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Contentr Vandala May 2014 8 Album Reviews Marta Pacek "Voodoo Dolls and False Alarms" (Alternative Folk/Country) Odonis, Odonis "Hard Boiled, Soft Boiled" (Industrial Surf-Gaze) Liars "Mess" (Experimental/Rock) Roll The Tanks"Broke Til Midnight"(Punk) Only Crime"Pursuance "(Melodic Hardcore) Arkona "Yav"(Slavic Pagan \Folk Metal) Obsequiae "Suspended in the Brume of Eos" Vinyl Reissue (Metal) Triptykon"Melana Chasmata" (Doom Metal) Cradle of Filth"Total F*cking Darkness" (Metal)

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24 Reviews & Live Music New Album Cover Pick, Edguy "Space Police: Defenders of the Crown" Public Service Broadcasting Rock Leicester 02 Academy Harlan Pepper: New Age Old School The Creepshow Take Over The Stage for 2 Hours King Beez - A Night Without Words Toronto Locals The Unseen Strangers Live Ragnarokkr Metal Apocalypse Featuring Grim Reaper, Riot V, Picture, many more

48 Interview - Only Crime "New Album, New Label, and Gearing up To Hit the Road" Interview with Russ Rankin

54 Cover Interview - Pennywise The Gang's All Back "SoCal's Punk Rockers Pennywise Kick off Tour with a New Album with an Interesting Twist "As Pennywise hits their silver anniversary Vandala Magazine had the honor to chat with Randy Bradbury of the band. We were able to get the details about their upcoming album, the story behind it, and history of the SoCal punk scene in the 1980's. Plus much more."

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Broken Twin's New Album "May" Out Now Jon and Roy Release New Album May 27th Lord Jessiah & Phillie [The Wisemen] "Crimeline Chronicles" Album Shabazz Palaces To Release Lese Majesty Montreal's USA Out Of Vietnam Announce Re-Release of Debut

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Jincallo Releases "Do You Mind" The Dying Arts Announce Debut Album & Release Single Psychedelic Riff-Wranglers Dwellers Present A Taste Of Pagan Fruit Sworn Enemy Releases Living on Borrowed Time This Mid-May Forgotten Tomb Release Dvd and a Free Download Allegation Return With Elements of the Infinite

70 events & Tours Details Announced For GWAR-B-Q and Dave Brockie Memorial ARISE Music Festival Main Stage Lineup Released Wakarusa Music Festival Releases Schedule for 2014 Festival

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Marta Pacek "Voodoo Dolls and False Alarms" (Alternative Folk/Country) www.martapacek.corn Review by Lana Nimmons - 4/5 Dragons Marta Pacek's new album Voodoo Dolls and False Alarms, stirs haunting echoes of folk and country ballads, reflecting influences from Joni Mitchell, to Nancy Sinatra, to Stevie Nicks. After the success of her previous album Rebel Baby, the Polish-born Aussie has decided to spread her wings and experiment with more electronic beats, leaving her signature aft-country style behind. The new album starts off with the pulsating and haunting feel of The Hunted, which I would say is my favorite song on the album. Nothing Going On begins with taking the listener on a journey back to 505 rock In' roll with a more modern and album hip hop vibe to it. Not Leaving Here Alone is a song about finding comfort, both physical and emotional in a bar. The theme that the bar isn't just a place for drinking in, but as a place to regroup.

Pacek tells us about the perils of being far from home, and the struggle to find something that somehow brings you back. Favourite Thing veers into Alt Country before pulling at your heartstrings with the sombre Sometimes You Lose and Thar She Blows. Marta nods to Fleetwood Mac in All I Need and Not Leaving Here Alone that would feel right at home on a Tarantino soundtrack. This album is equally heartwarming and soul-wrenching, and her lyrics carry a motif of being able to love completely and unconditionally. There's irony in this tune in her modesty, and even though its a simplistic album there are interesting intricacies in her subtle crossing in genres.

Odonis, Odonis "Hard Boiled, Soft Boiled" (Industrial Surf-Gaze) www.odonisodonis.com Review by Marian Magee - 4.8/5 Dragons The holy trinity Dean Tzenos, Jarod Gibson, and Denhoim Whale were born in the fires of Toronto's growing punk scene, eventually traveling West to share their self proclaimed "Industrial Surfgaze" with the coast. With their blunt lyrics and rough music, they've proven themselves time and time again to be the ultimate masters of a union between stridency and song and did not disappoint fans with their latest release.

I'm almost wondering if Hard Boiled, Soft Boiled was given it's name because of the albums duality. While I can't say it feels split in two, the halves certainly seems to reflect each other. The first few songs carry the same darkness and urgency Odonis, Odonis conquered in their previous endeavor Hollandaze, the instruments abrasive and the vocals pleasantly demanding. Even the introduction is anxiety inducing, the song Tension delivering exactly what the track title promises. A hair raising kickoff with a finish that almost feels like a douse of cold water to the face. But around the 20 minute mark, things start to transition into a genre I can't quite put my finger on. Trance? Pop? Euphoric? Once again the group has proven impossible to label, but I can't bring myself to complain.

Whatever they call it, the last four songs cemented the promise of evolution and individuality and I can't wait to see how they progress.

08 VandaiaMagazine.Com - May 2014

Liars"Mess" (Experimental/Rock) www.liarsliarsliars.com Review by Eli 3ace One of the first things I did after pressing play on Mess, the new seventh album from Liars, was take my pants off. Only because a voice with Satanic inflections demands it on the opening song, "Mask Maker." If you fail to comply, it's your face that'll get eaten.

Mess is the Liars' devilishly drugged-up descent into dance music. Thirty seconds in a sharp, popping drum beat inflates the track until you're dancing like a horned demon, boxer-clad and with brown acid stuck between each tooth.

The first single, "Mess On A Mission," is a joyously snotty punk whip with singer Angus Andrew gagging the title in a panicked falsetto. It's unhinged and almost downy, but somehow sticks in your head. "Facts are facts and fiction's fiction," Andrew sings spitting each word.

Mess is more abrasive than the last Liars album, WIXIW, which saw Andrew and mates Aaron Hemphill and Julian Gross diving blindly into electronic tinkering and atmospheric resonance. The experience of that experimentation has taken root and found a lavish coexistence with the street-trash rock-and-roll of their earliest work. This mash creates a surreal listening experience that thrives on the emotion of doom and anxiety.

The tall Aussie plank of wood that is frontman Andrew is the force keeping the album from devolving into a slipshod jam session with buttons and knobs. The desperate, black-out energy behind his voice goes from the lower depths of an entranced guard in The Wizard Of Oz to the manic-high pitch of someone being tickled to their limit. He has many shades of strange and delirium. On "Pro Anti Anti" he emotes like a down-and-out-of-shape Jim Morrison as a tremulous organ surges through zaps of electric bass.

Mess is also the most outright hallucinogenic Liars album. Each hit of bass is muggy and drills deep into the skull. Sounds trail in and out against smudgy organ drum loops. It could be found somewhere in the blurring shadows of The King Of Limbs and Drukqs. "Dress Walker" enters the space race with a Kraftwerk-esque downbeat and the squeamish monotone panderings of Andrew. It climbs on echoes, then side-steps into juicy, space-funk.

The voiceless "Darkslide" is a ball of loops gyrating and splintering up and out. "Perpetual Village" is body-lifting as it slinks along with cosmic sound-waves and pitched drum beats.

The final song, "Left Speaker Blown," moves slow like a flickering candle. Low pulsing feedback is pulled from side to side and shot beyond the periphery of sound until a warm peace overcomes. Could be one of their most beautiful compositions.

With each new record Liars rip the script of the previous creative outing, challenging themselves to discover a new floor in their apartment of sound. If Mess ever hits a snag, it's with the arduous noise explorations that sometimes threaten the flow of the full unit.

Depends if you want to move to your music or zone out to it, either way, Liars allow both.

This collection of dark, pepped-up dance tracks is a midnight burner for the long, weird, end-of-the-world basement party you may or may not be having.

Eli _Iamb is an arts journalist living in New York City. He is a staff writer for Independent Music Promotions and works at the New York Post. There is quite often a drum-set being played in his mind. * EliJace.blogspot.com May 2014 - VandaiaMagazine.Com 9

Roll The Tanks"Broke Tf1Midnight"(Punk) www.rollthetanks.com

Review by Dustin Griffin - 5/5 Dragons "We're going to make records because that's what we want to do - make records. No clunkers, no fillers. Records where you almost die making them." So says vocalist/guitarist Danny Carney, of Los Angeles rock band Roll The Tanks. A refreshing sentiment, especially in 2014 when the majority of our radio fed diets consist of high fat, high sugar content that's not only bad for you, but sounds as if it were created by machines incapable of error. Processed music. Can it cause cancer? Obesity? Let's hope not. Luckily for us though there are healthier, more heart friendly options out there to choose from. Organically made and produced music by people who aren't afraid of missing a note or fudging a lyric.

This is the kind of music that can add years to your life expectancy. But don't take my word for it. As Joe Strummer so eloquently and staunchly proclaimed in 'The Future is Unknown' before hammering into a rousing rendition of The Clampdown, "roll the tanks".

Roll the tanks and discover rock music. Pure, sharp, catchy as hell. It will tap your toes, bop your noggin until you look like a life-size bobble head and may even cause involuntary fist pumping (ensure you're standing away from people and standing straight up to avoid injury). And soon enough you'll find yourself singing your summer away. You'll sing of the romanticism of pursuing the local record store 'spending your change on wax' and 'dropping the needle' (24th & Buckets). You'll sing of making your own way and living free (Waiting On A Storm); you'll call out the 'trolls' of the world wide web who seem to exist only to berate and belittle (Computer Money), sing of hornets, soapboxes and pistoleros. And you'll bid a fine farewell to Jimmy Lee, for weeks and weeks because the song really is that catchy and addictive. `Broke Till Midnight' is all of this and gleefully stomps, croons and rips its way through decades of rock n' roll, paying tribute to the band's biggest influences (The Clash, The Pixies, The Heartbreakers) while creating a fresh sound and maintaining the excitement that comes from new discoveries. Danny Carney sings with unbridled passion and his authenticity is alluring. Joe Sirois and Mike Wakeham keep a sexy rhythm with smooth bass lines and poppy beats. Sirois is himself already a respected skin tickler, thumping it out in beloved Boston-area bands Street Dogs and Mighty Mighty Bosstones. And Aaron Stuart rounds out the sound and harmony with his sonic guitar attack, which compliments Carney's swirling riffage nicely. `Broke Till Midnight' is a natural progression from the band's 2009 debut 'Suffer City'. The songs are catchier, the music is tighter. The band sounds as though they've found their voice and are off on a run with it. It's the kind of music you know upon hearing would translate nicely to the stage or light up a high school dance hall.. Causing the greasers and the bobby sox to lose their inhibitions and go off on a tear that would surely horrify the local townsfolk. It's this devilish 50's spirit that contributes to what makes this music so hard to classify. Not that everything needs a label, mind you. But Roll The Tanks seem to have no intention of sliding comfortably into any one genre. Part punk, part arena rock, part indie.

You can even hear some R&B in there. 50's R&B though. The wild, frantic kind. Not the bubble gum, Versace sponsored pop you hear on top 40's radio today. The kind of records that people make because that's what they want to do. Organic music for healthy living. No clunkers, no fillers. Records where you almost die making them.

OUT MAY 27th - Pre-Order on ITunes and www.kingsroadmerch.com 10 VandalaMagazine.Com may 2014

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Only Crime"Pursuance "(Melodic Hardcore) www.facebook.comiofficialonlycrime Review by Dustin Griffin - 4/5 Dragons Not content with merely resting on past accomplishments or recycling old hooks in the nooks and crannies of their flagship bands, Only Crime is a unit that exists to create something new and exciting in the artistic lives of its members. You can call them what you will: hardcore, punk, jazz, or hardcore punk jazz, one thing is certain, they are a band with music that sounds fresh and invigorating. `Pursuance' comes seven full years after Only Crime's sophomore release 'Virulence.' A lot has changed in the lives of the band members since that time: health issues faced and beaten, bands broken up and reunited, other projects started and stopped. What hasn't changed is the passion these five have to make high quality, hard hitting punk rock for no other reason than that's what they want to do. Never mind that these five have all come from bands that routinely sell out shows and have released records that can be officially labeled as classics. In Only Crime, they're just five guys making a mighty racket.

It doesn't take long after hitting play on the first track of 'Pursuance' for you to pick out that familiar gritty delivery that could only belong to Russ Rankin. The galloping, angry, half spoken belt of the verse that gives way to an impossibly infectious shout along chorus will feel as comfortable as an old glove (to anyone familiar with Only Crime's past two records).

'Contagious' cranks up the heat even more with a hot iron blast of melodic hardcore tied together with Rankin's trademark deep lyrical ideals and challenges to the listener not to be a link in life.

'In Blood' doesn't sound a million miles away from what Good Riddance were up to on 'My Republic.'

The jazz music that so influences Bill's writing is particularly evident on 'One Last Breath', with its restless time signatures and skittering melodies.

'Drowning' is one of the record's heavier moments. It also features the jazzy restlessness of 'One Last Breath' which happen with such turn on a dime moments, it's almost disorienting until you begin to find the flow.

I'm unsure whether this was the goal or to what extent, but 'Absolution' is kind of an awkward moment on the record. It's catchy as hell and musically sharp, but there's an audible disconnect between what Rankin is singing and what the band is playing during the chorus. Rankin has said that writing hooks and melodies to the music the band is coming up with is always a big challenge and while it's not a bad song in and of itself, that challenge is most evident here.

There have been songs on both of Only Crime's previous releases that blur the line between hardcore and metal. And if hardcore is merely metal with all the melody 12 VandalaMagazine.Com

may 2014

stripped away, then these songs are hardcore to the...well, to the core. I'm a sucker for a hook and these tend to be the songs skip over, but what I can say for 'No Truth in Love' on this record is that the music matches the sentiment. This isn't a song you'll find yourself compelled to kiss your girl (or guy) to up on make out hill.

Released as the first single and initial appetite whetter for the album, 'Life Was Fair' is appropriately one of ‘Pursuances' finest moments. One of the album's catchiest, most musically astute tracks, if this band ever achieves a legendary status, this song will go down as a classic moment. `See it Die' is more accelerator-pinned hardcore, exciting and uncompromising.

While album closer 'Bred To Fail' sounds familiar and entirely new and fresh at the same time, often at the same exact moment. That's a rare thing for a song to be.

Particularly a punk song.

Only Crime has some impressive musicians among its ranks and it would be hard to imagine how this much talent could go to waste. Luckily, you don't have to.

'Pursuance' carries the same experimental aesthetic as 'Virulence' and 'To The Nines' but adds a tighter, more focused sound, capitalizing on the promise of those earlier releases. The songs hit hard, fast, are often exceedingly catchy and despite occasionally sounding as if singer and bandmates are heading in two different directions, contain elements that should please fans of any of the members better known groups.

Check Out Our Interview With Russ Rankin on Page

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Arkona "Irav"(Stavic Pagan\Folk Metal) www.arkona-russia.com 4.5/5 Dragons Masha and the boys are attending a 5,000 ruble/plate gala at the Napalm Records estate. A shadowy agent spikes the vodka with weapons-grade LSD and the band drinks deep.

Vladimir peers into a bowl of borsch and sees a reflection of himself: dead, dusty, skeletal, blood dripping from his fingertips. Sergey screams something incoherent. Ruslan sees the silhouette of Triglav four-dimensionally burned into a slice of toast. The agent smiles. All is going according to plan.

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The band are ushered onto a prototype starship operated

by RusKosrnos. "Your new album will be 70 minutes long," says the agent. He cranks the ship into Ludicrous Speed and herds the band into the ship's onboard recording studio. Masha plunks out a few notes on an ancient synth.

Stuff of nightmares. They jam. Galaxies spin by The band trips over a few white-knuckled motifs they left lying around, Masha picks them up and sticks them into places they shouldn't belong, somehow clicking perfectly into place. Andrey is panting after raiding a few fills from Vorskaath's trunk. "Are we there yet?" Masha rolls her eyes. "32 minutes to IPS go.

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Three years later: The band's coming down. Starship returns to Earth. The agent dons his shades and wipes their memories, Men in Black style. Lights a smoke, drags hard. "Your strongest material yet," he says.

"Did we put any goofy humppa crap on it? Any accordions?" Masha asks. Agent shakes his head. Ashes out. Toothy grin. "You done good, Arkona. You done damn good."

Obsequiae "Suspended in the Brume of Eos" Vinyl Reissue (Metal) www.facebook.com/epicuscastlecusmetallicus - 4/5 Dragons Olympia-based label 20 Buck Spin has been finding gold in them hills with recent releases by Atlantean Kodex, Christian Mistress and other such luminaries in the field.

Next on the moss-flecked altar is a vinyl reish by Obsequiae, who are really into grandpas guitars, mother nature and great songs. This album came out on CD in 2011 via Bindrune Recordings, but if you had told me that these songs and lyrics were originally hewn into slabs of dolerite by an esoteric order of Welsh druids eons ago, I'd fully believe you. How these tunes ended up in the hands/heads/hearts of two dudes from Minnesota is one of the great mysteries of our time.

Suspended in the Brume of E 05 is not a "heavy" album. It is a medieval folk album augmented by drum kit, and cavernous rasping, transcribed for electric guitar. You could take any of the metal tracks, play them note-for-note on a hodgepodge of lutes, bodhrans and flutey things and they would still work as fluently and profoundly as they do on this album. This is ancient music done the new way, with all the intentions and desires of the old paths left intact. For those who want to hear the music of Empyrium or Agalloch without drippy Both clownage.

16 VandaiaMagazine.Com - May 2014

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Tom G. Warrior is back with Triptykon's long-awaited second album called Melana Chasmata. Four years in production, the atmosphere created within is a truly unique and genius blend of many different styles of metal, carefully combined into coherent, well-crafted songs. The pacing jumps from aggressive, thrashy tracks like "Breathing" to groovy, laid back atmospheric songs like "Aurorae". While Triptykon stays true to their roots with slow and doom-like tracks like "Altar of Deceit" and "Demon pact", they also offer some interesting riffs and melodies that go along with the ominous, funeral vibe.

This album may be a patchwork of emotions but the atmosphere created is a totally immersive and cohesive `kexperience. Tom Warrior's varied vocals are a unifying element throughout the album, they not only provide structure and melody to the songs, but also accentuate the desperation, anger and doom of the songs by giving it a voice.

Accompanying Tom's vocals, Vanja Slajh the bassist of the band adds a female touch to the mix and provides fragile, eerie and yet very memorable vocal lines on tracks such as "Boleskine House" and "Waiting", my two personal favorite tracks of the album.

A cross between death metal, thrash and black, Triptykon's Melana Chasmata is heavy and atmospheric. Trading technicality and speed for groove and ambiance, this opus sounds honest, deep, polished and adventurous and should be an interesting listen to anyone daring enough to explore a darker side of music.

Cradle of Filth"Total F* kin Darkness" Double LP (Metal) www.theorderofthedragon.com - 3/5 Dragons To be perfectly honest, I am a sucker for old school demos because listening to one always makes me feel part of the band's history. It is also very interesting to dwell into a band's past to witness its musical evolution and hear the band's absolute beginnings. Cradle of Filth's remastered Total F*cking Darkness is apparently the band's third demo.

Running a little over an hour, this album showcases Cradle of Filth's early sound that is obviously directed towards the more devoted and curious of fans. Being a demo remastered from tapes, the quality of the sound might be an issue to some but if you're craving for a raw, necro, KVLT, whatever, kind of feeling, you will find some truly amazing songwriting.

Contrasting enormously with today's Cradle of Filth this LP does not appear to have any single-worthy tracks akin to the "Death of Love" or "Nymphetamine" but rather showcases a more brutal and raw black metal with some Cradle of Filthesque keyboards and breaks. There are many previously unreleased songs here worth the detour. Dani Filth's voice sounds less produced and more dry adding to the heaviness of the album. The melodies constructed within are thoroughly dramatic and the overall song structures are more progressive by contrast to present-day Cradle of Filth but it is very interesting to see that even close to twenty years later, a super group like Cradle of Filth still stuck true to their original sound and ambitions.

18 VandaiaMagazine.Com - may 2014

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Edguy "Space Police: Defenders of the Crown" (Rock 'n Roll) www.edguy.net Review By Dustin Griffin Busting out of the confining walls of their high school halls in 1992 when the members were all just the tender age of fourteen, Edguy is a power metal band from Germany. Edguy may not be a household name in North America, but in Europe and Asia, they have sold millions (yes, millions) of records over the past seventeen years and amassed an army of followers who feed hungrily off of the band's throwback metal that will take anyone who knows right back to the long haired, tight clothed 80's. Like watching Top Gun. 'Space Police: Defenders of the Crown' is the band's tenth studio album (if you don't include their self released record and demo tape EP's) and is promised by songwriter/vocalist Tobias Sammet to be the band's heaviest record to date.

Looking like the cover of a graphic novel or an 80's Atari video game, the image that graces the cover of 'Space Police' is both amazingly poignant and hilariously unfitting a release from a band that sounds like the love child of Judas Priest and Van Halen at the top of their games. It is completely fitting of this particular band however. A look back at their discography unveils some of the greatest cover art ever imagined in the genre: 'Age of the Joker', 'Rocket To Ride, 'Savage Poetry' and 'Theater of Salvation' are all incredibly detailed and imaginative album covers that probably have less to do with the content of the record's than with the band's sense of humour and penchant for extravagance. But what else could you expect of such a band? Particularly one who have called themselves, on more than one occasion, the 'saviours of heavy metal.'

The cover art was done by Dan Frazier, a very talented man whose art is surely familiar to basement dwelling nerds the world over. Frazier is a former university professor who has created art for role playing games like Magic: The Gathering and Dungeons and Dragons.

He also designed Edguy's 'Age of the Joker' album cover.

When I look at 'Space Police' I don't see an album I want to listen to, I see a movie I want to watch. A cheesy, Roger Corman-esque 70's exploitation movie. The kind that you'd find playing on 42nd Street in New York City back in the day and that cost less than your iPhone to make.

And that is what would encourage me to give the record a spin, no matter my personal taste in music. Because a band that would put that cool of an image on their album cover, is a band I want to check out. Whether they're singing about giant insects, space invaders and big breasted vixens or not. (Of course, it would be a bonus if they were).

20 VandaiaMagazine.Corn - May 2014

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ited ilimgcloom Public Service Broadcasting Rock Leicester 02 Academy Review by Conor Davies Public Service Broadcasting are a hard duo to describe; one part electro, one part rock, one part old-timey samples, the Brits are a unique act that's for sure. Having not been massively into their recorded material to-date, I went over to Leicester's 02 Academy full of skepticism, not sure whether I'd be disappointed or very well entertained. Well, post 10pm last night, I was somewhere between the two, having been surprised in doses by the two 'Doctor Who' look-a-likes, who manage to entertain via music, humour and emotion...

More of which later, but let's start with support act Happyness, who were a strange trio to pin down to just one style of music. They opened with the sombre, 'Lascascadas', a mouthful to say the least, and not exactly the greatest first impression in a live arena. Things picked up with the more up-beat 'It's On You', but the tone really wavered between slow and depressing to more progressive and pacier beats. There are certainly some strong foundations here, the group are musically adept and the newer songs they played sounded far more impressive than their initial material, keep an eye out for Happyness!

Now onto the main show, and the stylings of 'P B'. Wrigglesworth and 3. Willgoose, Esq are the mysterious two from South London, and the initial impact is astounding.

Wrigglesworth gets belted into a vast drum kit, centre left of stage, whilst Willgoose is on the right, behind an electronics desk, with banjo and a trio of guitars within easy reach. Of course, a wealth of effects pedals are gathered beneath the desk, and in the background we have a mini-screen which throughout the gig is adorned with black-and-white visuals to compliment the core of the music, samples taken from public broadcasts and propaganda. Chuck in some impressive lighting, strobe and all, and we're set for a pure hour's worth of Public Service Broadcasting.

This mini-tour, taking in five UK dates before heading off to mainland Europe, is in support of Record Store Day release, 'Elfstedentocht Parts 1 & 2', which is based on a Dutch ice-skating race...you see where we're going! Well with subjects ranging from go-go dancers to the climbing of Mt Everest to the London Blitz, it becomes a melding pot of samples, excellent live drumming and riffs with the electronic loops and backing beats thrown in. It's a skilful! thing to watch up close and personal with the two, who communicate (Daft Punk style) via only the electronics at Willgoose's fingertips, which results in some strangely comedic moments during crowd interaction.

For me, the gig really began with 'Signal 30', which is when everything was lined up perfectly, from the terrifyingly pacy drums to the riffs of Willgoose, it was magical to watch, and I began to appreciate just what made PSB special, and has seen them play to a US crowd just recently, and will see them perform at the festival to end all 24 VancialaMagazine.Corn - May 2014

festivals, Glastonbury, this summer. They're very, very British, as I say, looking like a pair of Doctor Who impersonators in bow-ties, patched up jackets and shirts, it adds to the mystique and the wonder of the two, as they look like they've been transported from the black-and-white era so much of their music is based upon, but been trained to play these 'modern-day' instruments.

The backing video screen really came into play for me with 'If War ShOuld Come', a devastating song, that when played alongside the accompanying video conjures up a good amount of emotions as it takes you to the place and the seriousness of war. All in a three minute plus song, incredible! The Dutch pair of songs about ice-skating are another great visual delight, too.

If I were to fault one thing, it is the samples. They can grate after an hour's worth of seemingly samey voices, and whilst it is the niche and the pull of the band, I wished to hear more diversity in the samples played in every song. Or throw in some of the aforementioned robotic voices that a certain pair of French dance kings love to em ploy!

The best of the gig was yet to come, with my personal faces, 'Spitfire', ‘ROYGBIV' and `Everest', bringing proceedings to a close. Spitfire's brilliant riff and drum breakdown is hugely listenable, ROYGBIV just makes you want to smile, as Willgoose employs his banjo to great effect and Everest is awe-inspiring, especially when combined with images of the great giant in the background.

So all in all, a great evening's worth of entertainment; they may not be for everyone's tastes, but Public Service Broadcasting left a lot of smiling faces amongst their ardent group of fans.

For more information, music and more on Public Service Broadcasting visit www.publicservicebroadcasting.net www.facebook.com/PUBLICSERVICEBROADCASTING

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Like so many young people these days the four members of the Hamilton based band 'Harlan Pepper' were simply born in the wrong generation. These guys were clearly raised on the great music of the 60's and 70's and thanks are owed to their parents for that. I could easily believe a blurry 35rnm of them playing a 60's folk festival, confirming that the members of `Harlan Pepper' are indeed musical time travelers. I could effortlessly picture them opening for The Allman Brothers or Bob Dylan in his electric phase. These days, and more realistically, they would be well suited to open for a group like The Sheepdogs or even Old Crow Medicine Show.

Currently signed to Six Shooter Records 'Harlan Pepper' has an amazing compositional aptitude. In fact HP's song writing is some of the best in the business and what really makes them shine. Their first album 'Young and Old' was very much a blend of roots rock, folk and country. While their latest album, 'Take out a $20 and live life to the fullest' is laden with psychedelic and classic rock influences while still very much involving elements of roots and folk. When listening to their music one cannot help but picture an aged rocker incorporating their style built up over a lifetime of intuition, so it is all the more impressive that the members of 'Harlan Pepper' are all just 21 years old. In fact they have been playing packed shows at bars long before they could actually drink there.

'Take out a $20 and live life to the fullest' was produced by Cohn Linden and recorded at RCA studio B in Nashville, Tennessee. The same place where Dylan's record Nashville Skyline was recorded. Lead singer Dan Edmonds, who actually looks like a young Dylan, played guitar, banjo and keys throughout the set. Rock solid bassist Thompson Wilson also occasionally takes the reigns on lead vocals, Jimmy Hayes plays a bright, plunky 60's style lead guitar and Marion Nicolle is simply a whirlwind on the drums.

The Cameron house was sparsely populated up to 15 minutes before the show was to start, but suddenly a massive influx of friends, fans and family bombarded this little queen street gem. HP played 'Take out a $20 and live life to the fullest' cover to cover, and that was just their first set of the night. Oh did I mention that this was their 8th show that day to celebrate the release of their sophomore album. It is clear that Harlan Pepper is gearing up for a musical nostalgia revolution. Check them out online at www.harlanpepper.com and also check out more photos on page 36 26 VandalaMagazine.Com - May 2014

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The Creepshow Take Over The Stage for 2 Hours Review By Dustin Griffin and Photos By Crystal Lee Located right in the heart of the action (what action there is in a city of 100,000), in Kelowna's downtown core on the trendy Bernard Avenue, you could do worse than to see an energetic punk band at Doc Willoughby's Pub. Sporting a half Irish, half English decor and feel, Doc's is one of the Okanagan's best pubs. Playing skate, snow and surf videos on the TV's, with two floors to choose from to drink one of the many on tap beer choices they carry, the bar is usually packed with twenty and thirty-something's out to have a good time. It also plays host to a lot of live music events, from bands both local and touring. So when it was announced The Creepshow would be dropping in on Kelowna on their way across Canada, and that they would be playing Doc's, the reaction was: of course.

Toronto's The Creepshow have been at it now almost a full decade. It didn't take long after dropping their first self titled LP for the foursome to gain respect and attention within the scene and they soon found themselves releasing records with the help of highly respected labels such as Canada's Stomp and America's Hellcat.

Despite the fact that they're on their third singer, The Creepshow sound has changed little over the years. High charged psychobilly (a kinetic mixture of rockabilly and punk) with early-era Misfits style lyrics celebrating all things gleefully dark and demonic.

With the release of last year's `Life After Death', the band has four full length records under their belt and has toured almost non-stop since their inception.

As far as I'm concerned, it is the duty of every band to at minimum, sound as good live as they do on their records, if not better. Going to see a show of a band whose music you love, only to be disappointed by their ineptitude in recreating those songs on the stage just sucks. Whether you paid for the show or not. Thankfully that's not the case with The Creepshow. This band plays with all the energy found on their albums, but adds a charismatic stage presence and even a feeling of spontaneity to their performances which just adds to the excitement they're able to generate.

Hitting the stage at Doc's just after 10pm, the band played for well over two hours on April 12th, with a break in the middle for a breather (smoke, drink, bathroom, etc.). But before you go calling them wimps for splitting their set up, let it be known that they played virtually every song off every one of their records, as well a few covers and songs they had never even attempted before.

And it's not like they left the crowd to their own devices. The very talented Toronto-based singer/songwriter Chuck Coles (previously of popular Toronto area bands Brown Brigade and Cauterize), who was also filling in on guitar for the band on tour, gave an acoustic performance that was impressive in its own right.

Between the crowd charging leadership of Shawn "Sickboy" McNab; the keyboard pounding hellfire of Kristian The Reverend" Rowles (who sports some of the most impressive sideburns you'll ever see); the machine gun drumming of Sandro "Blood" Sanchioni; and the charismatic, pinup girl playfulness of newest member, vocalist Kenda "Twisted" Legaspi; there wasn't a single member of the group who didn't look like they were having the time of their lives up there on the stage that night. And when you're all packed into a place like Doc's, where crowd and band are sometimes (literally) standing beside each other, passing that energy and excitement back and forth like a hot potato makes for one hell of a good night. Pun intended.

Catch The Creepshow for yourself online at www.thecreepshow.bandpage.com and on facebook at www.facebook.com/TheCreepshowOfficial.

Check Out More Photos On Page 34 28 VandalaMagazine.Com - May 2014

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King Beez - A Night.)Without Words Review and Photo By Gideon Greenbaum-hinder

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When Matt Groopie is on stage he is akin to an endless whirlwind of energy spewing rock. Throughout the show his particular brand of insane led him to play on the ground, in the crowd, with his guitar over his head and never in the same position for more than half a second, like some lightning powered robo-monkey. Matt Groopie plays lead guitar and is very much center stage during a 'King Beez' show. Johnny Eye is a precise yet tribal style drummer. Adam Bandit is a steady rhythm guitarist. Mike Crombez is a constantly exacting bassist with tons of energy. Groopie also took time to occasionally scream into the mic, turn on a strobe and smoke machine, invite people onto the stage to provide rhythmic backing and play harmonica. He is a true entertainer, possibly with ADD. Founded by band-leader Matt Groopie in Thornhill, Ontario in 2007, 'King Beez' play instrumental surf rock, with a splash of psychedelic nostalgia mixed into their melodies and the speed of progressive metal to top it all off. The Bovine was packed when 'King Beez' took the stage this last Tuesday, all four of them adorned in their matching yellow bowling shirts, they went full throttle the minute they got on stage, took requests from the audience and throughout the show they never stopped rocking back and forth with wide smiles. So if you are looking for high energy, instrumental based, speed surf then look no further, 'King Beez' are your band.

They have a heavy gig schedule coming up so keep track of them online and check them out live for yourself at www.mattgroopie.com. More Photos On Pages 36 & 37 30 vandalaMagazine.Com -may 2014

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Toronto Locals The Unseen Strangers Live Review and Photo By Gideon Greenbaum-hinder

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Gideon Greenbaum-Shinder

The show started early on Tuesday March 13, so The Dakota Tavern was thinly populated, however, those who had arrived where making their presence known.

There was a small contingency of clear-cut die-hard fans hooting, hollering, dancing and drinking with all the fury of a Friday night. 'The Unseen Strangers' play urban bluegrass. They incorporate elements of jazz, rock and several other genres into their original arrangements. In fact, they actually play sets fully composed of contemporary covers at the drake hotel somewhat regularly.

Bandleader Adam Shier plays guitar and takes the role of the main lead vocalist. Matt Elwood is on Banjo and occasionally takes the lead on vocals as does James McEleney who also plays a constantly sturdy bass. Mike Mezzatesta is on Mandolin. They incorporate elegant harmonies and trade off intricate breakneck solos in almost every song. The Unseen Strangers' are clearly determined to foster a unique melodic flair.

Their style is molded by an adherence to traditional bluegrass motifs and augmented by an attachment to multiple forms of modern influences. An immeasurable onslaught of modern musical inspirations are peppered into their classic bluegrass sound.

Based out of Toronto, Ontario. The group just released their second full-length record, `Follow the Sound', produced by Andrew Collins. The album includes 11 original songs including the award winning, "Facebook Waltz" and "Ramblers Plea". Keep track of their touring schedule here: www.unseenstrangersaca Check Out More Photos on Pages 36 & 37 32 VandalaMagazine.Com - May 2014

GRIEVES WINTER & THE WOLVES

WORLD TOUR

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FraTharokk Metal Apocalypse Featuring Grim Reaper, Riot V,.• Picturp, many more Review by Jeff Black I think I fell in love with Reggies Rock Club one year ago, May 2013. It was a magical, booze-fueled romp through Chicago's south loop, heading from from the hotel to the venue of Ragnarokkr Metal Apocalypse, the USA's leading traditional metal festival. It was a bright day in the windy city and I was still buzzing from a breakfast of PBR tallboys and fried+folded steaks from Ricky's Diner. On the opposite side of State Street was a dim patio, packed with black shirted/long-haired laureates, many clad in hesher vests.

A sign hung above the joint. It read thusly: Reggies Rock Club "Were not happy until you're not happy."

So began an extended love affair with Chicago's asphalt-encrusted Heavy Metal underbelly. The underground cult of Ragnarockers.

Fast forward to April 4th, 2014. Round two for me, round four for the fest itself. Riot and Grim Reaper the headliners, MC'd by Chastain's Leather Leone, with support from other cult bands new and old, such as Black Death, Picture, Voltax and many more where that came from.

My Seattleite buddy Damian and I plow through a burger packed with mushrooms and a guzzle a handful of pints before the festival opens next door. We're reconnecting with old friends and putting a few names to Facebook profile pictures. Best vibes.

"Uncle" Bob Byrne (organizer of the festival's second stage) is making the rounds with a big derpy grin splashed across his mug, snapping photos with everyone and informing the room at large that the festival is officially sold out. Huzzah! That calls for a few more rounds...

MetalUSAfer is opening to show at the main stage, with what seems to be an open love-letter to Heavy Metal, featuring two originals plus two covers (NWOBHM's Virture, and Japan's Metalucifer) complete with power-drill antics and guitar smashing - a short, raucous start to the festival that people will recount for weeks to come. Following them on the mainstage is Amulance, Chicago's very own US-Power Metal heroes. The old guard are pulling their (ample) weight around with nail-biting riffs and nipple-riding bass runs. They close the set with "Seventh Son," a deadly late-80's screamer which is a personal highlight for yours-truly.

If you're involved on "The Inside" of classic Heavy Metal as a band or promoter or anything else, then Ragnarokkr is equal parts "convention" and "music festival."

Friends both new and old pile through the doors of Reggies faster than I can shake their hands. The magic of the moment fully hits me when members of Skelator, Eternal Champion and Borrowed Time and I crowd the second stage bar during Dogbane's set of bluest' Helstarish material, quaffing round and round of Newcastle for one-another, swapping tour stories and buzzing about Conan the Barbarian and Cirith Lingo!. Festival crowds and their regulars can have ties that run thicker than blood, but I have yet to feel more welcomed in a group of people than at Ragnarokkr.

Night Demon from California hits the main stage and the crowd waxes as the 40 VandalaMagazine-Com - May 2014

Lime Music. Metal Fiqiti iivI three-piece tears into a high-octane set of tunes lifted straight from the NWOSHM grimoire, plus a rad Diamond Head cover. My buddy Patrick asks "What did you think of Night Demon?" and I reply "Meh, they were Alright Demon" and he shoves a sweaty palm into my face before I can tell him I'm only joking. Back to the second stage for more beers and buddies. The guys from Eternal Champion and I are very loud and very rude during Dark Design's set, in which they play tight & technical thrash, tied off neatly at the end with a deadly power metal cover of "Dust in the Wind." We sing, we laugh, we cry. Lady Beast comes on next and delivers some classic riffs with a tatted-up babe on lead vocals. Memories get fuzzy at this point. We duck out for the main stage after some goon in our party (who shall remain nameless) starts hollering "show us your tits! Unleash the terrible twins!"

Memories promptly unfuzz themselves at the main stage, where Canadian children of the storm Axxion are playing to a packed house. They have both the prettiest and the ugliest band members of the festival in tow, and that's not even counting their singer's mullet which he must have stolen from Geoff Tate circa '91. Regardless, they totally rule. Their guitarist is wearing neon-orange Nikes that look like Megaman boots. He burns through his guitar strings at a million miles per hour and it's just no big deal for him. Axxion sounds a little sunset strip at times but I get into 'em anyways.

Dutch band Picture invades the main stage next, decked up in steampunk goggles, big-ass hats and bigger-ass'd hair. They blast through a collection of tunes (now over three decades old) for the first time ever in the states. Not so familiar with their body of work, but I recognized a few cuts from '81's Heavy Metal Ears and "83's Eternal Dark. The band sounds more modern than you'd think.

Of course, the question riding on everyone's lips is "What's it gonna take?" Riot answers. Not "Riot", but "Riot V". Fifth incarnation. Fifth singer (being Todd Michael Hall of Burning Starr) doing crystal-clear, nut-crunching justice to each and every Riot era. Speranza, Forrester, Moore, DiMeo; you name it, he nails it. Mike Flyntz channels Riots late founding guitarist whose Les Paul sits like a shrine onstage; road case with "Mark Reale" spray-painted like an open casket in front of the drum kit. The band is tighter than a bug's ear. They've got this kid on guitar who looks a little nervous to be playing in band of legends old enough to be his dad, but he plays it convincingly.

Flyntz caresses the opening melody to "Outlaw" and I'm expecting to evaporate at any instant. Carry me through the fight!

Just like that, Day One is ended. Our night is just unfolding. My travel-mates and I cruise through the leftover crowds, informing pretty much everyone that the party is at room 244 of the South Loop Hotel. Time expands, oscillates. Beer and/or liquor diminishes. It is nearly 5:00am before we drunkenly herd the stragglers out of our room. Five minutes later, I find myself face to face with a security guard, a black mountain of a man who tells us to pack our bags and get out. We somehow convince him to let us stay.

May 2014 - VaridalaMagazine.Com 41

Day two rolls around in a surge of headaches and bleary-eyed wakefulness. Festival doesn't reopen until 5:00pm, so we squeeze into a couple of rust-gnawed cars and take to Chicago's Ukrainian village for beer/burgs at Lockdown Bar & Grill. Airbrushed effigies of Dio, Lemmy, Eddie and Dimebag sneer at us from the outer wall. Inside, Rainbow DVDs blast on flat-screen TVs. Sign on the wall reads Only one rule at Lockdown: DON'T BE SHITTY! We feel right at home. I order a burger called the "Death Sentence" which is more like a pile of meat, pretzel buns and pickles held together with a kitchen knife than an actual sandwich. A+, Highly Recommended.

Upon returning to Reggies, there is a brief moment of panic and confusion regarding the 2-day tickets and our wristbands. The festival policy and the venue policy didn't line up, and many people were held at the door, fishing for their ticket stubs or confirmation ernails before the bouncers would let them in. The crisis is averted by Bob Byrne vouching for us.

We enter the main stage in preparation for Visigoth from SLC, recently signed to Metal Blade records.

Everyone is shocked when Visigoth vocalist - Jake Rogers addresses the audience with a croaked "Hello". Poor guy's lost his voice.

Someone yells "What the hell?" Jake grins and says "Yeah. This is happening." The VP111;9 words creak from the back of his throat. Then the band kicks in and Jake looses a rip-roaring falsetto wail and continues to beltout true-metal scripture in a voice that sounds fresh as the day it was forged. Room erupts in a sea of raised fists, hair, denim and leather. Guitarists play off one another, fire vs. ice, sugar vs. spice. Visigoth are a band to watch, make no mistake.

Witches Mark from Texas are up next with a set of studded/spiked/chained tunes, which are a melting pot of influence from the pro-1992 Metal spectrum, from Doom to early Death and everything between. Despite this, they pale when compared to Visigoth's explosive entrance. Jason Conde-Houston from Seattle's Skelator joins them onstage to sing a tune.

I'd seriously been neglecting the festival's merchandise and vendor section up until this point, so I went up to the mezzanine overlooking the main stage, daring my fresh American greens to burn holes in my pockets. Planet Metal is up there with crates of records, Chris Black's bald dome shining bright. A latino couple is selling a mouth-watering array of shirts, patches and pins. Mike Mendyk from Swords and Chains Records has his many wares on display and Heaven & Hell Records from North Carolina has a vast selection, and they are credit card-enabled, gods help me. I chat and make merry, adding several titles to my collection as Axemaster starts their set.

ITm not a fan - they sound sloppy and I find their songs matching the melodic sense of a sack of old potatoes - but that's just one idiot's opinion. They give me an excellent excuse to vacate the merch-perch before I blow my college fund.

Next door, Spare Change are giving it 110% with some crossover-thrash madness.

People are moshing, which looks both hilarious and incredibly dangerous in the 42 VandaiaMagazine.Corn - May 2014

the table/chair-choked second stage region. Midnight Hellion hits the second stage next. They've got a lady on vocals with tried/true timbre whose demeanor reminds me of the legendary James Rivera. Great work-horse guitar riffs. Snappy song titles like "Hour of the Wolf". Count me in.

I grab myself a pair of PBR tallboys and bum-rush the stage in preparation for Eternal Champion, who hail from the "land of cowboys and Robert E. Howard" (read: Texas) and are one of my most-anticipated gigs of the weekend. The second stage venue packs into a leather/denim-clad next of sardines, and the band kicks off at 8:00pm with a crushing slab of Epic Heavy Metal called "I am the Hammer". Singer Jason Tarpey strides across the stage, dungeon master, lord of the realm, sweeping a longsword over the crowd and howling like an Atlantean wolf. Massive riffs. Massive sound. Massive fun. Do yourself a favor and look 'em up.

Despite the glowing after-effect that Eternal Champion has on the crowd, everyone piles back into the main stage to catch the legendary Black Death, who are superbly good, considering how long they have been out of the picture. Siki Spacek is pod a seriously big dude, and cuts an imposing figure with his guitar, leather and chains and his lengthy register, pretty much untouched from 1984. A great surprise for all in attendance. Following them up is Argus, a Heavy/ Doom metal band who sound like Thin Lizzy and Iron Maiden got all Lovecraftian over black lotus incense.

Powerhouse vocalist Butch Balich liberally roars over their working-class riffage and Jake Rogers again mystifies the crowd by joining them onstage for a cover of "Phantom of the Opera". Stunning.

Black Death

I take a moment to poke my head into the second stage to see what Possessor are all about, only to discover that they are about Mad Max, Crushing Poseur Scum and generally being pure, unadulterated THRASH. Their singer snarls "Hipster! Smasher!

Poser! Disposer!" which is one of those great choruses that you can shout along to after hearing it once.

The crowd swells and surges forward as speed metal banditos Voltax lights up the main stage in a blaze of Fire and Steel.

They look like a bunch of Mexican kids who sneaked backstage during a corps Priest concert and raided the closets of Rudolph Schenker and K.K. Downing. Vocalist is hitting notes I've never even heard before in a screech which I can only define as "Perfect Metal". Conext for his vox are immaculate: divebomb rhythm section, fire-breathing axe work, smokey clean intros a la modern Maiden. I haven't seen a band go so wild onstage in goddamn years. Astounding.

May 2014 - VandalaMagazine.Com 43

11:45pm rolls around. Headliners Grim Reaper take the stage. Steve Grimmett gives the crowd a grin wider than the English Channel before they kick off with "Rock You to Hell". Grimmett sounds great. Little older/little wiser perhaps. Founding guitarist Nick Bowcott hops on board for a few choice cuts, his instrument dolled up with a glossy union jack finish. Band is tight, band is running hot, crowd is thick and loving it. The band encores with "Grab Your Garmin, played live for the first time ever. This is followed by the classic "See You in Hell". I bum-rush the stage, screaming and waving my fists like a maniac at this point. The crowd breaks against the barriers like waves against stone. Tides recede. Feedback fades. Applause roars.

After it all, there are handshakes, hugs, drinks imbibed, heartfelt goodbyes. I hope it's not going to be another year before I can see all these clowns again. There is a brief stroll back to the hotel, a naked travel companion passed out in the bathtub. Leftover mac 'n' cheese, eaten with fingers. Soft, fresh-made beds. Sleep.

Just another night in the city.

By the Numbers: Two-Day passes: $60 Flights from YE G (Edmonton, AB) to Chicago, IL: around $550 Hotel for two nights: $220 (split six ways) Meals: $1O-$15 each Beer at venue: $4 (PBR tallboys) - $7 (Zombie Dust) Total bands: 29 Fans in attendance: Over 400

Didn't See but should mention: Diamond Rexx Power Theory Skull Hammer Razor Fist Sax Crowhaven The Skull (Regret) www.ragnarokkrmetal.com

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Irderimiew, Only @gime With well over 20 years clocked in "Good Riddance", a well received solo record in 2012, two previous Only Crime records, as well as a day job with Apple and time spent as a hockey scout, Russ Rankin is a guy who keeps busy no matter what he's doing.

Now with a new Only Crime album (the first in seven years) on the horizon and an upcoming European tour, we caught up with Russ to discuss Only Crime's creative process, the jazz influence and how he feels when people refer to the band as a 'punk rock supergroup.'

You guys all have different bands and commitments. Where do you find the time to record and play shows?

Russ: It's pretty tough. What we did for this record is we made a shared calendar that we all put our stuff into and we let our booking agents get in on that We all know that this band is not going to be able to tour more than a couple weeks at a time. We're going to do one off fly in dates and festivals as much as we can (because) those are a little bit easier to plan.

It's always been that way with this band though, it's always been kind of a challenge.

And you gather at Bill's studio (The Blasting Room) in Ft. Collins to record?

Russ: That's what we've been doing, yeah. We would go there to write. We'd go there for five or six days and just rehearse all day long and demo. That's how we got all of our records done in the past, that's how we write. It's like high impact band practice.

Do you have any plans for upcoming shows 7_ Russ: We're doing a pretty extensive European tour including festivals pretty soon.

How did the writing process for Pursuance work?

Russ: Generally I handle all the lyrics and I've contributed some songs in the past. I didn't do any for Pursuance. Matt had a lot of chunks of songs and riffs that we built off of and Aaron had a couple and Bill even had some guitar riffs that he wanted to use that he's been hanging onto since the 80's, since Black Flag. But mostly Matt contributed the bulk of the material this time that we ended up fleshing out.

Is the creative process in Only Crime different than it is with your other projects?

Russ: Yeah for me it's a huge challenge lyrically and melodically to try to match some of the things the other guys are coming up with. There's a couple songs on Pursuance that were hard for me to write melodies to, because I didn't want to just scream and yell and take the easy way out. But again I don't have a music degree or the musical chops that the guys in the band have. So I was thrown to the fire a bit. But it's good for any musician when they do things that are a little outside their comfort zone. With Only Crime the challenge is the appeal. That and the camaraderie and being able to play with such good players. The guys in Good Riddance are really good players as well, so I've been fortunate to get to play with a lot of talented guys. The ideas that were in place with Only Crime have been such that I've always been kind of playing catch up. But I've been pulling it off a bit and [earning a lot in the process.

Do you find that challenge sparks your creativity?

Russ: It got me to approach writing lyrics and melodies differently than I ever had and it got me to look at it from a different angle. If they're writing songs in keys and time signatures that I don't understand, I have to find a different way to go about it. It forced me to reinvent myself. And the appeal is in the challenge. These guys are playing something that's totally f*cked, but I want to put a hook in it. A melody to it. And I'm gonna do it, if it kills me I'm gonna do it.

SO VandaiaMagazine.Com - May 2014

One theme that I found emerging in listening to the album was that of acceptance. Did you sit down to write around a specific theme with Pursuance?

Russ: I don't think I wrote the lyrics with any particular theme in mind. I would agree that that's something you could take away from it. It's a record written by grown ups who have all overcome obstacles and had things not go their way in life and hopefully (are) all a little wiser as a result.

Is there any significance to the album cover?

Russ: There's no significance to that particular image. Overall, we just wanted it to look like an old jazz record.

Was there a conscious effort to incorporate jazz into the music when you started the band?

Russ: A lot of that comes from Bill, because he loves jazz. And if you think about it, if you listen to a lot of the mid-era Black Flag records and some of Greg (Ginn)'s solo's, they're very jazz. Inverted harmonies, inverted melodies. Oblong phrasing. We figured hey, we're five grown men, we've all been around the block a few times, let's push the envelope and see where it takes us. From the very beginning of this band that was our mindset. And I think this album accomplished that better than even the other two did.

Only Crime has more than one member in its ranks that could be called a legend in the scene. How do you feel when people refer to Only Crime as a 'punk rock supergroup'?

Russ. I don't really prefer it, it's kind of unavoidable I guess. If nothing else, it's a way for promoters to sell tickets.

Your first two records were put out by Fat, where both you and Bill have released records in the past. What prompted the move to Rise?

Russ: We wanted a fresh start and to see what else was out there. We sent songs to several labels and they were the most enthusiastic.

Did it have anything to do with Rise being primarily a hardcore label?

Russ: The word hardcore, especially for older guys is pretty subjective. have people wanting me to hear some hardcore band they're really excited about and I don't hear hardcore, I hear metal. And then there are kids who call the metal they listen to hardcore.

It's all subjective.

Is there a nostalgia in being in Only Crime that takes you back to your earliest days of Good Riddance?

Russ: A little bit. The guys in Good Riddance will probably tell you the same thing, but it was our first band, none of us really knew what we were doing, and if we were to do it over again we probably would've done a few things differently. Musically especially. But there's bells you can't un-ring. That's your legacy, that's your band. That's what people recognize you as.

And everybody in Only Crime was coming from other bands where that was the case. So we all had a chance to sit down and say 'let's take our collective knowledge and the mistakes we'd like to not make again and apply it to this band before we decide to do anything.' So it was a band that was put together and sort of fleshed out with our collective past mistakes and experiences very much at the forefront. That's what I think makes it a little bit different for me. If I had known then what I know now, I would be doing this band as well right from the start. And we all got a chance to do that. Not a lot of people get that chance, so I think we're really fortunate, is available at dvww.onlycrime.merchnow.corn and drops in the usual places such as Runes May 13th.

More about the band, tour dates and more at www.facebook.comiofficialonlycrime May 2014 - VandalaMagazine Corn 51

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kers Pennywise Kick off Tour n with an Interesting Twistq Interview and Story By Lana Nimmons /

Cower Stow. Periimowise For those of you who might not be familiar with Pennywise, the band was formed in 1988 in Hermosa Beach, California.

The group signed to Epitaph Records in 1990 and released their first album Pennywise (1991) where the album quickly circulated throughout the punk community, earning the band some nation-wide recognition. Lyrics in the album endorsed a positive mental attitude, helping promote progressive ideals for Generation X. As Pennywise hits their silver anniversary I had the chance to catch up with Randy Bradbury. As anyone would imagine the punk rocker in me was jumping up and down when I heard I would have the honor, but little did I know what treat I was in for. we chatted about their upcoming album, the story behind it, and this history of the socal punk scene in the 1980's.

It's all over the news, and tour posters how Jim is back, how's it been as a band now that the gang's all back?

Randy: It just feels right. When everybody started talking again and Jim came out to practice - you know we started playing songs - it just felt although it hadn't been three and a half years, it just felt like it was yesterday. It felt natural and good, so we're all just really happy.

How was it like going back into studio and recording again? Talk about dĂŠjĂ vuRandy: Going into the studio for us has always been kind of a very emotional and hard for us. We get in there and battle it out, we all care about the songs, and the direction we're going; so usually there's a lot of stress and it's hard. So, we just wanted to keep things light keep things fun and upbeat. So we got these songs, and there's a story behind them.

As a back story, like almost every record it was like: man why didn't that make it to this record! So we had those four or five songs that had been written by Jason, which were written way back, before I was in the band. I'd heard of the songs and we had a bunch of old demos, so we just figured it would be a good way to get back into the studio and play songs everybody in the band already knew, and we knew everybody already likes them, and we didn't need to argue about how it's supposed to go. It's cool because it's still new, and no one else's heard it before, and so we had a really good recording experience. It also didn't take too long, normally we get there and it drags on and on, it was pretty awesome were happy about it, it comes out July 8th and it's called Yesterdays.

I listened to Yesterdays, It's interesting that it's composed of unreleased songs because my impression of it was - this is a classic Pennywise album, but it has this different angle being worked, aesthetically speaking.

Randy: Sometimes we'll all write stuff and we try not to change too much, but we try and extend the boundaries and bring things outside the box. It was really easy to pick which songs we wanted to do and we can probably do it again, because everyone in the band still had their favorites that still didn't get on this album. We just thought that this was a good way to have new material but still have that core Pennywise sound and vibe.

I think it's really smart, you know a lot of bands when the lineup changes they tend to try and reinvent their sound and it confuses their followers, or sometimes pisses them off.

This makes sense. Speaking of unreleased tracks and your history, you just reached your 25 year anniversary. I've heard rumors of a box set, can you tell me a bit about that?

56 VandaiaMagazine.Corn - May 2014

Iiiiterview Randy ari.aciburky Randy: Ok, yeah, well that's how this album came about. We started digging through panels of our old demos, tapes, practice tapes and things like that to try and come up with some cool stuff for our box set. We started putting everything together, some we thought were our fans favorites and some unreleased - essentially coming up with a playlist. It was starting to seem a little ridiculous, because anyone could do that you can go on iTunes to make your own playlist, and everybody listens to music mostly digitally. And that was nothing new or unique. And when we started digging through and getting all the songs we were going to add to it, it just felt like these songs deserved their own focus, and their own format. So in the end we decide to take those songs and make it into an album, this really happened as an accident. It was progressions that just happened naturally, and worked well let me enter the studio as a group.

I mean, the songs are different that's why they didn't make it on the other albums, but it does fit too. Because they were written during certain time periods when certain things are going on, as you said you can get a nod of familiarity when you listen to them.

What I've always loved about Pennywise personally is how the bass lines in your songs are like musical punctuations. Why do you think Pennywise has continued to draw in fans over the years?

Randy: Okay, well thank you for that, my take on it is that: before I even got into music and figured I can pick up the bass, I would listen to music on my stereo and turn the treble all the way down and turn the bass all the way up just to listen to the bass. There was just something about that I really enjoyed, and that drew me to a lot of bands just because of a bass player. I mean if I had it my way I would probably play a little bit busier, but we try and keep the focus on the songs. So I try and slip things in here and there, yes sort of like a punctuation like: BOOM! There you go! It's kind of hard to explain the process because you kind of got to feel it and do it while it happens. I think there are little things about different bass players in different bands that drew me to Pennywise. I think in general as Pennywise goes; I think of course you're going to have people that like certain aspects of the band. I think there's a certain message in the music, the focus being is always built around the vocals and the melodies I know lyrics and stuff like and people who aren't musicians, that's all that they really notice. There's a driving force behind the singer, so I think that there's a message in that somehow Pennywise entails or highlights a certain lifestyle. People get it and love it, they listen to the lyrics and there's a positive message throughout most of it. I think a lot of people are drawn to the lifestyle of positivity and overcoming problems and persevering, and I think that's a really good message. You have this added aspect of almost controlled chaos at the shows, so it's kind of multidimensional.

I really notice that, there's always been a good musical communication between all instruments (including vocals) which makes the tracks flow so effortlessly.

Randy: You know that's a thing, is a community saying we're all working together to present this powerful sound, and message.

Pennywise is a staple influence of the SoCal punk rock movement, but when Pennywise started from my understanding, the scene was more metal than punk.

Randy: Well, there is a really big punk scene that started around 1979 - I mean that's when I started getting into it. It was pretty big, there were shows everywhere. Around '84-'85 there were a lot of gangs, and there was a lot of gang violence - just total violence. The gangs would go there to the shows just to fight, and I don't know how much that played into the scene kind of dwindling, but it did. At the same time there was a glam metal scene, with Motley Crew and all those crappy bands. I totally hated because it wasn't a punk rock, I mean I never gave up on Black Sabbath. All these Glam Metal bands were all over LA, so that's probably what you're talking about, so yeah at that time everyone started gravitating towards that, and growing out their hair and it really seemed that punk rock May 2014 - VandalaMagazine.Corn 57

Randy: was done for. But then Bad Religion kept on playing and they put out Suffer in 1987, which is a savior in my opinion of punk rock. I mean there were bands like 72 seconds were playing there was a straight edge hardcore scene, but it was a lot more sparse. So metal was the thing especially when Pennywise started, I mean I wasn't there then. At the time I had my own thing going on in Long Beach. It was definitely not the popular thing to do was start a punk rock band, especially at the time when it seemed although it's seen its best years.

What do you think influenced Pennywise?

Randy: Influence wise I think Jason was doing a lot of writing then and he has the whole PMA thing so he liked The Bad Brains, do you like 7 seconds, even rudimentary kg, and of course Bad Religion. I always say that if Bad Religion didn't sound like Bad Religion, Pennywise wouldn't have sounded like Pennywise. They were just the blueprint for the band and so many others, as far as I'm concerned. They were one of my favorite bands and they really made such good albums with Suffer is undeniable - you cannot deny that album. So I think once everyone heard that, everybody got a really good idea of how to make good music.

25 years, 15 albums later- what would you say was the most memorable moment in your career?

Randy: Thatrs rough but I would have to say: the day I got the call that they wanted me to come out and play with them. It was two in the morning I remember the day was October 23rd 1995, I got a phone call from Fletcher and he said we need you out here tomorrow. The day before Jim called me to tell me to stay near my phone. I had to learn fast, I knew some of the songs, but I had to learn about 15 songs that I didn't know in about a 24 hour period.

So I flew out (oh and I had a wicked flu too) to Florida and met them, we got on the bus and rode up to Atlanta. We practiced on the bus and did a long sound check: and BOOM! -that night I was playing the gig. So that was crunch time and it was really exciting to be there and do that. It was just an insane crowd. Before that show I had played gigs with them before.

In 1992 I was playing with them now and then, and this was a few years later and they just blew up, it was really exciting. So that's probably the most memorable.

I remember them being really huge by that point; I mean we're not talking about small clubs.

Randy: That tour was huge. I remember when I first met them and started playing with them in the band, it was in '92 and I was in another band at the time and Fletcher's brother use to come and watch us play and one night he told me I had to check out his brother's band.

Eventually when Pennywise's CD came out I got it right away, and I remember the guitar player use to play said to me: "Jesus what is this?" and I said "this is awesome!" and he was like "what you like this?". So I ran out and bought the CD and I started listening to them every day. I had a chance to meet Fletcher and I just told him how much I like the band. Then there was the situation where Jim left the band, and Jason took vocals and they needed a bass player, so that's how I got that gig. But I didn't think anybody was ever going to be at any of their shows. I just though, I like this music and I'm just going to play with them. But the first gig we played it was an ASR show at the time and the band that was opening for them was later on known as Sugar Ray and no one knew who they were. But there were a thousand people! I was like damn this is cool! I expected to show up for a crowd of 150 people and then the next shows were about 150 people and for the rest of the year. But I just loved the band and they knew and know that. And they knew I was there for all the right reasons. You know there were a lot of unfortunate situations that went down and happened but you know but things just turn out the way they turn out. You just try and make the right decisions, along the way. They were never selling out clubs way back then, except for that one big show. It's that crazy?

Sure is, thank you so much for sharing your experiences and story with me this evening.

Randy: Thank you!

See PENNYWISErs Upcoming Tour Dates & More at www.pennywisdom.com 58 VandaiaMagazine.Com - May 2014

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Broken Twin's New Album "May" Out Now The acclaimed new album by Broken Twin entitled May has arrived in stores. Described by the magazine Drowned In Sound as "one of the most exquisite and haunting albums you'll hear all year," the record is comprised primarily of piano, strings and Danish singer-songwriter Majke Voss Romme's beautifullyâ&#x2013;ş evocative vocals.

It is a deliberate and powerful simplicity reflected in the record's title. "I was looking for a title that was simple, and not giving too much away, reflecting the songs," says the young auteur. "Also it represents a time of year that seems to fit the songs, Spring is a time when everything is changing. It's a hopeful season," May was self-produced by Broken Twin and mixed by Ian Caple (Kate Bush, Tindersticks, Tricky) and Brian Batz. The result is an intensely personal album. "I wanted to get back to basics, seeking a sound that was warm and lo-fi; minimal and spacious and focused on the songs," explains Majke.

Broken Twins online: www.brokentwin.com Stream "May at" www.youtube.com/antirecords.

Jon and Roy Release New Album May 27th Victoria's folk-rock duo Jon and Roy have been busy in the recording studio and are excited to share their fifth offering, By My Side, on May 27th. A follow up to their 2012 release, Let It Go, which earned the group a Western Canadian Music Award for Best Roots Group Recording, By My Side adds new layers to the band's already stellar roots sound. Have a listen to the first single, Where'd My Light Go, and don't miss Jon and Roy on tour this summer!

The record is a collection of seven songs, which came about by way of regular jams at Roy Vizer's home. Though this is how the pair has always worked, new layers were introduced during the sessions for By My Side. Jon Middleton brought a banjo and his newly acquired 1950's Gibson acoustic into the fold, while Vizer used his new, custom Gretsch drum kit. The end result, features contributions from bassist Louis Sadava and backing vocals from Carmanah's Laura Mitic, charts a new path for the group.

I listen to so many different styles of music, and I get inspired by so many different things, I end up writing different songs for each album," Middleton says. "Musically, the songs on By My Side are linked, in the sense that they are all chorus driven and more concise in structure than on previous releases. This album is more cohesive."

Middleton wanted to make a lyrical statement with By My Side, to be more succinct in his songwriting approach. He also took the opportunity to stretch his voice out on occasion, forgoing nuance when it was called for on songs like, Where'd My Light Go, Every Night, and the album's title track. However, the core tenets of Jon and Roy are evident, which makes the recording come across as something of a bookend to their previous album, Let It Go. A popular festival draw, the band has headlined Canada Day in its hometown of Victoria, BC, playing to 45,000 people, and joined Stuart McLean's CBC show, The Vinyl CafĂŠ, for a series of theatre dates. Jon and Roy will be back on the tour circuit this summer with dates at the Regina Folk Festival, Tall Tree Music Festival, Whistler Concert Series, and Guelph's Hillside Festival.

More dates will be announced in the coming weeks. Get ready for the warm summer days with Jon and Roy by your side! www.jonandroy.ca 62 VancialaMagazine-Com - May 2014

New Releases

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Lord Jessiah & Mille [The Wisemen] - "Crimeline Chronicles" Album Black Day In July Productions is proud to announce their latest endeavour in classical hip hop; "Crimeline Chronicles" a collaboration between Wisemen member Phillie and producer Lord Jessiah!

The album combines the dynamic and visual wordplay of Detroit's Finest, Phillie with the new golden era and gritty city soundscapes of Black Day's most recent ally, Lord Jessiah Allah. Once you get a taste of this sound, the music speaks for itself.

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Growing up in the infamous 'numbers' streets, a rough set of blocks in Southwest Detroit, Phillie learned to use his intellect and innate street savvy to contend with the hazards of life. After years of battling and testing his skill in the streets of Detroit, Growing up in the infamous `numbers' streets, a rough set of blocks in Southwest Detroit, Phillie learned to use his intellect and innate street savvy to contend with the hazards of life. After years of battling and testing his skill in the streets of Detroit, a chance meeting with Wu Elements producer Bronze Nazareth culminated in PhiBiers addition to the Wisemen. Having held his own weight by displaying lyrical prowess on the Wisemen's Freshman & Sophomore releases, "Wisemen Approaching" (2007) & "Children of a Lesser God" (2010), Phillie released his debut solo album "Welcome to the Detroit Zoo" (2013) produced by Bronze Nazareth. Looking to help solidify his legacy as one of hip-hop's top lyricists, he teams up with Black Day In July's newest emcee & producer Lord Jessiah Allah to present this sophomore release from Black Day titled "Crimeline Chronicles".

Stream "Crimeline Chronicles" on Bandcamp www.crimeline.bandcamp.com Watch "Night Crawlers" Video at www.youtube.com/Bronzelock

Shabazz Palaces To Release Lese Majesty July 28th & 29th We're pleased to share release details on behalf of Shabazz Palaces' Lese Majesty, the follow up to their universally acclaimed label debut Black Up, available on CD / 2xLP DL on July 28th in Europe and July 29th in North America via Sub Pop. Lese Majesty is a 7 suite, 18 track sonic mythmap of new black wave and ghetto psychedelics, featuring highlights "They Come In Gold", "Ishmael" and "Forerunner Foray."

Lese Majesty features Shabazz Palaces members Palaceer Lazaro and Tendai Maraire alongside Black Constellation collaborators THEESatisfaction's Catherine Harris-White, Erik Blood and Thadillac. The album was produced by Shabazz Palaces and mixed

by Blood at Protect and Exalt Labs in Seattle, Washington.

Lese Majesty is available for prearder from Sub Pop Megamart, iTunes, and Amazon now. The double vinyl version is housed in a "shark skin" embossed jacket and includes a fold-out poster, and an etching on side D. Preorders from megamart.subpop.coni will receive the limited edition "Loser" version on purple vinyl and a seven-inch of exclusive non-album track "The Palace Slide" and "The Palace Slide (Instrumental)" while supplies last.

Shabazz Palaces has a few live dates on the horizon: June 21st in London, UK at Koko; July 28th & 29thin San Francisco, CA at Brick & Mortar; and October 22nd-26th in Helsinki, FI at Supermassive Festival. Please find a complete list of tour dates and more information at www.shabazzpalaces.corn may 2014 - Vandalamagazine.Com 63

Montreal's USA Out Of Vietnam Announce Re-Release of Debut Montreal's drone-pop purveyors USA Out Of Vietnam have just announced that they will re-release their critically-praised debut album Crashing Diseases and Incurable Airplanes on June 24, 2014 through New Damage Records in Canada.

Recorded at Montreal's Hotel 2 Tango studio with producer Howard Bilerman (Arcade Fire, Godspeed You! Black Emperor), USA Out Of Vietnam's debut is vast in its scope, and abundant with lush harmonies, infectious melodies and 10 minute psychedelic epics. Described as "mesmerizing" and "truly original", the eclectic now-quintet draw from a wide range of music influences from black metal to dream pop and craft uniquely creative genre-bending compositions that will simply "take your breath away".

Formed in 2010, USA Out Of Vietnam is made up of Son of Fogman, El Tigre, Jordan Thomas Brown III, Fogman and the newest member Blankie. Described as a "musical enigma" of sorts, the band has toured alongside genre heavyweights Mogwai, Swervedriver, Ty Segal, Handsome Furs and Locrian. Earlier this year, the band unleashed a video for the track "Leg of Lamb". Shot

by Amy Torok, the 13 min long film can be viewed online on YouTube at www.youtube.cominothingformethanksivideos To Listen to the Album visit www.usaoutofvietnam.bandcamp.com and to find out more about USA Out Of Vietnam www.facebook.comiusaoutofvietnam

3incallo Releases "Do You Mind" .A. producer Jincallo asks an existential Do You Mind, on his full length joyride through downtempo electronica. Structures of samples, field recordings, sparkling percussion, synthesizers, and guitar form the reflective kingdom of the artist. Recorded primarily at home while conceptualized around the soul-seeking mind within budding urban terrain, the personalized and emotional journey of Jincallo's third album speaks to the spirit of universal contemplation.

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The key method of the young producer is pacing. Threading of short beat-pieces lead into each other with a flattering consistency that defines the work present. The infectious lead "Turn Of They Key" is a substantial dose of tropical psychedelia hitting with the minimal underlying bass & snare. Gathering momentum on "The V", vibrations shift towards dusty drums carrying us into classic hip-hop overtones that allow the listener to shift into the electro-acoustic nuances of "Interviewing Hoarders (feat. Ramlala)", where the producer applies organic percussion to cast an enchanted landscape. Described as "the calming of the storm in the mind", Jincallo's debut on Alpha Pup records is a therapeutic one. Do You Mind is available worldwide Mayl3th, 2014. z = `°u

Take a listen at www.soundcloud.comijincallo and at www.jincallo.bamicamp.com

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The Dying Arts Announcespigbut Album & Release Single Toronto-based foursome The Dying Arts is getting ready to unleash their self-titled debut EP on June 3, 2014. Recorded with wunderkind producer/engineer Jon Drew (Alexisonfire, F*cked Up, Tokyo Police Club), a preview of the five-track EP track was released today in the form of the frenetic and infectious single "Scratch" is available to preivew online via souridcloud at : www.soundcloud.comithedyingarts/scratch Raw, raucous, and unapologetic, the songs span the gamut from the lead single "Scratch," with its combustible punk core that mutates into a shoegaze coda seemingly lifted from My Bloody Valentine's Loveless, to the more subdued, shadowy take on infectious indie rock that is "Control," showcasing the band's impressive breadth of influence and output.

The Dying Arts have been leaving their mark on every sweat-soaked stage they've set ablaze since 2011. And with each one, they drag a handful of dedicated new fans down between the cracks of the mainstream music infrastructure with them. Comprised of guitarist/frontman Mike Portoghese, bassist Simon Poole, drummer Joe Torchia, and guitarist Daniel Scuglia, the band blends the fury of Fugazi and early Nirvana with the more sombre ambient soundscapes of later Radiohead releases and even hints Sigur Ros. It's irony-free rock and roll with sonic depth For more info, check out: www.thedyingarts.com and served straight, no chaser. www.thedyingartsmusic.bandcamp.com

ampaii„ Psychedelic Riff-WranglerF Dwellers Present A Taste Of Pagan Fruit Featuring former members of Iota and SubRosa, the self-proclaimed "gut rock" trio just released Pagan Fruit via Small Stone. Recorded and engineered by Andy Patterson (SubRosa, Catholic Girls) at The Boars Nest in Salt Lake City, Utah, mixed by Eric Hoegemeyer (Luder) at Tree Laboratory in Brooklyn, New York and mastered by Chris Goosrnan (Sasquatch, Five Horse Johnson, Lo-Pan) at Baseline Audio Labs in Ann Arbor, Michigan, the absorbing long player delivers nine tracks of solid, occasionally doom-laden psych rock.

Pagan Fruit follows in the still-echoing sonic shockwaves of Dwellers' critically-lauded 2012 debut, Good Morning Harakiri, which saw the newly-assembled trio of vocalist/guitarist Joey Toscano, bassist Dave Jones, and drummer Zach Hatsis pooling together their impressive prior musical credentials with staggeringly powerful and memorable results.

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An album that both exceeds the lysergic power chord trip initiated on that first album, and expands the band's collectively creative horizons into realms heretofore unexplored, here Dwellers travels far beyond the multifaceted influences, both subliminal and overt, picked up by discerning listeners on Good Morning Harakiri - influences ranging from Hawkwind to Soundgarden, Monster Magnet to Captain Beyond, Sons Of Otis to the Screaming Trees. The songs/seeds found on Pagan Fruit reveal novel, dynamically varied musical touchstones as far reaching as vintage Neil Young & Crazy Horse and Goat's Head Soup-period Stones.

Pagan Fruit is available for consumption available at www. smallstone.bandcarnp.comialbum/pagan-fruit "Spirit Of The Staircase" now streaming at www.soundcloudicomlearsplit

May 2014 - VandalaMagazine.Com 65

Sworn Enemy Releases Living on Borrowed Time This Mid-May Sworn Enemy inching closer to the release of their new album Living on Borrowed Time May 13th via Rock Ridge Music/ADA. Sworn Enemy continues their legacy with the addition of new guitarist Matt Garzilli, and bassist Mike Puccciarelli. An album trailer can be viewed www.youtube.com/SwornEnemyNYHC Sworn Enemy will embark on a North America headline tour in support of Living on Borrowed Time this May and June. The first show sees the band making an appearance May 17th at the "Black N Blue Bowl" in Brooklyn, NY. Support on rest of the run will come from Silence The Messenger. The tour begins May 20th in Quebec City, QC and runs through June 25th in Chicago, IL. A complete list of dates can be found below. More dates will be announced in the coming weeks.

Sworn Enemy, fronted by Sal LoCoco, established itself in 2000 with the release of Negative Outlook on Jamey Jasta's Stillborn Records. The record was a mix of old school hardcore punk and new school breakdowns, and quickly gained the band attention in the underground scene.

Two songs from Living on Borrowed Time are also available for streaming "Hard Way" can be heard wâ&#x20AC;&#x2DC;tvw.soundcloud.comidemetrius-benoist,. Also the song entitled "Slipping Away" can be heard exclusively on the band's Facebook Page www.facebook.com/OfficialSwornEnemy

Forgotten Tomb Release Dvd and a Free Download

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In order to reward the fans for their magnificent support, Italian pioneers of blackened doom metal Forgotten Tomb release a free live album recorded during Kings Of Black Metal Festival in Germany in 2012. The audio has been professionally mixed and originally comes from Forgotten Tomb 's brand new DVD, Darkness in Stereo: Eine Symphonie Des Todes - Live in Germany, which additionally offers a full video of the above-mentioned concert, as well as excerpts filmed at: Under The Black Sun Festival and K17 Club in Berlin in 2012. While The DVD is available in Europe (and will be released on May 13th in North America via Agonia Records), the free audio album can be downloaded now at Bandcamp (link below).

The new DVD "Darkness in Stereo: Eine Symphonie Des Todes

Live in Germany" is available in: a noble AS digibook with a 8-page booklet, a limited to 200 copies exclusive digibook including a postcard with signatures of all band members and a live poster (limited edition is available only via Agonia Records Webshop, (www.agoniarecords.com).

With almost 15 years of activity, six full-length albums, and a double live in-studio album, live shows all over Europe and a worldwide underground following, Forgotten Tomb definitely deserves its cult status in the current extreme metal scene.

Download Free Album at www. www.agoniarecords.bandcamp.com Grab The "Darkness in Stereo: Eine Symphonie Des Tories - Live in Germany" www.agoniarecords.com Band's facebook: www.facebook.com/Official.Forgotten.Tomb 66 vanclaiamagazine.Corn - may 2014

Allegaeon Return With Elements of the Infinite With change comes new ideas, and Elements of The Infinite is the culmination of a flurry of new ideas within Allegaeon. It is, in essence, an album with a chip on its shoulder, a point to prove, and a big step out of the shadows from its predecessor. With two new members, the band is in a very different place than they've ever been, and the music reflects that. Guitarist Greg Burgess adds: "It is material that stays true to where we've come from, while exploring some new territory. We've had the opportunity to do some things we've wanted to from the beginning, but haven't been able to until now. We're very proud of this record, hopefully it will live up to what our fans have come to expect from us."

Elements of the Infinite will be released on June 24, 2014 in North America, and June 23 in the UK/Europe and June 20 in the European G IA IS territories. Allegaeon have completed work on a video for the song "1.618".

The video can be viewed exclusively and inww.metaiblade.comiallegaeon. While there, fans can also pre-order the new album in various bundle packages.

Guitarist Greg Burgess commented on the video: "The 1.618 video is quite a departure from what Allegaeon has done in the past. For our music, lyrically speaking; it's been really hard for us to come up with story lines to capture what Ezra was singing about. So in the end we always ended up just having performance videos. This video is more like us hanging out and having fun, a reflection of our personalities, and well. poking fun at ourselves for the lack of success we've had with the music video medium."

After having spent some time in drummer-limbo, the band enlisted Brandon Park as their new permanent drummer in 2013. Additionally, the departure of Ryan Glisan led to the addition of guitarist Michael Stance!. The re-tooled Allegaeon line up is fresh, hungry, and ready to solidify the band's place within the elite, virtuoso-filled world of extreme technical death metal.

Elements of the Infinite was recorded, mixed and mastered by Dave Otero at Flatline Audio in Colorado Feb-April 2014. Otero's work has been more prominent in the last few years - some fans may have heard his work on the latest Cattle Decapitation album, Cephalic Carnage, and more. Otero's efforts here, along with the band's new material, has led to Allegaeon 's most realized and mature release to date. Musically, fans will be treated to orchestrations that provide significant depth to the sound. The orchestrations were composed by guitarist Greg Burgess along with Joe Ferris (monumentalaudio.net).

Lyrically, the band has gone full-tilt with their space and science themes. Vocalist Ezra Haynes has penned songs that discuss both theoretical and practical science topics. Anyone who may be watching "Cosmos" with Neil de Grasse Tyson will surely catch references to Dyson Spheres, the high probability of alien life in the universe, humanity's eventual exodus from earth, the golden ratio, and much more It's as fun dissecting the lyrics as it is the complex and challenging music.

For More Info Visit: www.facebook.com/allegaeon & www.youtube.com/ALLEGAEON

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Presented once again by Slave Pit Inc. and sponsored by Ring Dog Rescue (http://ringdogrescue.org), The 5th Annual GWAR-B-Q and Dave Brockie Memorial will certainly go down in history as one of the most significant events to happen in Richmond since the Civil War. In a celebration of the life of David Murray Brockie, a special memorial event will be held FREE to the public from 4:00 PM -7:00 PM ONLY on Aug 15, 2014 at Hadad's Lake (located at 7900 Osborne Turnpike Richmond,VA 23231). Fans, friends, family and bohabs will have the opportunity to pay their respects, as they drunkenly toast with a GWAR Beer in one hand, while wearing the commemorative Dave Brockie Fund vomit stained t-shirt as Oderus Urungus is set ablaze in a Viking Funeral Pyre on the lake.

In keeping with the tradition of past GWAR-B-Q's, Slave Pit Inc. has revealed the first bands confirmed for the event. The GWAR-B-Q will feature the heaviest, and most legendary line up of bands that the metal and punk scenes have to offer.

Heavyweights such as Hatebreed, hometown heroes Kepone, with former GWAR member Beefcake, the infamous Meatmen, featuring the Dutch Hercules, Tesco Vee and a very special appearance by the Original Gangsters, Body Count, where TV executives were bribed and beaten to get Ice T off the set of Law and Order SVU. For a full lineup of bands visit www.gwarbq.com.

The magnitude of heavy bone crushing acts at this year's GWAR - B - Q is enough to aahhh...crush bone", said Bonesnapper, GWAR's body guard.

And if that's not enough, there is plenty more filthy fun to overload your senses, leaving you bloated, basted, and completely broke. There will be more meat than ever, boatloads of "GWAR-B-Q" sauce to slather all over it,GWARTs new beer "Killsner " to wash it down your bottomless and gaping feed-hole, as well as an infinite number of port-o-john vomitorium kissing booths for full body evacuation. Just like last year, the affair will be held at the only venue capable of handling such a stupendous event, the legendary Hadad's Lake...check out the venue at www.hadadslake.com.

As our beloved bohabs would come to expect, the Slave Pit has yet again produced its customary GWAR-B-Q commercial commemorating the beastly birthday of the 5th Annual GWAR-B-Q. This year's clip heavily features Oderus Urungus` final film performance. Although, Oderus will not be there physically, his spirit will reign over the event. Hail Oderus! View the commercial HERE. You can make a donation to the Dave Brockie Fund and purchase the Official Dave Brockie Tribute Shirt at www.gwar.netidave-brockie-fund For More Info Visit: www.gwar.net www.gwarbq.com 70 VandalaMagazine.Com -

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JUN 01 DENVER, CO OGDEN THEATER JUN 02 SALT LAKE CITY, UT * THE COMPLEX - ROCKWELL JUN 04 TEMPE, AZ MARQUEE THEATER JUN 05 LAS VEGAS, NV it BROOKLYN BOWL JUN 06 SAN FRANCISCO, CA REGENCY BAILLROD JUN 07 LOS ANGELES. CA I FONDA THEATER WITH SPECIAL GUEST DOWN

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ARISE Music Festival Main Stage]Lineup Re!edged

The 2nd Annual ARISE Music Festival will kick off this August 8-10 and will showcase a stellar lineup including Beats Antique, Galactic with special guests Chaling and Lyrics Born, Grateful Grass featuring Keller Williams, Billy Nershi (String Cheese Incicent) and Reed Mathis, The Infamous Stringdusters, The Polish Ambassador, Groundation, Tribal Seeds, Nahko and Medicine for the People, The Everyone Orchestra featuring Steve Kimock and the return of Quixotic, among many other favorite performers.

The 3-day festival will also feature a selection of yoga and movement intensives each day, a mini documentary film festival, special guest presenters and activists, diverse interactive workshops, delicious food, local brews and fine craft vendors specializing in organic and natural products of all kinds. A special event for all ages, the ARISE Music Festival also caters to families with daily kid-friendly activities and programming culminating in a kid's parade on Saturday evening.

The music is like the fire .... and we all gather around it to warm our souls" says Paul Bassis, Producer of ARISE. "The intention of the festival is to facilitate and amplify that inspiration into real life action".

With a focus on conscious performers and diverse daily activities, participants and attendees from the 2013 event raved about the quality and range of options along with the thoughtful intention behind last year's event, touting the festival as Colorado's best of 2013.

The ARISE Festival will take place just an hour from downtown Denver, in a majestic valley outside of Loveland, CO. Located on 100 acres of the picturesque Sunrise Ranch and surrounded by an unrivaled red rock landscape. The annual festival has the potential to grow into a full-scale national event in years to come as the good word naturally spreads about one of the most beautiful and accessible music and camping festivals anywhere in the centennial state.

Tickets are on sale now, and much more information available, at www.arisefestival.com.

ARISE Festival attendees can choose from a range of options including upgraded camping, onsite lodging and can even purchase exclusive VIP backstage access for the entire 3-day celebration.

72 VandalaMagazine.Com - May 2014

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Wakarusa Music Festival Releases Schedule for 2014 Festival

The 11th annual Wakarusa Music Festival music schedule is here! The 2014 festival will feature Main Stage performances by Michael Franti, STS9 and Adventure Club on Thursday, The Flaming Lips and Infected Mushroom FUNGASAMONGUS on Friday,The String Cheese Incident and BASSNECTAR on Saturday and closing out the festival on Sunday evening, Umphrey's McGee and Claude VonStroke. Wakarusa will take place at the stunning Mulberry Mountain in Northwest Arkansas June 5-8, 2014.

Wakarusa will showcase a new era of art, creativity and interaction on Mulberry Mountain this year with the "Mulberry Mountain is My Muse" art grant program. Hundreds of artists and performers submitted their ideas for the first annual program and Wakarusa is excited to welcome 16 art installations and performance troupes. Featured installations and troupes include: Maizz Visual, Easily Distracted Art Collaborative, Slack- Librium Slackline Park, Homegrown Collective, Astral Gypsies, The Vibe Tribe Performance Troupe, The Amazing Giant Stilt Walkers and the Majik Dakini Circus. Wakarusa will also feature live painters on-site.

This year's festival will include a plethora of fun and exciting activities not limited to: daily music and disc golf at the Riverside camping area, daily yoga and hoop and flow workshops in the Outpost Tent, Technaflora's Costume Contest and Parade on Friday evening and a Sunday morning Drum Circle with Brandon Draper. Other activities include rides on the Waka ferric wheel, hiking, canoeing, rafting, tubing and fishing.

GA, VIP and RV Unreserved Camping are on-sale now. For those that want to camp in style, Wakarusa Clamping packages and the WakStar Tour packages are available for purchase. Tickets can also be purchased at one of our ticket outlets in seven states. For more information on ticketing, artist lineup schedule and all things Wakarusa please visit: www.wakarusa.com.

74 VandalaMagazine.Com - May 2014

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