading up to it so they know your record's coming out. www.joelgrind.com www.twitter.comijoelgrind666 www.facebook.com/ToxicHolocaust Fall/Winter 2017 - VandalaMagazine.Com 53
11012E P R 1
ti
E H r
tact bilet tet CtI P with special guesis C RHOSdill OV CONFORMITY
-4fE
ArADF Hai
v E. NAT EG o or+, all-d Dec 29 - Jag 20 NO 11 â&#x20AC;&#x201D;
-tbt, 27
Jan 24 -I NF
2{C17: PITTSBUI?GH. FA @ MAE AE VCR )4.wALrK El. WI () Rain BALLROCN CLUB STAGE 20. ST. PAUL, mt,1@ MYTH LPIE ItIt. CINCINNATI. OH @ BOGART'S 2(11: SASKATOON_ SK @ OIRJANS EVENT CENTRE 1/20: AlLANTA. @ CENTER STAGE ITOZ OMAHA. HE @SO M AUDITORIUM 2112: EDMONTON. AB THE RANCH ROADHOUSE 03: CHICAGO, LE) HOUSE Cf BLUES 1/26: ST. PETERSBURG, FL @ JONA LIVE 2t14:VANOXIVER, BC @ COMMODOREBAL LIROC444 1,0 imam KIM N @ EGYPTIAN 1100M/OLD MATt MYRTLE BEACH. SC @ HOUSE OF MES 2/16: GR AsEic PR AIRE AB @ BOWI3 EMT MITER 1105: DETROIT, MI 71{ FILLMORE DiTRaT 1125: rtALBC41, NC @ THE 117 1/1T: CALGARY. AB @ mACEWAN HALL 1101 a.IFTC*4 PARK, NY gl LIMAN CONCERT HALL int SLYER SPRW.0.40 THE FILIE SUER SPRING 21r9: SEATTLE, viA SHOWECCC SOX) 1/31: NEW YORK, NY @ PLAYSTA11ON THEATER 2/fit PONIARD, OR @ ROSELAND THEATER 1/011: MONTREAL. QC @ hid lEws 1/09: TORONTO, ON @ REBEL 241: WORCESTER4 THE MILAN um 2121: SACRAMENTO, CA (D ACE OF SRADES VIC: GRAM RAFIDSI @ 20 MONROE UVE VW: PCRTLAnt, E @ AURA 2/21 LAS VEGAS, NY @ HOUSE CF BLUES Va OKLAHOMA ary. @ EIAMOND BALLRIXN 2/U PHILADELPHIA, PA@ ELECTRJC FACTORY 2(24: 11:41, AZ@ THE MARQUEE 2105: BUFFALO, NY CO TOWN BALLROOM VD: DALLAS. TX @ BCS4 FACTORY 2125: ALBUQUERQUE, N>@ SUNSHNE 'PLATER 111 +: AUSTIN ,TX @ EMO'S 2,kt: AXRON. CSI@ THE GOMEAR THEA.TERIEAST END 2/21: LOS ANGELES.CA @ THE FONDA 'MANE 12127: DEN vER.,CO@ OGCCH TI.EATRE 12129: SIOUX CITY, IA @ ANTHEM AT HAM ROCK 12/30: KANSAS CITY, NC@ UPTOWN TI-LATER 12/3t MUGS, IL @ POP'S NIGHTa.la
HOUSTON. TX @ HOUSE OF IMS 1/17: NEW ORLEANS. LA @ HOWE Cf" BLUES 1/16: NASHVILLE, TN @MARATHON mi.PSIC WARKS
(Am co.BiacittsabelSocielpireti
THE MAKING
■
FALLING IN REVERSE
FEB 20 FEB 22 FEB 23 B24 FEB 27 FEB 20
THE BEV/NEARS PRAllA FRANCISCO ARMORY THEM ER SMOEN THEATER ACT DRY RS DR BM IRMO FL !E
MAR 15 Mitt nowits CENTIR MAR 16 ALLENTOWN_ PA •FPI CER1ER AR 17 PCITS8JR61.1. PA • KTERSEN EVERTS CENTER MAR 19 MANTA. GA • COCA-COLA ROY MAR 20 ST_ AU01.15111(E, Ft • sr. AuersrmE AINIIIKATRE
JAN 13TH
CLASSIC GRAND
GLASGOW
JAN 14TH
02 ACADEMY
BIRMINGHAM
JAN 20TH
SOUND CONTROL
MANCHESTER
JAN 21ST
02 ISLINGTON
LONDON
JAN
ZANZIBAR
LIVERPOOL
TH
imitiammiligua
TICKETS: WWW.ALSTARMUSIC.COM
@ALSTARMUSIC
BRASS MONKEY, OTTAWA DUE To PHENOMENAL DEMAND! THURSDAY FEBRUARY 8 BRA oMouT± NKEY, OTTAWA FRIDAY FEBRUARY 9 PALAIS MONTCALM, QUEBEC CITY SATURDAY FEBRUARY 10 CORONA THEATER, MONTREAL SUNDAY FEBRUARY 11 LONDON MUSIC HALL, LONDON MONDAY FEBRUARY 12 PHOENIX CONCERT HALL, TORONTO/ WEDNESDAY FEBRUARY 1 4 HOUSE OF BLUES, LAKE BUENA VISTA, FL TUESDAY FEBRUARY 20 MUSIKFEST CAF.- AT ARTSCIVEST CENTER, BETHLEHEM, PA WEDNESDAY FEBRUARY 2isomoull SELLERSVILLE, PA THURSDAY FEBRUARY 22 GRAMERCY THEATER, NEWYORK NY FRIDAY FEBRUARY 23 WOLF DEN@MOHECTAN SUN, UNCASVILLE, CT SATURDAY FEBRUARY 24 THE PARAMOUNT HUDSON VALLEY, PEEKSKILL, NY MONDAY FEBRUARY 26 RAMS HEAD ONSTAGE, ANNAPOLIS, MD TUESDAY FEBRUARY 27 HARVESTER PERFORMANCE CENTER, ROCKY MOUNT, VA SECOND DATE ADDED DUE TO PHENOMENAL DEMAND! I THURSDAY MARCH 1 KENT STAGE, KENT, OH FRIDAY MARCH 2 TOKEN LOUNGE, DETROIT, MI SATURDAY MARCH 3 KEr soup owl GE, KENT, OH SUNDAY MARCH 4 T. FURTH PAC ANGOLA, IN FRIDAY MARCH 9 POTAWOTOMI, MILWAUKEE, WI SUNDAY MARCH 11 ARCADA THEATER, ST. CHARLES, IL THURSDAY MARCH 15 KNUCKLEHEADS SALOON, KANSAS CITY, MO FRIDAY MARCH 16 ANTHEMeTHE HARD ROCK, SIOUX CITY, 10 SECOND DATE ADDED
TUESCrAY FEBRUA
FOR TICKETS GO TO URIAH-FIEEP.COM BY ARRANGEMENT WITH APA AND SIREN ARTIST MANAGEMENT
Jay Zâ&#x2013; The 44 Tour, Rogers Arena Vancouver, BC Article by: Dustin Griffin Before I go into the show itself, let me start by saying that the 444 Tour is Jay-Vs swan song. By which I mean that this is Jay's retirement run. Just as the album 444 is Jay's retirement album. Did he announce his retirement? No, and he won't. He did that once already, in 2003, following The Black Album, only to return (officially), three years later with the release of Kingdom Come. His most critically and commercially unsuccessful album to date. No, I think when the juggernaut that has been Jay-Z these past 22 years decides to throw it in, this will be the announcement, this will be the press conference. An album, and a tour. However you feel about Jay's latest album, there's no denying it's transparency. The beats are stripped down, the bars are stripped down, the presentation is stripped down, the themes are stripped down. If Jay-Z till now has been a great lion, with muscular legs, a full mane, and razor-sharp teeth, then 444 is its skeleton sticking out. It's meaty frame having been emaciated by media turmoil surrounding a very public instance of unfaithfulness, and a searing rake across the coals by the lion's mate herself, the great lioness Beyonce, in the form of her even more emotionally venerable album Lemonade. Given the paper like frailty of this album's concept at times, you might expect a Jay-Z tour in support of it to resemble little more than a coffee shop open mike night. Albeit one in front of a hockey arena full of fans. Maybe a light bulb hanging from a string above a mic stand and stool. A similar setup to the one Jay had on his Saturday Night Live appearance a few weeks ago. And there was something hanging from strings above the stage at Rogers Arena on December 11th. But it wasn't a 100w light bulb. It was half a dozen of the biggest screens I have ever, possibly will ever see. This screen projected Jay's face on them while he worked the crowd, but they also featured a video at certain intervals during the performance. A documentary-like video that featured clips of past Jay-Z music videos, home videos, and news clips. It was very well done and was further proof, to me at least, that this tour will probably be Jay's last. The whole aura of it had the feel of an encore, career-wise. The setlist itself was the perfect mix of radio hits, fan favorites, and songs that just sound good projected on arena-sized speakers in front of 19,000(ish) people. The octagonal stage Jay was on was deceptively complex. It was flat to start with but extended up into a half pyramid and at its corners in the floor held a live band, DJ, and percussionists. Which was great, as much of the music was performed live and had an energy that hip-hop concerts that feature little more than the artist rapping against their own CD playing over the PA don't. Another nice touch was Jay playing a few songs from Watch The Throne, his collaboration album with Kanye West. When Kanye was in Vancouver, he teased the first few bars of 'M *gas In Paris' before stopping the song and announcing that there would never be another Watch The Throne album because, essentially, Jay-Z wasn't 58 VandalaMagazine.Com Fall/Winter 2017
being a good friend to Kanye. Thankfully, there was no such drama at this performance. For his last song, Jay also played the Linkin Park version of 'Encore', prefaced by a few touching words about his late friend Chester Bennington and how important it is to check in on your loved ones because mental disorders are real and serious. Jay shared a number of touching thoughts throughout the night. He also interacted with a few fans and reminded everyone present how much they meant to him and how thankful he was for their presence that night. Even for those of us up in the nosebleeds, it made the whole evening feel much more intimate than an arena show usually does. I should also mention that opener Vic Mensa was fantastic as well. His setup literally did resemble an open mic at a coffee shop, with little more than a piano, a turntable and an amp for his guitarist on stage. He hammered through much of his Roc-A-Fella debut The Autobiography and was great at greasing the crowd up for Jay-Z. There's been a lot of hoopla surrounding this tour in regards to Jay having trouble selling tickets and many of the arenas being under sold. I don't know how accurate these reports are. I know that Rogers Arena wasn't sold out and a day before the concert, the same tickets I bought for $70 a piece were going for $40. That's a steal for a Jay- Z show and more than a little baffling considering how famous the man is. But none of that detracted from the effort that went into Jay's performance on December 11th. This was my first time seeing Jay-Z and it was fulfilling in the exact way I was hoping it would be. I wasn't willing to pay $250 to sit near the stage, but even up in the 300's section, I felt closer to the action than I was. The sound was great, the performance was great, the interludes were great, the setlist was great. Bottom line: If you're among the many who chose to skip Jay-Z this time around for whatever reason, you f*cked up. Especially when you realize, too little, too late, that this was your last chance to see one of the greatest hip hop entertainers of all time on his retirement run. See if I'm wrong.
8
11111;10U] TOUR
JAY: Z 4 â&#x20AC;¢ 4 4 710
1 . 1 )
OCT. 27 OCT. 28 NOV. 01 NOV. 03 NOV. 05 NOV. 07 NOV. 08 NOV. 09 NOV. 11 NOV. 12 NOV. 14 NOV. 15 NOV. 16 NOV. 18 NOV. 19 NOV. 21
ANAHEIM, CA LAS VEGAS, NV FRESNO. CA PHOENIX, AZ DENVER, CO DALLAS, TX HOUSTON, TX NEW ORLEANS, LA ORLANDO, FL MIAMI, FL ATLANTA, GA NASHVILLE, TN CHARLOTTE, NC DETROIT, MI CLEVELAND, OH MONTREAL, QC
NOV. 22 NOV. 25 NOV. 26 NOV. 29 DEC. 02 DEC. 05 DEC. 06 DEC. 09 DEC. 11 DEC. 13 DEC. 14 DEC. 16 DEC. 17 DEC. 19 DEC. 21
TORONTO. ON BOSTON, MA BROOKLYN, NY WASHINGTON DC UNIONDALE, NY CHICAGO, IL LINCOLN, NE EDMONTON, AB VANCOUVER. BC SEATTLE) WA PORTLAND, OR OAKLAND. CA SACRAMENTO, CA SAN DIEGO, CA LOS ANGELES, CA
Fall/Winter 2017 - VandalaMagazine.Com 59
Like a Freight Train: Review of Donny Lang and Zane Carney Article By Mariko Margetson I often know if I'm going to enjoy myself at a concert based on the music that is playing before the opener takes the stage. On November 29th before Zane Carney opened for Johnny Lang at Vancouver's Commodore Ballroom, the Black Crowes were emanating through the venue. Definitely a good sign. When Zane Carney strolled onto the stage he was cradling his signature Hofner Guitar and sporting a full-length tweed jacket that he joked would have to be removed after the first song. He had the crowd charmed well before he strummed his first chord with an ease only those born to bathe in the limelight can conjure. The set that followed was a carefully curated showcase of his vast technical abilities and a sample of his musical artistry. The majority of songs were originals, beginning with Talk to Me Baby, the second track from his debut Album Confluence. He also showed off his live looping skills and defiantly broke the cardinal sin of playing two cover songs in a row starting with Arthur Hamilton's classic Cry Me a River. He followed that up with a crushing version of the Beetles notable hit Come Together. His sound is a rich fusion of styles that include jazz, blues, funk and hard rock. Vocally I would describe him as a psychedelic crooner. If you want to know what that means, go see him play live. You'll get an inkling of what that means from his album, but there is a rawness to his live performance that will draw you in. It's no wonder that John
60 VandalaMagazine.Com Fall/Winter 2017
Mayer and fellow guitar virtuoso Jonny Lang choose to play with him in their respective bands. Speaking of Jonny Lang, I had a feeling the 36 year old guitar wielding gospel singer from Middle America was going to blow me away and he absolutely did. Lang started his performance with his back to the audience sporting a black ACDC t-shirt and charcoal jeans before tearing into Don't Stop (For Anything). It was a wise decision. I'm not sure we all would have survived if he were to hit us with everything all at once. I remember watching the video for Lie to Me some 20 years ago when Jonny was just reaching stardom and thinking that music had a hold on this young person and it didn't look like it was about to let him go without a fight. Safe to say that battle still rages only now it's clear that ninny Lang has the upper hand. Donny Lang live is a jaw-dropping experience. What you're watching doesn't quite match what you're hearing. What you're hearing is mind-bending guitar licks and fervent vocals in a successful union of gospel, blues, hard rock and even funk. Meanwhile, you are watching a wrestling match between a writhing mythical beast and a rebellious six-string guitar. Instinct tells me I was one of the few in the crowd witnessing this for the first time. Some concertgoers stood still and fixated on the stage while others moved and grooved and wiggled and jiggled. One highlight of the evening was a sing-a-long during Jonny's tune Red Light in which the crowd was instructed to sing "everything's gonna be alright" between refrains. Another was a few rounds of dueling guitars between Donny Lang and Zane Carney. It started out as playful banter before escalating into a tornado of noise where both artists summoned their sounds into a series of high pitched howls. During the encore, we were lucky enough to get a few minutes of Jonny Lang unplugged as he began to sing Breakin' Me. As he expertly fused that song with Lie to Me, the crowd responded with applause and cheers, and soon the rest of the band was back on stage to close out the night. I have to admit that the evening left me feeling rather euphoric. I go to shows and write about them because I love music and there is always something to appreciate any time an artist or group performs live. But it's becoming more and more rare that musicians fully give themselves up to the art of expression the way that Jonny Lang, his band, and Zane Carney did that night. So while I can honestly say I enjoy every show, this was the type of show that inspires me to keep going. Vist Ronny Lang online to check out his latet album "Signs" and to catch him live on his 2018 American tour. www.jonnylang.com www.facebook.comi)onnyLang www.twitter.com/jonnylangband www.instagram.comnonnylangband www.youtube.comiuserlionnyLangMusic Zane Carney Online: www.facebook.comizanecarneyofficial www.twitter.comizanecarney www.instagram.comizanecarney Fall/Winter 2017 - VandalaMagazine.Com 61
Marley Sons Lead Army of Pop Stars in 40th Anniversary of Exodus Album Live Article and Photos By L. Paul Mann The classic Bob Marley masterpiece has recently been reworked and re-released by Ziggy to celebrate the 40th anniversary of the iconic album. As the stage lights came up and a litany of pop stars lined up to join the action, the sold-out audience leaped to their feet, beginning a Reggae danceathon that lasted until the final note was played. Stephen Marley took over lead vocals on the first song, So Much Things to Say followed by Cyril Neville taking the microphone on Guiltiness. 14â&#x20AC;˘1111SW
Then the impressive line up of guest musicians appeared one by one to take over as frontmen for a song or two. Citizen Cope came out next sing a blue-eyed soul version of The Heathen. Stephen Marley again took the lead after that, on a dance-inspiring version of Jammin. Lead vocals next went to R&B master Aloe Blacc playing a soulful version of Wait in Vain. The musical composition took another big turn on the next song when the lead singer of My Morning Jacket, Jim James came out to play an almost psychedelic mini set. First, he sang vocals on Turn Your Lights Down Low. Then Aloe Blacc returned to the stage and did an intriguing duet with James on Three Little Birds. James later joined in the jam playing a trippy fuzzed out guitar. Then the Marley brothers took over the vocals for a duet sing along, that had the audience erupting in harmony on the universally known, One Love/People Get Ready. Then the energy reached a fever pitch as the massive chandeliers hanging from the ceilings were shaken by the intense guitar riffs of Tom Morello. The guitar legend and political activist played a wailing guitar solo, Stephen Marley sang Exodus. Morello got a roar from the crowd as he flipped his guitar over revealing a F*ck Trump sticker on the back at the height of his solo. It was a fitting finale to the set and one of the only real political moments of the night. After a short break, the band returned for an encore of other Bob Marley classics. The group led by both Marleys began with All Day, All Night. Then blues guitar master Gary Clark Jr. joined them to sing and play a wailing guitar on No Woman, No Crime. Later Tom Morello returned to the stage joining Gary Clarke Jr. on dueling guitars while Ziggy sang I Shot the Sheriff. The stage was then engulfed with all the musicians who had performed throughout the evening for a final sing-along finale of, "Get Up, Stand Up," as the audience sang and danced. It was an inspiring night of music organized by Blackbird Presents, the same company that, earlier this year, held tribute concerts for The Band's "The Last Waltz 40th Anniversary" and before that Little Feat's "Waiting For Columbus." The show was a testament to the genius of Bob Marley and the timeless music that he left for generations of music lovers. 62 VandalaMagazine.Com Fall/Winter 2017
64 VandalaMagazine.com - Fall/Winter 2017
Fall /Winter 2017 - VandalaMagazine.Com 65
Barenaked Ladies "Fake Nudes" Tour Article and Photo Credit: Mariko Margetson The crowd that greeted the Barenaked Ladies for the first of two sold-out shows at Vancouver's Commodore Ballroom on November 17 was full of die hardy. A gregarious conglomerate of middle-aged suburbanites hell-bent on celebrating their former Beek roots. A fine mix of Gen-Xers who have been fans of the band for most, if not all, of their 29-year tenure as Canada's indict rock gods. After all, the Barenaked Ladies are responsible for starting the movement that made geek chic nearly three decades ago. Who knows where we'd be without the goofy, up-tempo musings of Ed Robertson and Co. I fear we might be less confident in expressing our true selves, less accepting of things and ideas we don't agree with, and less likely to stand up for those less fortunate than ourselves. In other words, thank goodness for the Barenaked Ladies. The newest incarnation of the band from Scarborough Ontario includes original members Ed Robertson, Tyler Stewart and Jim Creeggan as well as newcomer Kevin Hearn. This fab four found themselves at Vancouver's Commodore Ballroom for two sold-out shows on November 17 and 18 respectively. November 17 was also the release date for their new Album, the appropriately titled Fake Nudes. As the title suggests, Fake Nudes is an easily digestible fourteen track compilation of songs that manage to simplify broad and often overly complicated subject matter into a sound byte you can hum along with on the drive to work, in the shower, or sipping coffee in the morning. It's a mix of songs that we can all relate to and in typical BNL 66 VandalaMagazine.Com Fall/Winter 2017
fashion, you find yourself too busy chuckling over the lyrics to fully recognize the depth to which they speak. This theme of understated poignancy, if there is such a thing, matched the tone of their performance at the Commodore on Friday. Alan Doyle, former frontman for Great Big Sea made an appearance early on in the evening. Both he and Robertson also played the Commodore on November 19 for an event called Spirit of Canada: A Benefit for John Mann. John Mann is the lead singer for the notorious Celtic rock band out of Vancouver, Spirit of the West who was diagnosed with early onset dementia a few years ago. I spent my formative years listening to Spirit of the West and their shows were always an event for me and my friends. John Mann is the first artist I ever idolized and if it weren't for my obsession with Spirit of the West I might not have found myself obsessing over the likes of the Barenaked Ladies or Great Big Sea with as much enthusiasm as I did when I was young. I wasn't expecting that emotional sucker punch the evening of November 17th. Something in the way Ed Robertson carried himself that evening had me wondering if he and his bandmates had been confronted with a similar blow. Aside from the five songs from their brand new album, their set was a mash-up of beloved sing-a-longs that the genial, sold-out crowd swayed and sang to all night long. Even the new additions to the playlist are catchy enough to join in for the chorus. That said, the new album has a couple of gems like Flying Dreams that glide from the easy breezy bubble gum groove into almost ethereal territory. Tunes that might lose a little luster if they were recreated on a live stage. There are layers to this musical, intellectual foursome and to really appreciate what is on offer, you need to experience the thoughtfulness of the album and the playfulness of their concerts. One of the best things about a Barenaked Ladies show is that they are always full of surprises. The surprise this night was a marathon mash-up of well-known numbers that started out with the theme song for Game of Thrones. Not an easy thing to pull off, but with the theatrical flair of Jim Creegan and the leaping ability of Tyler Stewart it becomes one of the evening's highlights. I loved the little break dancing teaser in the middle too. I left the Commodore feeling a mixture of nostalgia and camaraderie that to be totally honest took a few days to fully digest. Hats off to the Barenaked Ladies for sharing something that evening that I still can't find the words to describe. You can preview the bands latest album "Fake Nudes" online and is also out and is available at retailers! So be sure to grab your copy today. Plus Barenaked Ladies have announced their USA TOur Starting in June 2018 Barenaked Ladies Online: www.barenakedladies.com/splashi www.facebook.comibarenakedladies
AND
THE
ULTIMATE MUSIC MARKETING GUIDE
IS A VIRUS FOR SMOUS EXIXEICADM
click for more info
haUSICIANS AUD BANDS Fall/Winter 2017 - VandalaMagazine.Com 67
68 VandalaMagazine.Com - Fall/Winter 2017
Fall Winter 2017 - VandalaMagazine.Com 69
ImetiO0011itstesS001S,; 1191, folorimosti
70 VandalaMagazine.Com - Fall/Winter 2017
o Credit
RYLL 4
4$
ORYLL COM
Fall Winter 2017 - VandalaMagazine.Com 71
What does Atlas Genius do backstage after a show, on their North American Tour? Article and Photos By Cielo de la Paz "#14! #14!" One of the fans behind me started yelling as Keith Jeffery, lead singer of the Atlas Genius, introduced their latest song "63 days". What the fan was referring to was the position of the song on one of the top charts around the country. While I'm not sure which chart he was talking about, it's not hard to believe that Atlas Genius' new hit song would end up in the Top 20s. Especially with "63 Days", a song that highlights Keith Jeffery's sultry vocals. Newly started on their North American Tour, the LA-based Australian band, was full of energy as they performed their 3rd show on the road. But I think even if this were their last show, Atlas Genius would still have brought that energy. Their songs are punchy, many of them having that "I can't help but rock out to this song" beat. Keith was dynamic on stage, rocking out, and then jumping into the crowd, making us move along with him. There was no way you'd come out of that venue not having danced even just a little bit. After the show, I met up with the guys backstage. Immediately as I walked through the door, Keith recognized me and gave me a warm hug and a can of PBR (Pabst Blue Ribbon Beer), his beer of choice because it is "easy to drink". I had to agree with that as I took a sip out of the can. We quickly caught up since over a year had passed since I last saw him and the band. For them it seemed so much had happened, like appearing on the Conan O'Brien show and starting this tour. Speaking with the Jeffery brothers, Keith and Michael, was like hanging out with your old buddies. Keith talked about being vegan and why he became vegan 8 years ago mostly for environmental and showing kindness and compassion to animals. In fact, the whole band is vegan. Josh (Josh Rheault, guitar/keys) himself becoming the most recent vegan since the beginning of the year. Besides our serious talk about the environment, health and kindness to animals, we did what most friends do when together - look through Instagram and laugh at funny videos. Dan (Daniel Curcio, bass) had edited a funny video and posted it on Instagram and we couldn't help but watch it over and over again. The night with the band was short, however as they had to leave at 1 am to move on to the next city- Portland. It is a brutal schedule. They spent most of the night disassembling and packing. Once they were done packing we left the venue and boarded their giant tour bus. I got the grand 1 minute, but impressive tour from Keith. Their bus had 9 bunks and a shower in the back. Not too shabby. Keith mentioned he is still getting used to sleeping on the bus. But he was grateful that they at least didn't have to do the driving. I was sad they had to leave so soon. The guys were so down to earth and great to hang out with. I wished them good luck on their tour. "Next time you're in LA, come hang out," Michael said as I got off the bus. I definitely will. Follow Atlas Genius: www.atlasgenius.com www.facebook.com/AtlasGenius www.twitter.comiatlasgenius 72 VandalaMagazine.Com Fall/Winter 2017
74 VandalaMagazine.com - Fall/Winter 2017
Fail/Winter 2017 - VandalaMagazine.Com 75
Big Sugar is Back on the Scene: Review from Vancouver's Commodore Ballroom Article Credit: Mariko Margetson There was magic flying every which way when Big Sugar played to an ecstatic crowd at Vancouver's Commodore Ballroom on Friday, September 8. There has always been magic between Gordie Johnson and the eclectic crew of talent that call themselves Big Sugar, but this was a new kind of magic; a sort of shiny alchemy to complement their newest, blissful transformation. For fans in the know, the change was apparent from the moment all five dapper musicians stepped onto the stage. For starters, long time bassist and Rastafarian, Gary Lowe had chopped off his notorious silver dreadlocks and was rocking a fedora, while still on the bass line every time. Second, there was no saxophone. Seriously. Kelly Hoppe, aka Mr. Chill has decided to test the waters of retirement after fourteen years of blending his seductive brass chops with various incarnations of the Big Sugar ensemble. DJ Friendliness was also absent, now putting all his attention into the reggae roots troupe called The Human Rights. New additions include the Latin American flavor of congo drums, courtesy of Texas native Ray Arteaga as well as subliminal textures of sound and languid presence of Alex Johnson, front man Gordie Johnson's sexy, significant other. In the middle of this revolution, drummer Chris Gormley assumes the role of rock steady nucleus. Most of the magic still emanates from the extraordinary, mind blowing guitar skills of Gordie Johnson, who captivates from the moment he sets foot on stage. That night in Vancouver he stormed the stage sporting one of his signature double neck guitars and just let it rip, howling about being back and letting go. Admittedly, I don't know all the songs in the Big Sugar Catalog, but there was something about this first song that felt fresh and seemed to serve as a declaration for where the band was at this moment in time. Like a mission statement for the evening. I counted four different guitars that graced Gordie Johnson's well-dressed shoulders that evening; two of which were double necks, including the notorious cream colored Gibson with the Canadian flag on the backside he purchased before a show in Edmonton some ten years ago. He calls it Nemesis and the wizardry on display when she's in his loving arms is worth the price of admission and then some. I must also confess that before September 8, I hadn't fully appreciated the songs from Big Sugar's eclectic catalog that would be considered reggae. I now consider myself converted thanks to a set brimming with tunes that spanned all edges of the band's life span. Perhaps the void left by Kelly Hoppe and DJ Frienlyness had forced elements of showmanship to the wings and forced the fledgling five-some to reveal themselves. Hence the magic sparks flying from musician to musician, wife to husband, fan to performer, and husband to wife. Early in the evening Gordie takes a sip of clear liquid from a dark green bottle and grins. It's just water He exclaims, holding it up for us to see. Who knew it tasted so good! He then stepped up to the mic and told us he was going to play lots of new songs this evening, starting with one about a female super hero called Wonder Woman. They followed that beauty with a crowd pleasing rendition of Roads Ahead and seamlessly fused together a playlist of hits and new jams that had us die hardy stomping and grooving and vying for a better view. There is something about the way Gordie Johnson 76 VandalaMagazine.Com Fall/Winter 2017
moves when he's cradling a guitar that makes it very difficult to concentrate on anything else. For some of us. Near the end of the set, Gordie informs the audience he has a treat for us, which turns out to be an impossibly tall bass player he introduces as Big Ben. According to the set list I scrambled to get a photo of at the end of the night, Big Ben also goes by the moniker Benno. At any rate, the guest performer, who doubles as the sound checker, helped Gordie raise the roof for an energetic interpretation of the rollicking tune Ride Like Hell, which was hands down the highlight of the evening until that point. And judging by the playful manner in which the three minute ditty turned into an extended jam session, it was a highlight for the band as well. Somehow, the night got even better. They followed that with the anthemic kitchen jam All Hell for A Basement and ended the set with Gordie furiously having his way with Nemesis before doing his signature move of showing the audience her maple leaf underbelly whilst playing it over his head and behind his back. Like a legend. The encore, which was short and sweet, opened with my favorite Big Sugar ditty If I had My Way, which got the crowd singing along. It closed with an intense version of the hit On the Scene, which seemed to echo the opening sentiment. Whatever you thought this band was, let it go, because this is who they are now and they are here to stay. And in case there was any confusion over whether or not this band lacked conviction, Gordie embraced Nemesis one last time for a final solo jam and unleashed some moves that made their earlier dance seem like a waltz. To an inexperienced observer he may have seemed like a man possessed, but in my humble opinion, he seemed more like a man sharing with a room full of people what it's like to be blessed. Fall/Winter 2017 - VandalaMagazine.Com 77
Guerilla Warfare - A Soulfly-As-Nailbomb Show Review Article By Sean Barrett
/H.
Rodrigo-Fredes
To the surprise of most everyone, Max Cavalera and crew (the Soulfly crew, that is have decided to do a tour in which they perform the 1994 album Point Blank by Nailbomb (which is what he was calling himself and his band at the time). It was a career that burned bright and fast, in which they put out that one insane album of Ministry-worshipping industrial beats alongside mean and catchy thrash riffs, played a single show, recorded that show and released it as a live record, then broke up and went about their lives. Anyone who wasn't at that one festival (which is most people, as you can imagine) just sort of assumed they would never see that album or any of its songs, played live. Well, here it is. Keeping it in the family, Lody Kong are the openers for each night on this tour. The band is made up of the next generation of Cavalera brothers (both Max's sons) on bass/vocals and drums, respectively, plus one of their friends (I assume) on guitar. Vocally speaking, the apple has not fallen far from the tree here. Their sound makes use of thrash, sludge, and punk all held together by some air-tight drumming. It's all got some real legs and I look forward to hearing what they do next. Baltimore-based grind-unit Noisem kept the show going after Lody Kong, and did all tour long. It turns out they've re-vamped their lineup, keeping the same guitarist and drummer, but slimming the bass and vocal duties into the hands of one person, a talented one too. There's a whole lot less feedback now, and a more stand-and-deliver approach to vocal delivery that's less emotive and more monstrous. It's a more 78 VandalaMagazine.Com Fall/Winter 2017
focused attack than that of the band who put out Blossoming Decay in 2015. Also, their snare drum is so tight it may as well be a f*cking cowbell. Nice! Joining us for this portion of the tour are Richmond, VA weed-themed death-merchants Cannabis Corpse. Fronted on bass and vocals by Land Phil of Municipal Waste, these cats play old school death metal with the effortlessness and ease of mastery that I've come to associate with the genre at its best. When you're playing complex music this well, the weed thing is elevated from gimmick to fun icing on a cake that would otherwise still be delicious. The pit-presence of their bud monster, a man dressed in a nug costume, certainly did not hurt. What came next was a In wait between sets as an eager crowd drank in the visuals of the Nailbomb stage set-up. This included tactical camouflage, military-use green netting, human-shaped shooting targets and at least two gas-masks. Finally, the beast was ready to roar. To my surprise at least, the drumming duties for this lineup are being handled by the Cavalera who is Max's son rather than his brother. Dude held it down. On synths and backing vocals is the bassist/vocalist of Lody Kong, that other Calvalera. The bassist and other guitarist are, with Max, the rest of Soulfly. These riffs have not gotten stale, not at all. Max and Co. worked the crowd like pros. Outside of a guitar solo in which everyone else left the stage, they stayed faithful to the album, as promised. During the parts of the set I wasn't throwing myself and others around, thoughts passed through my head about the timelessness of this righteous fury, on Point Blank as it is in Chaos A.D., both nihilistic and yearning for a better world. probably never know what caused the decision to tour this record, but both the 1994 recording and the performance of it they did that night keep a place in my heart. Stay mad.
FROM THE AMAZON TO THE NILE + TOUR + 201 8 + -
••
.• .
..
•
• ...•• - 4 •
•
4.17 4.18 4.19 4.21 4.22 4.24 4.25 4.26 4.27 4,28 5.01
LOUISVILLE, KY Diamond Pub and Billiards BALTIMORE, MD Rams Head Live NEW YORK, NY The Gramercy Theatre POUGHKEEPSIE, NY The Chance PHILADELPHIA, PA Underground Arts GREENVILLE., SC The Firmament TAMPA, FL Drpheum WEST PALM BEACH, FL Kelsey Theater ATLANTA, GA The Masquerade KNOXVILLE, TN The incernationtirf PITTSBURGH, PA Diesel Nightclub
5.02 5.03 5.04 5,.05 5.06 5.07 5.08 5.09 5A0 5.11
ROCHESTER, NY Montage Music Hall WESTLAND, MI Token Lounge CLEVELAND, OH Agora Ballroom DAYTON, OH Oddbodys JOLIET, IL The Forge MILWAUKEE, WI Turner Hall MINNEAPOLIS, MN The Cohooze KANSAS CITY, MO Riot Room DENVER, CO hrermarvi, Hideaway SALT LAKE CITY, LIT Metro Music Hall
5.12 5.13 5.14 516 5.17 5.18 5.19 5.20 5+22 5.23 5.24
JEROME, ID Diamondz Event Center• SEATTLE, WA Studio Seven PORTLAND, OR Hawthorne Theatre BERKELEY, CA The UC Theatre WEST HOLLYWOOD, CA VIThlskey a Go Go ANAHEIM, CA cityNa tionai Grove TEMPE, AZ Marquee Theatre ALBUQUERQUE, NM .0 Rey Theater -DALLAS, TX Trees . SAN ANTONIO, TX Rock Box HOUSTON, TX White Oak Musk Hall
-•
Fall/Winter 2017 - VandalaMagazine.Com 79
80 VandalaMagazine.Com - Fall/Winter 2017
MI
4.
\â&#x20AC;&#x2DC;.
4i
Photo Credit
HEIKO.RY1\76 WWW.HEIKORYLL.001
Fall/Winter 2017 - VandalaMagazine.Com 81
Stied
ifmrs
pmsaus
PROTEST the HERO FORTRESS 10 YEAR ANNIVERSARY TOUR
Mar 22
Detroit, MI - Shelter
Apr 19
Montreal, QC - La Tulipe
Mar 23
Chicago, IL - Bottom Lounge
Apr 20
Ottawa, ON - Brass Monkey
Mar 24
Milwaukee, WI - Rave II
Apr 22
Quebec City, QC - Salle Multi
Mar 27
Winnipeg, MB - The Garrick
Apr 24
Halifax, NS - Marquee Ballroom
Mar 28
Saskatoon, SK Louis'
Apr 25
Moncton. NB Tide & Boar Ballroom
Mar 29
Edmonton, AB - Union Hall
Apr 26
Boston, MA - Middle East
Mar 30
Calgary, AB - The Palace
Apr 27
New York, NY - Gramercy Theatre
Apr 01
Vancouver, BC - Rickshaw
Apr 28
Astlury Park, NJ - House of Independents
Apr 02
Seattle. WA - The Crocodile
Apr 29
Pridadelphia, PA - Theatn3 of Living Arts
Apr 03
Portland, OR - Hawthorne Theatre
May 01
Washington, DC - Rock & Rol Hotel
Apr 05
San Francisco. CA - Slim's
May 02
Pittsburgh. PA - Diesel
Apr 06
Los Angeles, CA - The Boxy
May 03
Cleveland, OH - Agora
Apr 07
Anaheim, CA - Chain Reaction
May 04
Toronto, ON - Danforth
Apr 08
San Diego, CA - SOMA
to
â&#x20AC;¢
EN1 CHAiINS
)
BREAKING B JAMIN STONE TEMPLE PILOTS THE USED BLACK VEIL BRIDES ASKING ALEXANDRIA I PREVAIL PARKWAY DRIVE BLACK STONE CHERRY ANDREW W.N. RED SUN RISING ATREYU 10 YEARS ANTI-FLAG WE CAME AS ROMANS THE BRONX DANCE GAVIN DANCE BUTCHER BABIES HAWTHORNE HEIGHTS NEW YEARS DAY SENSES FAIL STICK TO YOUR GUNS MISS MAY THE FEVER 333 LIKE A STORM I SEE STARS WILSON MUM MAN CANE HILL BLACK fONME COUNTERFEIT. IW1 BLUE STONES JOYOUS WOLF SPIRIT ANIMA STIiCNEO UP
111""Tert
WWW.NORTHERNINYASION.COM
BIG=
Pp
-
•
..L •11•• • • • -
r dr,
0,
•
r
• 6
Pr "
V OLENCE ;•.'" -
-
= •
•
Adr
a •": 77d all i • .44;
:11; pt
409 , 1:VAi
STRAY FROM THE PATH WITH THE WHITE NOISE
JAN 16 JAN 17 JAN 18 JAN 19 JAN 20 JAN 21 JAN 23 JAN 24 JAN 25 JAN 26 JAN 27 JAN 28
MAGIC STICK - DETROIT, MI BOTTOM LOUNGE-CHICAGO, IL AMSTERDAM BAR & HALL - MINNEAPOLIS. MN THE GRANADA - LAWRENCE. KS SUMMIT - DENVER, CO METRO MUSIC HALL - SALT LAKE CITY. UT KNITTING FACTORY - BOISE. ID EL CORAZON - SEATTLE. WA HAWTHORNE THEATER - PORTLAND, OR SLIMS - SAN FRANCISCO. CA CONSTELLATION ROOM - SANTA ANA, CA TROUBADOUR LOS ANGELES, CA
5iffigFroOlff JAN 30 JAN 31 FEB FEB FEB FEB 6 FEB FEB FEB 9 FEB 10 FEB 11
SOMA - SAN DIEGO. CA CLUB RED - PHOENIX. AZ MOHAWK AUSTIN, TX WALTERS - HOUSTON, TX GAS MONKEY BAR & GRILL - DALLAS, TX MASQUERADE - ATLANTA. GA EXIT IN - NASHVILLE, TN GROG SHOP CLEVELAND, OH MR SMALLS - PITTSBURGH, PA U STREET MUSIC HALL - WASHINGTON, DC HIGHLINE BALLROOM - NEW YORK. NY
r
22-2324 UNE 20114
4 or*S9 FRAiVCE: JAI
kg
SYSTEM OF DOWN
I
•
%teems TOT Q MAP% •%Ns%r t,li k% 5totirAse XEMAD4in EPIC,A itiriOW1 CEFPCNNES 334-1e. (F tty mhomA S T I) N (R.r (1)-
•Air>. sw-RINEscuR otigt
ken
311
MANILLA ROAD STRATOVARIUS MESHUCGAH CANDLEMAS.. BETWEEN THE BURIED AND ME PERIPHER TAPROOT -t AULDRON ETERNAL CHAMPION FAIRYLAND ENFORCER P1 FYMO EDGUY SONATA ARCTIC, TURBONEGRO 1-InminmP ANNIHILATOR fESSERACT ACME ICED EARTH KLME LACUNA COIL MOONSPELL 114)RLEMENT MECHINA ,IUNICIPAL ANGRA LORD! ,„‘ HAKEN kilArilINE HEAD
(ANNIBAL ce
elF441314004 1VMM
BEN eunma ;Co
VEKTOR ORANSSI PAZUZU REVENGE CALADAN BROOD LICH KING MORTAL SCEPTER BENIGHTED .;KUGGSJI CARNIFEX GRUESOME HEXECUTORBLUT AUS NO DEATHSPELL OMEGA CULT OF FIRE DEATHHAMMER .SUFFOCATION
HELLBRINGER TOXIC HOLOCAUST TSJUDEI. 1349
LVCIFYRE RATUSHK, BELENOS SORCIER DES GI AcF , MALEVOLENT CREATION INTERMENT JOB FORA COWBOY FORTERESSE
MIDNIGHT ODYSSEY riELHEIM FULL OF HELL :FITHEIIIS I SULPHUR AEON 1 AllIGHTBBAI NUMEN IRFA!I THE FACELESS con< AND DAP I TORTURE WORMROT 1 HE GREAT OLD ONES ANAAL NATHRAKH FORNDOM RINGS OF SATURN FLOUR OF PENANCI WIEGEDOOD THE RUINS OF BEVERAST
BAD RELIGION 17M'
BLACK fig
MS ccirbeanal.
ca FLAG
THE SWORD TRUCKFIGHTERS BORIS MILLENCOLIN REVEILLE TERROR BONGZILLA --1Y SLEEPING KARMA CROWBAR CONVERGE GALLOWS FUGAZI DEMON LUNG OM ON FIRE MI NDSET PENNYINISE ARCHITFCT L YOUNGBLOOD SUPERCULT NEBULA ELDER NEUROSIS INFEST MALEVOLENCi WEEDEATER AHAB CHURCH OF MISERY ANGEL DU$T BLOODCLOT IURNSTII I FLOOR MONOLORD SASQUATCH . RICE FANGE MINOR THREW] CULT OF LUNA FALL OF AN EMPIRE FANTOMAS CANCFR RATS ION DISSONANCE DOWN TO NOTHING GOZU RED CLOUD TOILE KNOCKED LOOSE THE WORST DOUBT
ffir
17 .4011 dlc.
WILLiO PM
(1 kre0; 4 )0 autation 12.01. Di 13.01. n E 14.01. CI 15.01. CH 17.01. IT 18.01. FR 19.01. ES 20.01. ES 22.01. FR
MUNICH TONHALLE STUTTGART LKA LONGHORN PRAGUE FORUM KARLIN ZURICH KOMPLEX MILANO ALCATRAZ LYON TRANSBURGEUR BARCELONA RAllMATAll MADRID LA RIVIERA TOULOUSE LE BIKINI
23.01. FR 24.01. BE 26.01. DE 27.01. LIE 28.01. NL 29.01. 31.01. SE 01.02. NO 02.02. SE
PARIS BATACLAN 03.02. ANTWERP TRH( 05.02. OBERHAUSEN TURBINENHALLE 06.02. GEISELWIND MUSIC HALL 07.02. TILBURG oia 09.02. HAMBURG CROCE FHEIHEIT 10.02. MALMIti KR 11.02. 15.02. OSLO ROCKEFELLER STOCKHOLM ARENAN 14.02.
SE OE DE BE UK UK UK UK UK
GOTHENBURG TRILOGARK BERLIN mutts WIESBADEN SCHLACHTHOF SAARBROCKEN GARAGE GLASGOW ABC* NOTTINGHAM ROCK car LONDON KOKO' MANCHESTER RITZ' BRISTOL ACADEMY' WITHOUT BUJ Ell
wirmilitz! .
41/4
TM * t 1
1b 1NA
•
al I I I I I I I I lb •
1b14 1 I I II L\1
9 1
• r
IIIIL N.Nr1114.
ccc. 0E1 In R1/1-
I
II
1
ral
OS
I
I
I
II
I
I
M I I I I rd.44! re 7.1e
11111111 111 11 1
I
isiumgpriee:er
IND THE PURSUIT 1
) BY BUD LIGHT
I
ts.:. OF ROCK
e•
NI
or• I.'
15*/6'*17
A PERFECT CIRCLE GODSMACK POISON CHEAP THICK GHOST THE CULT HALESTORM VINCE STONE TEMPLE PILOTS CLUTCH THE USED I PREVAIL UNDEROATH MACHINE GUN KELLY TOM KEIFER SEVENDUST POP EVIL TRIVIUM YELAWOLF CANDLEBOX DIAMOND HEAD ANDREW RED SUN RISING LYNCH MOB SHAMAN'S HARVEST 10 YEARS MINAS WAY BUTCHER BABIES POWERMAN 5000 SOIL NEW YEARS DAY LIKE A STORM WAYLAND ASKA WELL HUNG HEART DEAD GIRLS ACADEMY WAR OF THRONES BLACK TORA DAVEY SUICIDE FIRSTRYKE MAXX EXPLOSION HEAVEN SENT CHAOTIC RESEMBLANCE LOVE N REVENGE LEGS ELECTRIC DEAD METAL SOCIETY TRU WILD PLANES CODA GUTLESS W.K.
LA VELVET FT. LVICTORIA THE MIDNIGHT DEVILS CIMINO MIND OF FURY AGNOZ1A DOWN FOR FIVE WHITE NOISE OWL SILENT THEORY MAPLERUN RYDER HAAR DARK AVENUE THE MAENSION DEAD HORSE TRAUMA RENEGADES ODDFELLAS BRINGER STARTS REVENGE HOSTED BY EDDIE TRUNK
WWW.ROCKLAHOMA.COM im
- • -
"000clow Ak9
j t
THE GRAVEYARD SHIFT NORTH AMERICAN TOUR
140000***
1TH SPECIAL GUESTS
/I/0E)/Pie ICE NIMIC9
2.20 - SACRAMENTO, CA ACE OF SPADES
3.09 â&#x20AC;¢ GRAND RAPIDS, MI 4 20 MONROE LIVE
2.21 4 SAN DIEGO, CA 4 HOUSE OF BLUES
3.10 4 COLUMBUS, OH 4 EXPRESS LIVE
2.22 ANAHEIM, CA HOUSE OF BLUES
3.11 4 LEXINGTON, KY 4 MANCHESTER MUSIC HALL
2.23 4 TUCSON, AZ RIALTO THEATER
3.13 4, COLUMBIA, MO , BLUE NOTE
2.24 4 ALBUQUERQUE, NM 4 SUNSHINE THEATER
3.14 OKLAHOMA CITY, OK 4 DIAMOND BALLROOM
2,25 FT. COLLINS, CO 4 AGGIE THEATER
3.15 4 LINCOLN, NE BOURBON
2.27 CLIVE, IA 7 FLAGS EVENT CENTER
3.17 WINNIPEG, MB 4 THE AI RI CENTRE
2.28 4 MILWAUKEE,
WI THE
RAVE
3.19 EDMONTON,
AB
UNION HALL
3,02 -L HUNTINGTON, NY 4 THE PARAMOUNT
3.20 4 CALGARY, AB 4 PALACE THEATRE
3,03 4 SAYREVILLE, NJ 4 STARLAND BALLROOM
3.22 VANCOUVER, BC - RICKSHAW THEATRE
3.04 4 PROVIDENCE, RI THE STRAND
3.23 SPOKANE, WA 4 KNITTING FACTORY
3,06 4 PORTLAND, ME STATE THEATER
3.24 BOISE,
3.07 - CLIFTON PARK, 3.08 4 LONDON, ON
NY 4 UPSTATE CONCERT HALL LONDON MUSIC HALL
3.25 RENO,
ID REVOLUTION NV CARGO
MOTIONLESSINWHITE.NET IMO