September 2014 vandala magazine

September 2014

LEGENDS NEVER DIE

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Contentn ti andala September 2014 8 Album Reviews The Mahones The Hunger & The Fight" (Irish Punk) Otherwise "Peace at All Costs" (Rock/Hard Alternative) Sleepwave "Broken Compass" (Rock) Brian Setzer "Rockabilly Riot! All Original" (Rockabilly/Rock & Roll) Slaine "The King of Everything Else" (Hip Hop) Maybeshewill "Sing the Word Hope in Four Part Harmony" (Instrumental) The Hungry Ghosts "Alone, Alone" (Instrumental)

18 Reviews & Live Music Album Cover Feature: Slaine "The King of Everything Else" Artist Feature - SubRosa: Revealing Our Humanity Through Doom Metal "Empathy of the Evening" (Electronic Music) "Noisem, Full of Hell and More: Brews and Brutality in the Most Boring State" Summer Photo Highlights VELD Music Festival Photo Highlights

38 Interviews "Loud Music and Peruvian Adventures with David Kush of the Atlas Moth" "New music with Paul Masvicial"

52 Cover Interview - "Legends Never Die" Interview with Descendents' Bill Stevenson With their recent reemergence on the live circuit, as well as a forthcoming album I spoke with Bill Stevenson recently, about the band's history, the new record and Milo (Ackerman ) and Chad (Price) trading songs between Descendents and ALL like baseball cards.

60 editorials, News & Events Why Your Band Needs an Interesting Angle How To Act Like An Extravagant Rock Star...

On A Budget!

CM founder Robert Kampf Announces Creation of Another Century Records POP MONTREAL 2014: Get Ready, It's On Hangtown Halloween Ball Announces Late Night Music & Daily Schedule

New Music with Paul Masvidal

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The Mahones "The Hunger & The Fight" (Irish Punk) www.themahones.co Review By Dustin Griffin - 5/5 Dragons I've never been to Ireland. Never been to Belfast or to Dublin. But Celtic music always paints such vivid pictures in my mind, I sometimes feel as if I have.

You can call that corny, and I guess it is, but it's the truth. The first time I heard The Pogues, it changed my life. The song was 'Poor Paddy' from their masterful debut album Red Roses For Me. The mixture of traditional Celtic folk with the pure madness that is punk rock just floored me. Since then my appreciation, and knowledge of Celtic music and Celtic punk in particular has grown far and reached deep. And for the past twenty years, regardless of the continent you inhabit, you simply cannot mention great Celtic punk music, without mentioning The Mahones.

To say that The Hunger 8L The Fight is an ambitious undertaking is an understatement. This is a big, beefy, beautiful, well conceived, well executed beast of a record. One that will satisfy the fans, but one that will surprise them as well.

It actually threw me for a loop the first time I spun it through. It has that classic Mahones sound alright, but it also has a depth, a softness and at times a sadness that we haven't heard from the Toronto Paddy's previous. It speaks of the protagonists of its stories with the appropriate musical calm, or the appropriate musical fury, depending upon the chapter of the story it's telling.

The Hunger..(Part One), is the first in a two part set that will conclude in February of next year. It pays tribute musically to the Celtic folk and rock music that has influenced and shaped the lives of the band members over the years. And lyrically to Ireland's heritage, its fight for independence, the hardships of its people to work and to eat and live in a land that at times has been cold and unwelcoming even to its natives. It tells a story of a strong and brave nation, all in a gorgeous cacophony of stringed and percussive instrumentation, the tale spun in singer Finny McConnell's recognizable Irish delivery.

The record offers a nice mix of tempos and styles that ensure it never bores and always keeps the listener guessing at what the next track will sound like. Songs like the fiery opening track 'Brian Boru's March'; the upstart anthem 'Prisoner 1082', about Finny's uncle, a man who escaped from Crumlin Road Prison in Belfast (the only person ever to do so); 'A Pint of Plain (A Drop of the Pure)' a Irish drinking song, uniquely about the perils of drinking in excess and in the disease that is alcoholism; and 'St. Patrick's Day Irish Punk Song' a tongue in cheek autobiographical raver about The Mahones' first show and their most well known song 'Drunken Irish Bastard', all have a punk-y energy about them. While the heartfelt biter 'The Hunger 81. The Fight; the Oscar Wilde tribute `Stars'; and the romantic lullaby 'Someone Saved Me', are slower, more deliberate melodies, perfect for accompanying a pint at the end of the workday. Elsewhere, you have my 08 VandalaMagazine.Com - September 2014

Album Reviews personal favorite tunes on the record, a chain gang version of Brendan Behan's beautiful poem 'The Auld Triangle', which features little more than an acoustic guitar, a couple of voices and a hell of a lot of feeling. And my favorite, 'Paddy on the Railway.'

Remember when I told you that the first Pogues song and probably the first Irish punk song I ever heard was 'Poor Paddy'? Well imagine my great delight at finding the very same classic composition as done by The Mahones on this fine recording. `Paddy' features a number of highlights: it follows a similar musical pattern as the Pogues version; it features one of my favorite Irish vocalists in Tony Duggins of The Tossers as lead singer; and it features some firebrand accordion courtesy of Katie Kaboom and ripping tin whistle courtesy of Michael O'Grady (was there ever a finer Irish name than that?).

In fact this record is filled to the brim with amazing talent. As well as Finny, Katie and Michael, The Mahones are Dominic Whelan, Paul Mancuso and Sean Winter.

Their guests are none other than Simon Townhend himself of The Who, Dave Baksh of Sum 41 (past) and Black Cat Attack (present), Tara Slone of Joydrop, Miranda Mulholland of Great Lake Swimmers and Belle Starr, David Gossage of Crean% Peter Kelly of The Doggy Few, Jonathan Moorman of Bodh'aktan and Andrew Brown of The Legendary Mahone.

That's a lot of heavy hitters for one record (one half if you count Part Two and it shows. The Hunger ER. The Fight is a great achievement in The Mahones' career and an exciting step forward. It tells beautiful, at times heartbreaking stories with great Celtic music panache both traditional and modern and sets the anticipation high for its follow up.

I've never been to Ireland. But when I listen to this record, I feel as if I have.

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Otherwise" Peace at All Costs" (Rock/Hard Alternative) www.weareotherwise.com - 5/5 Dragons Otherwise finally has released their second full album. In 2012 they came out of the gates on Century Media Records and before that they had a few amazing EP's. There last album "True Love Never Dies" I gave a 5/5 and it's been 2 years since that album due to the band touring a ridiculous amount.

They kept the fans happy with a free EP of acoustic songs though I was upset since that was not enough.

To be honest True Love Never Dies hit the charts hard, played on high rotation on playlists and had amazing success thus a hard album to follow up but the band proved they are hear and they are here to stay.

Each album even way back to "Some Kind of Alchemy" has had a theme. Obviously this one unlike "True Love Never Dies" is a little different as Adrian Explains! "Darker Side of the Moon" is just the beginning of the journey that we plan to take with everyone. The moon is a heavenly body that we've come to cherish and worship throughout our meager lives ... but there is another side to it that most of us know nothing about. We hope that our album 'Peace At All Costs' will help the world navigate the depths of its own darkness and break through into the light on the other side."

As you can see this is no love song album like "True Love Never Dies". The band has a little change in sound which is evolution, growth and even more of a solidarity. The album overall is a magnificent journey start to finish and you listen to all the songs on the album. Again Otherwise thinks about these things such as making an album that is good start to finish, unlike the many artists who want to make their money with single songs.

I usually hate those little intros and breaks in an album but this gives us the heads up that this album is its own album full of more melodies, a different side of love and mostly anger, angst and rock n' roll. With the first song "Love and War" you hear some dirtier sounds yet the band signature rock is still there. Otherwise being a little harder and dirtier in some parts showcases their range of abilities. Personally I hate any change but they made it easy to accept and only did a little bit not a whole 180.

Otherwise did not forget to slow things down with "All The Pretty Things" and "Walk Away" with a powerful emotionally-laden delivery from Adrian Patricks' on vocals.

Both songs balance vocals, guitars, passion and music beautifully. Though my favorite slower song on the album is "Never Say" which is so melodic, and stunning.

Otherwise just rounds this album off with their first single that I have played over and over since its release.

"Darker Side of the Moon" takes us right back to the signature Otherwise sound, and just as powerful as the hit song "Soldiers" off of True Love Never Dies which I though could not be topped is rock-solid . Another thing I love about this band is you hear Adrians voice, the guitars and the music you know its Otherwise. This song they dug deep and is an obvious choice for their first release which will be taking over the charts.

10 VandalaMagazine.Com - September 2014

Album Reviews. Tiliwsral Lees itiAs Before I finish this review I want to mention Corky Gainsford - Drums (Vocals) and Vassilios Metropoulos Bass/Cardio. Just like breathing they are a vital part of this band. They blend the music perfectly on this album and True Love Never Dies. They do not get enough credit because if you really listen you see how talented these two are, with making the Otherwise sound whole. Otherwise has the perfect line up and it shows in this album.

Their lyrics are always the main highlight from the band and this album is no different.

They are well thought out, passionate, have real meaning and keep the sing along ability; this is something I see so many bands try and fail in the path to hitting all those features. You can really see this talent in one of the favorites on this album "Meet Me In The Dark".

Is the album amazing - YES. Is it as good as True Love Never Dies - YES BUT they are different types of albums. Otherwise is making a collection that 50 years from now we will put on our high tech players. Each album is unique in its own way keeping the Otherwise sound but are making albums for every part of our lives. Love & break ups, Anger, Personal struggles and more. They are on their way to having a greatest hits collection that people will be spinning years from now but for now we should see Otherwise climbing the charts and living on the road again.

Sleepwave "Broken Compass" (Rock) wwwasleepwavemusic.com- 4.5/5 Dragons Sleepwave is the new band from former Underoath singer Spencer Chamberlain, featuring band mate Stephen Bowman. This project has been a secret for so long and now it's finally here with its debut "Broken Compass" via Epitaph Records.

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Right out of the gates you will see this band is high energy keeping the rock flowing throughout the whole album. Many will love" Though the Looking Glass" with fire but for me "Paper Planes" was one of my favorites. There is a beautiful piano intro which sold me within 30 seconds of the song. Then the guitars kicked in and I generally am not a fuzzy guitar fan but it works for this band and works well.

The chorus is in your face just like most of this album that is just screaming to be listened to And if you like in your face songs "Wolf' will definitely be on your playlist with just pure intensity.

To smooth out the album they added a few slower songs and a highlight for myself is "Hold up My Head" is a perfect blend of music, vocals and piano undertones. In its beauty the lyrics are dark and emotional.

I listened to the album a few times and then it dawned on me There is some undertones of Filter but with a little post-hardcore sounds. This all comes together to make a sound of their own which was a pleasant surprise.

September 2014 - VandalaMagazine.Com 11.

Brian Setzer "Rockabilly Riot! All Original" (Rockabilly/Rock & Roll) www.brianSetzer.COm 4.5/5 Dragons Brian Setzer has been carrying the rockabilly flame since 1979, when he formed the first incarnation of the Stray Cats (then known as the Tomcats). With the Stray Cats he lead the rockabilly revival with a number of classic albums songs which paid tribute to the great rock n' roll artists of the 50's.

The band fell apart in the mid 80's though and in 1990 Setzer assembled The Brian Setzer Orchestra, a 17 piece swing/jump blues band that in 1998 had a massive hit in their cover of Louis Prima's 'Jump, _live an' Wail.'

Setzer's kept busy when not with his Orchestra though and released a handful of solo record, live albums and done a number of reunion tours with the Stray Cats.

Rockabilly Riot: All Original is Setzer's tenth solo release since 1986. The album contains 12 songs, all of them written by Setzer (his releases usually contain a handful of covers).

One of the things I love about Brian Setzer records, whether solo or with his other bands, is that you always know what you're in for. He isn't interested in rocking the musical boat or venturing off in other directions. He's a rock and roller with the spirit of the 50's surging through his veins and embraces that.

Rockabilly Riot starts off with the barnstormer 'Let's Shake'. It's a fast little beast with pounding piano, driving Gretsch guitar and Setzer's Carl Perkins meets Jerry Lee Lewis delivery. It's a hell of a way to start off an album. `Rockabilly Blues' is just that. A blues tune attacked by rockabilly and slathered with a coat of punky attitude. The guitar work in this track is just amazing, with Setzer waltzing all over the fretboard and back again in a dazzling display of musicianship. The rhythm section sound like a 33rpm Johnny Cash song played 45rpm's. Exciting stuff. `Vinyl Records' is about a rocker chick who likes to listen to vinyl, at one point convincing some naysayers why vinyl is still the best way to hear good music. It's a fun and loving tribute to the magic of vinyl that's making a comeback these days in a big way. `Nothing Is A Sure Thing' which was the orignal title of the record, is a cool, thumping tune which again highlights the strength of the rhythm section, perfectly complementing Setzer's impressive talent with the six string. `Calamity Jane' combines rockabilly with Sun-era country and features some more of that smoking piano pounding. Should Have Had A V8' is a hot tune about (what else) hot rods, set to a military jive. `The Girl With the Blue in Her Eyes' and 'Blue Lights, Big City' are a couple of slower crooners more in step with Elvis' slow stuff from his late 50's RCA records. Elvis is never far from any rockabilly revival record and his influence is apparent throughout Rockabilly Riot. Even the colours Setzer uses for his name on the cover are the familiar pink and green that grace Elvis' iconic self titled RCA debut.

As far as I'm concerned, the 1950's was the greatest decade of music the world has ever seen and that probably isn't going to change. Rock n' roll, country, R&B. Doesn't matter what it was, if it dropped in the 50'5, it was probably hot. Elvis and rockabilly lead that charge though and the literally endless amount of rockabilly bands and artists from the era, both popular and obscure are almost uniformly fantastic in one way or another. The rockabilly revival in the 12 VandalaMagazine.Com - September 2014

Album Reviews. Dus rim Gniffires P@Igs 80's (both purist and the punk-inflected hybrid psychobilly, lead by bands like The Cramps) has been paying tribute to that decade and those artists ever since. Brian Setzer is the leader of the pack. His jump swing tunes are fun (particularly the Christmas albums), but his solo work is even better. And Rockabilly Riot is a welcome addition to his cannon.

Slaine "The King of Everything Else" (Hip Hop) www.facebook.comislaine.official- 4.5/5 Dragons Slaine's an interesting figure in that he's probably known by two different crowds for two different things. On the one hand he is, as of late, a sort of go-to for large, intimidating thug's in Boston-set crime flicks. Having had small roles in Ben Affleck's Gone Baby Gone and The Town, as well as Andrew Dominick's Killing Them Softly, with more projects on the horizon, Slaine is finding a place in the diamonds of Hollywoodland.

On the other hand, he's a fixture in the world of hard edged hip hop. A career he's been training for since the age of nine. With a slew of solo albums as well as collaborations as part of La Coka Nostra, Slaine's been slinging his dark stories with his razor sharp, gritty flow for years and is growing ever more popular with each successive record.

His new record The King of Everything Else is his greatest musical achievement to date.

Featuring soundscapes filled with heavy, bass loaded beats and songs about gangsters, drug dealers and pimps all trying to cut a buck out of the streets, often at the expense of happiness and peace.

Slaine is a master storyteller, but even more impressive than his gangster noir is his control of the mic as he spits it out. His dizzying array of wordplay and snare tight flow on songs like `Pissed It All Away', 'Children of the Revolution' and 'Bobby Be Real' outshines anything he's done before. It even overshadows the appearances of the guests that appear on the record.

Which is an accomplishment as the likes of Ill Bill, Madchild, Minnie Paz and Termanology all have amazing verses themselves. That's the way it should be though. Nobody wants a guest to outshine the lead on his own record.

Although Slaine spent a number of years in New York honing his craft on those very particular streets, he has always been, by his fans and by himself, most closely associated with Boston.

His records are filled with his observations and wheeling's and dealings on the streets which have provided such ample grit for a slew of crime films in the last ten years.

On The King of Everything Else, Slaine raps about these streets on kick off song 'Handouts' and continues to paint a picture of petty crime which turns more sinister as the album chugs along.

If there's one thing I can say for The King of Everything Else that works against it, it's just that after 1.7 songs, the heaviness of the subject matter and musical accompaniment can get to be a little much and I found myself wanting to wring myself dry of it and walk around in the sunshine for a while. Or throw on that Will Smith CD my grandma bought me when I was a kid (just kid-ding).

That's a minor gripe though and at the end of the day, Slaine's new record is one of the best hip hop releases of the year. His talent with words and flow increase with every release and The Kind of Everything Else is his best to date.

September 2014 - VandalaMagazine.Com 13

Ma ees Maybeshewill "Sing the Word Hope in Four Part Harmony" (Instrumental) www.maybeshewillanet - 4.4/5 Dragons And here we have the second offering from the English instrumental band Maybeshewill, showcasing the brilliant electronic sampling and instrumental style they conquered in previous work. Known as the groups break from post rock, this album started off incredibly intense and ended with serenity. The only real word to describe the last titular track Sing the Word Hope in Four Part Harmony is, well, beautiful.

Melodic and soothing, this song features one of the group's finest use of piano with brilliant concord to boot. But I'm getting ahead of myself.

Formed in 2005, Maybeshewill released Japanese Spy Transcript shortly after and since then has spent most of their time mastering instrumental rock. What makes this album unique is their departure from the genre, exploring a somewhat heavier sound that could almost be described as metal.

Though it contains only eight tracks, the album is packed with power and makes for a hair raising listen and is arguably one of their most passionate compositions yet.

Co-Conspirators and Last Time This Year almost seem punk, while How to Have Sex with a Ghost is ample with guitar and percussion. Though the album is easily accessible to newer fans, it provided a startling change in style to older followers who had grown accustomed to their gentler sounds. Despite being extremely out of their element, the transition from soft to supreme was made with ease and I look forward to them reconnecting with their darker side in the future.

The Hungry Ghosts "Alone, Alone" (Instrumental) www.hungry-ghosts.bandcamp.com 4.8/5 Dragons Originating from Australia, the indie rock band Hungry Ghosts has me starving for more (get it?).

Released in 2000, this review makes me a little late to the party but I couldn't help myself. Rough around the edges in all the right ways, the guitar is easy on the ears but delivers quite the personality. The roles of the 3 members are fairly ambiguous and I'm unable to credit them individually, but whatever arrangement Tim Howden, John Brooks, and Jason Boneham crafted together works beautifully in their favor, each instrument telling its own story in the albums epic odyssey. Tracks like the titular Alone, Alone and Nothing Has to Happen carry the same vague sense of wordless post rock, but the band takes a step out of their comfort zone in the song I don't think about you anymore, but I don't think about you any less. Deserving of its own article, the composition is a bittersweet ballad and although open to interpretation, seems to tell a story of a lost love we're all familiar with. It's warm, melodic, and hauntingly beautiful.

14 VandalaMagazine.Com - September 2014

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Album Cromer Pick Shine The King of Everything Else" www.facebook.comislainerofficial Review By Dustin Griffin This month's album cover pick is the somewhat controversial cover of Slaine's somewhat controversial album The King of Everything Else.

As I mention in my review of the album elsewhere in this issue (page 13), Slaine is firing on all cylinders with this record and his ability at crafting dark narratives and soundscapes and peppering them with his well honed and gritty flow, has never been more impressive than on King.

The album cover seems to point directly to the album's content: A king sits on his throne above a pool of degradation. Above the kingdom of Everything Else.

In Everything Else, prostitutes, porno nags, empty liquor bottles, bills in the form of audits and eviction notices, cash and drugs surround him. A pair of handcuffs hang haphazardly off his wrist. This is his kingdom and he gleefully observes its bounty and its goings on. There are kings of nice things. Of loyal subjects and great gardens and peaceful villages. There are kings of mighty countries and fearful nations.

And there is the king of everything else. The stuff most well adjusted, law abiding citizen don't want anything to do with.

This self destructive king with his substances and dead hookers and final notices may or may not be the way Slaine sees himself. The artist's rendering of the king could easily pass for a slimmer interpretation of Slaine. Or he may just be another individual Slaine has created in his cannon of street bred characters who have run amok in the streets of Boston for much of the rapper's career.

There are no songs on the album that explicitly reference the cover. Then again, all of the songs, in one way or another, feature characters and situations which could reference the kingdom of Everything Else. Certainly the faux rap pop of the song `Bobby Be Real' fits the image nicely, and you can almost hear the bomp and bounce of it as you stare at the scene and imagine the music blaring from speakers in some corner of the room.

The cover of The King of Everything Else is a powerful image in some ways. It's a coke fuelled delinquent, one who spends his nights setting fires and slashing tires. Slaine's name, splayed across the top in giant Celtic script, lets you know not only about his heritage and his home, but that this is a bold artist making a bold statement. This is Blaine. The king of Everything Else.

18 VandaiaMagazine.Com - September 2014

A DIFFERENT KIND OF WILD TOUR

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SubRosa: Revealing Our Humanity Through Doom Metal

By Matt Bacon Roaring down the highway, just over the speed limit with enough illicit substances in the car to get the driver booked for at least a couple of months, this sounds like as good a place as any to start my story about SubRosa. Here I was riding shotgun on a four hour car trip with a guy who I had met only nine days prior. He had agreed to join me on my strange and potentially epic journey to document the mystical world of SubRosa, a group who are, in my opinion, the best emerging heavy act on the scene right now. I have fallen into some sort of freakish fandom, a chaotic borderline obsession with this group, why else would I take a journey that led me across five states to see a band I had already met weeks prior? It was clear, I need to try to figure out what they were on about.

Perhaps a bit of background is necessary first. SubRosa was first formed by the mysterious Rebecca Vernon in 2005, birthed from the influence of the local Utah legends, The Red Bennies. Her friend, the violinist, Sarah Pendleton asked to join the band early on and ended up permanently altering the bands future sound. Rebecca said to me "I wanted it to be really loud and brutal and sludgy and all that, but I did not picture violins.

Sarah was learning violin at the time, we were really good friends, and she was like "I want to be in the band" and I said "Urn, okay, let's see how that will work out" just thinking the violins would make it more delicate and it ended up being the best thing that could have happened."

Since then, the band has been through a whole mess of bassists (The current count is at eight I believe), changed drummers a handful of times, and added another violinist to the band in the petite form of Kim Pack. Their two full lengths since Pacles arrival the band has reached huge critical praise, they have been listed as the 13th best record of 2013 on SputnikMusic, which for the uninitiated essentially puts them as one of the best doom bands in the world right now. The band has even got the attention of some of the biggest players in the metal scene. For example, one of the main organizers for He['fest went out of his way to personally book the band because they were that important to him. In other words, perhaps my deranged journey to a city I hadn't been to for years with a relative stranger had a lot more merit behind it than I previously thought.

So when we arrived at my friend Leslie Bornsteins studio apartment, I started to think that just maybe I had gotten a better handle on this whole brouhaha than I had previously expected. After viewing some raw footage for her in-process film on death metal in Mozambique, it came time for me and my traveling companion to hit public transport in an effort to get to a show that could hopefully teach us something about the state of doom metal today, the triumph of apocalyptic layers of noise, and perhaps the human experience.

Upon arriving at the Bowery Ballroom (The venue for the evening) I received hugs and handshakes from every member of the band. When I had met them at Hellfest we had become fast friends and so getting to see them again, on a different continent, in a city to which none of us were natives, was truly unique. It felt as if I had fallen into a dream, just a few years ago I would have never thought this kind of adventure possible, and now here I was embracing the spontaneous delusions that dominate my psyche and allowing them to let me find my way into a brave new world. The air was electric, this was the bands first ever New York show, and I got the impression that everyone was a bit nervous, myself included. Something about the atmosphere suggested to me that the evening would be a magical and memorable one.

As we helped the band load in I realized how different the three frontwomen of SubRosa could look before they each embraced their unique stage personas. Without the 20 VandalaMagazine.Com - September 2014

Artist Feature SubRosa magnificent eye makeup Rebecca could be a librarian. When she came out from the changing room in her long black gown and mascara there was a marked difference, as if she had performed some sort of occult ritual to embrace the true power of doom within her. Kim came out with her hair redone, giving her that fascinating and very unique fairy-like look that is part of what makes SubRosa's live performances so interesting.

Sarah perhaps had the least change, yet, ever the fashionista, wore an interestingly crafted shirt with all manner of metal studs and straps. The gentlemen of the group seemed for all intents and purposes unchanged, although it should be noted, Andy's beard rippled as glorious as ever.

Before the soundcheck could even begin my traveling partner, Jake and I ambled off with Kim and Rebecca in search of pizza. Heads turned at this motley crew, a hardcore guy, a metal dude, and a pair of strangely dressed musicians from the midwest. Surprisingly, the New Yorkers seemed friendly enough, taking an interest in the strange dynamic we had going on. There's a weird feeling you get when people ask you if you're a member of one of your favorite bands. On the one hand its kind of an honor and makes you feel special, and on the other, there is a sort of crushing desperation when you contemplate that a band you have poured untold time and money into may never get the recognition you feel they truly deserve. Yet such is metal, forever condemned to a forgotten corner, for those of us who seek it out though, this particular rabbit hole is potentially endless. Broken images that we are forced to piece together to find some form of internal triumph.

Tensions started to rise when after soundcheck it was discovered that Kim's camera had gone missing. At this point, Kevin, an incredibly sweet and competent security guard at the venue stepped up and helped find it. His support of the band and truly passionate work to help the set go forward smoothly is the kind of thing which should never be forgotten. Too many times we ignore security, yet people with jobs like Kevin's are perhaps the most important in metal, they allow the music to happen. In some way, security guards are like ministers, allowing the transcendent glory of doom metal to wash over the fans while simultaneously making sure the prophets can stay safe.

The long wait before the show started was on. Fans started to pour into the bar under the venue, and those of us with security clearance were forced to pace around, nervously awaiting what was to come. SubRosa have a strange tradition of going to the bathroom repeatedly before their set, one whose impact was accentuated by the lack of artist-only toilets. It's in these strange hybrid moments I think that we see what truly defines a band. The love between the members is clear, Kim once told me that the three women of SubRosa are like sisters, a bond that defines the band. That being said, there also seems to be a deep link between Levi and Andy, and while it is not one I've really had the chance to get into, their quiet brotherhood gives the groups rhythm section a strange sort of empathy, allowing it to drive the band forward with a passion that few of their peers can really compare to.

Suddenly its time, the band has to go on in mere minutes. Rebecca sits on the steps by the stage giving Sarah a neck massage, the rest of the band stand nearby, nervously awaiting what could be one of the defining performances of their respective careers. They may be on Profound Lore now (Which is, for all intents and purposes, an incredible label) but I get the impression shows like this one are giving the band the opportunity to be much more than that, to embrace the breadth of their appeal as one of the most interesting bands in heavy music today. Their unique appeal and frighteningly iconoclastic sound was in high demand, and now they had to step out and deliver.

Then, as if a switch has been flipped it's happening, SubRosa have commenced playing and the acoustic intro of their two song set gets the crowd bristling with anticipation. Part of the beauty of this band is that they extend the soft parts just long enough that you 22 VandalaMagazine.Com - September 2014

don't think anything special will happen, so when they open up in a storm of violins and loud guitars the music is simply that much more glorious. This band is so loud that you feel it in your bones, SubRosa give you a full sensory experience, no other emotion can prevail when you are swamped in sludge and then suddenly thrown into a strange acoustic fairyland.

These contradictions, this mix of light and dark, allows for SubRosa to take on an almost Black Sabbath like quality. The riffs retain the power, but, like with Sabbath, the acoustic and quiet parts have a very distinct flavor of their own and make the music soar even higher. The bands relentless headbanging emphasizes the groove of the music. For example, Kim has a surprisingly ferocious sort of stomp she seems to fall in too whenever the groove becomes overpowering. Her tiny foot slams into the stage, making it feel as if the entire thing is shaking. There is something deliciously primal about all of this, the full body headbanging and the very human bellows over a roaring guitar provided by Rebecca which are then directly contrasted by lullaby-like acoustic passages. It feels as if the entire human experience, from birth to death is embodied in their set.

Saying some doom metal band from Utah reflects the human experience may seem like some sort of drugged out madness, but I will assure you, much to my chagrin I was sober for the entirety of the evening. See, these guys have a strangely natural flow between clearly organized acoustic passages with classically inspired violin lines and chaotic almost punk rock attacks. When the violins embrace a Schoenberg like level of madness it feels like a bad acid trip, overwhelming your body and rooting you in place. Somehow, on their last two records these guys have tapped into something greater than the sum of its parts, doom metal redemption that allows us to feel every aspect of our lives in the progression of just one song.

The band kick into The Usher and I head up to the balcony to get a different view. As they embrace the multipart harmony that dominates the introduction of this doom metal epic you get an overwhelming sense of the beauty of the music. Is this their Stairway to Heaven? Quite possibly. Both times I have seen them they have ended with this song, it is perhaps the defining track off of their latest record More Constant Than The Gods. It's the kind of piece that embodies all I love about doom, from the solemn beauty to the refined structure. The fact that it's one of the only SubRosa songs to feature a death growl is also a plus in my book, it helps keep things dynamic and unique. After all, not many doom bands can claim to have a song that uses four different vocalists, and fewer still can claim that same song connects with people so well it should be a crucial part of their live set.

The set closes off, and the next band comes on. Sure, The Atlas Moth is good, but for me at least, they can't recapture the almost sacred magic of SubRosa. There is a strange sort of magic that allows a band that is so darn unconventional to thrive. They don't follow any of the rules and are crafting beautiful new pastures of sound, too few of their peers can match them. The thing is, sure there are a lot of women in doom these days, but how many bands boast multiple? Furthermore, how many bands have the powerful array of instruments that these guys have? If nothing else the mere pitch of Its basically doom metal with three part harmonies and two violins" has to make you at least a little curious.

The evening starts to cool down. After The Atlas Moth rock the house, Boris, a band who I had pretty minimal exposure too beforehand (I had listened to a handful of their records before coming) simply blew me away. This bill is special in its own right. Many a doom freak can tell you, this is the sort of bill that most people only dream of, getting to see three bands like this in one night is a treat, even if in my opinion Boris should be opening and SubRosa headlining. Controversial opinions asides, it proves the might of team working behind SubRosa, from their label, Profound Lore, to their booker, the mighty Nate September 2014 - VandalaMagazine.Com 23

Artist Feature. SubRosa Carson, a dude who just might make the history books as one of the greatest metal promoters of his time.

There is a strange sense of destiny guiding this band, I'm not quite sure how to put it into words, but speaking with them I get the sense that SubRosa could somehow be among the great bands of this generation. In a world where there is so much darkness, but also so much light, we need a band that reflects that, that can cross the spectrum of emotion and leave every fan feeling tuned in to something greater than themselves. It essentially sums up all that I love about doom metal and I think in the long run, this breed of band shall triumph. Order and chaos can coexist side by side, and nothing proves that like SubRosa's music.

Too soon it came time for load out, and I sat there in SubRosa's green room, trying to make sure nothing got stolen from them while they sojourned in this city of mainlines, blood feasts, and bad taste. Conversations had been had, fans met, and label officials appeased. It was another successful night for the band, as they found themselves on their way to a new venue, another day in quicksand, trying to fight for the ability to make SubRosa their full time jobs. Metal is a challenge, make no mistake, but, as Charles Dingus of Witch Mountain and Blackwitch Pudding once said to me "The key to success is to do something different". It certainly seems like this group have got that one down pat.

It came time to say our goodbyes, with hugs all around we knew that it would only be two more months before we saw each other again. Yet, despite our planned reunion in Texas at Housecore Horror Film Festival, I got a strange sense of the ephemeral nature of nights like these. As with our previous meeting at Hellfest this was a big night for SubRosa, but I think that's what makes our relationship so interesting. I've been blessed to stumble across the band on crucial days, the types of events that can make our break their careers.

Behind the scenes you get a sense that big things are happening for the band and don't be surprised to see them headlining a major tour in just a few years. This bands star is only rising, and I think that we have a while before we see it peak. Rebecca once told me that she thought the band would peak two records from now, personally, I'm not so sure, perhaps they will be one of those rare blessed acts who somehow reach a sort of perpetual climax, a constant evolution towards sublime heavy metal ascension.

As Jake and I wander off to try and find our way home, we are left contemplating the strange, and beautiful reality that the evening has presented us. We were granted full access to one of the premier heavy tours of 2014, and suddenly handling the notion of that feels like it might be too much. A lot went down, from the glorious performance of SubRosa to a Relapse Records representative making me a serious offer for an internship.

It's one of those nights that reflects the charmed magic that seems to follow this scene, and perhaps more specifically SubRosa. They are a blessed band, the sort of group Dio smiles down upon from his place in the clouds, leaving us to do our best to make sure that they, and other groups of their ilk get the recognition and honor they deserve.

In a Facebook conversation Rebecca once said to me that "We are the MetaIlica of doom metal," and though it was in jest, perhaps she was closer to the truth than any of us had ever realized. With a discovery of what makes them special the only thing holding them back is the crazed nature of the music industry. As is the lament of so many bands of their generation, even doom innovators have to deal with a lack of tour support and financial aid from the label. Is that anyone's fault? Not particularly, but overcoming these boundaries is not going to be the sort of thing that any band hurdles right away. Yet, few bands so accurately reflect the human condition and the ultimate glory of our world.

Ultimately, the majestic sounds of SubRosa may be the thing that binds together this heap of broken images into a glorious stained glass window, one that guides our eyes towards the truth. Visit them online at www.subrosa.ci 24 VandalaMagazine.Com - September 2014

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Empaths of the Evening Article and Photo By Darian Magee Have we talked about Dl's yet? I don't think we've talked about DJ's. Let's talk about Dl's.

An abbreviation of disc jockey, a DJ is a usually talented individual who takes something already extraordinary and makes it stunning. Frequenting everywhere from discos to funerals, these men and women are skilled in technology with a passion for EDM. This wasn't always the case, as the term used to apply exclusively to radio hosts using gramophones to play continuous music. It wasn't until Jamaican born DJ Kool Herc began 'mixing' that the act began to take a more artistic turn (table) and changed the evolution of music. Now in 2014, it's hard to find a nightclub without the familiar scene of a man and his soundboard - a sight I was greeted to upon checking out the local nightclub Murmur. Hosting an all-white night and one of dubstep's biggest names, I was thrust into an evening of good vibes and great light shows. Great service, aesthetically appealing, and it looks like they have some sort of system in place to filter out the butt grabbing weirdo's because while I was there, I found myself treated with the utmost respect by both the servers and patrons alike. But what really stood out was the company they kept, specifically Sean Rodela sitting atop a dubstep throne on the dance floor.

Hailing from Los Angeles, this musician goes by the name of 133 BARE and it looks like he draws influence from the sun itself because his beats are hot.

Everything about his performance was electrifying and the absence of filler made sure that every note crept into your body and shook your nerves, moving your body to f\ the pulsing rhythm he created.

1;* I The flow was grimy in all the right ways and despite his frequent and much appreciated M engagement of the crowd, his never design faltered. do; Accompanied by the equally impressive STAYSICK, NIKKO ago.

1 \ Pip and LIGHTWRECK, last .--"v 0 -- 1 1]:1 111E;,Thursday night was an eye opening experience to the world of EDM I never knew I wanted to be in. These men and women are paid to make us excited, to get our blood pumping, and they've done it so well that there's an entire industry based off it.

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"To be a disc jockey is to be an empath and without people like Louisahhh!!! and Steve Aoki, clubbing would just be another late afternoon at a poorly lit bar."

28 Vandalamagazine.Com - September 2014

driv CORA TRUISE 2014 FALL TOUR Sep 16 Sep 17 Sep 18 Sep 19 Sep 20 Sep 21 Sep 22 Sep 24 Sep 26 Sep 27 Sep 29 Oct 1 Oct 2 Oct Oct 4 Oct Oct Oct Oct 00'110 Oct 11 Oct 12 Oct 14 Oct 1 Oct 1 Oct 17

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Live Hug BrdVivs and Brutality in the I f t Boring State Article By Matt Bacon and Photos By Madyn Bean Photography The first band I got to see was Sleep Disorder, a crazed power violence act from Baltimore. Perhaps the most notable aspect of this band is that not only do they feature Tyler Carnes of Noisem and his brother Billy, but they also use three vocalists. This allows for the chaotic crunch of the band to flourish. Here's the thing, Sleep Disorder reek of punk rock annihilation. At least one of their guitarists uses a beer bottle cap as a guitar pick, and if that's not punk, I don't know what is. These guys don't care what you think about them, they are going to blast away and leave you in the dust. Even though the venue was small and shifty, holding at most fifty people, they were able to invoke the kind of underground magic that makes my heart sing.

Noisem, who had originally been scheduled to play third ended up playing next because Ides had yet to arrive. I had seen them a few weeks prior at This is Hardcore Festival, but once more I was absolutely blown away by the sheer power behind the music. Noisem understand what underground death metal is all about and they have a wonderfully distinct sound.

Add in the fact that they have a triumphant and carefree youthful exuberance and you have a group who seem to be AtrIpTi 4.1 PhitOriel reflecting the American dream. It may sound highfalutin' but think about it. These kids came from almost nothing, and now here they are, touring America and kicking ass, playing some of the best death metal that I've gotten to hear in years. If that's not something special, I don't know what

is.

Ides finally arrived with a singer who seemed to be dying from some sort of stomach bug.

After throwing up in the parking lot she stormed in to play a ripping set in which she threw up again, this time on my friends shoes. Yet, there was a strange sort of charm in the face ripping attack of this band. There is something vaguely humorous about a hardcore band fronted by a little chick who doesn't clear five feet or a hundred pounds.

It's this kind of thing that shows me that hardcore is truly for everybody. Ides are the sort of act who use their riffs to communicate with the people, and beyond that, what more could you really want from any sort of punk act? Crunchy grooves and demented vocals persist to craft a sound that not many can follow up.

Artificial Brain were the next group to blast onto the stage. Now, I had never heard of them before, but I found their sound pretty cool. Sure they blare extremely brutal death metal, but there is a very real depth behind it. admit I didn't understand what the band was on about at first, but after a few songs I feel like I started to get it. These guys grasp what makes this kind of music special, unholy vocals and a colossal bottom end.

30 VandalaMagazine.Com - September 2014

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While they don't necessarily break new ground, it certainly is a lot of fun to watch them go out and rip up the stage. By this point in the night the alcohol was seriously kicking in, but watching the kids dance to a band this heavy somehow made my heart light. Artificial Brain were able to tear forth the vibes and reveal the beautiful power that defines death metal destruction.

The last band of the evening was Full of Hell, another act who I had gotten the chance to see at This Is Hardcore. The previous time I had seen them I was impressed with the depth and destruction of the growls. This time, that got to me, but not as much as the bands ability to use modulated distortion to provide a satisfying gap in the music. Their sound was deliciously noisy, creating a sort of loud and proud communion of filth. This is the sort of deal that allows us to all grow, sons of the same extreme nation. As they raged from track to track their energy level never seemed to dip, it created a beautifully chaotic sound that left the whole crowd in a haze, enthralled with the eternal power of a genre that seems destined to save us all, or at least keep us from shooting ourselves for another week.

So here we are, at the end of the night, what have we learned, what have we gained? This is the communion of noise and hell that makes it all worth it for me. Being crammed in a room with lots of sweaty guys and hot chicks that Dan from Coffin Dust refused to shut up about on the ride home is what makes this scene so special. Reveling in the innate darkness of something so crazy might not make sense to a lot of our peers, but for kids like us, what more could you want? After all, we're young and reckless, we're just killing time. As the night comes to an end, I feel a strange reminder of a Buddhist idea, nothing lasts forever, not even that sweet November rain.

September 2014 - Vandalamagazine.Com 31

Fall is just around the corner but we thought we would share our highlights and favorites of the summer as we say goodbye to the summer fun.

Korn at Rockstar Mayhem Festival Toronto GGS Photography

Wilt at rmstrong Metalfest na Zuk Photography

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VELD Music Festival Toronto 2014 Photos Courtesy of VELD and Visualbass Photography

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9/19/14 @ THE TROCADERO PHILADELPHIA, PA 9/20/14 @ STARLAND BALLROOM SAYREVILLE, NJ 9121/14 ® OTTOBAR BALTIMORE, MD 9123/14 @ CAT'S CRADLE CARRBORO, NC 9/24/14 ® UNDERBELLY JACKSONVILLE, FL 9125/14 ® THE SOCIAL ORLANDO, FL 9127/14 ® WALTER'S HOUSTON, TX FEST DALLAS. TX 9/28/14 ® 9129/14 ® RED 7 AUSTIN, TX 10/01/14 ® LAUNCHPAD ALBUROUREOUE, NM 10/02/14 ® CLUB RED TEMPE, AZ 10/03/14 ® THE GLASS HOUSE POMONA, CA

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How have you been?

David: I'm good, the tour's been going awesome!

How did you get onto this tour?

David: SubRosa are our labor mates on Profound Lore. As far as the Boris connection asides from the fact that our latest record came out in Japan via the label run by Boris's manager. SubRosa played on our latest record. But we've never played together. Rebecca put us up one time in Salt Lake City.

The Old Believer is a big step from the previous record. What's been inspiring that evolution?

David: I think we're still trying to get better at it. But we have three guitarists. By the second record people were starting to find where they fit. We don't always all have to play at the same time. We're trying to put more space in there and make it more dynamic. The first two records were more riffy for sure whereas know we're more atmospheric. We didn't intentionally do that, we just got better at writing songs. A lot of people didn't like The Old Believer because of the way it progressed. People liked how our first record was so spastic and changing. Some people viewed that as a negative, to me that's a positive. We were going in a better musicianship way. It's a little less riffy and more groovy.

You've been on the road a lot more, has been being on the road allowed you to discover new stuff that brought the new sound to life?

David: Being on the road definitely helps figure out what works and doesn't work. I f*ck myself over a lot. I'll write something and then figure out how to do it live. I had stuff on the first record where I was tapping and had to sing at the same time. It's cool if I can do it, but it's hard to do. We think about that a lot more now that we've been a touring band for eight years. On a day like today when you're stressed out and tired you've got to make it easy for you to do, but also listenable.

Being on the road influences how we feel about the world and life. Some of the meaning of the record comes from experiencing life. Being on the tour with Gojira and other bigger bands and looking at them and seeing how they work has definitely shaped what we want to do going forward. We can apply that to our own sound.

You've become less technical, but better songwriters...

David: You guys (press) are the ones saying we're a metal band. I didn't say we were a metal band. For me we're just a band. The press and media want to put labels on it.

Yes, they're different records and I can see why people want to describe it that way.

I didn't say we were a metal band, we're not trying to be a metal band, were just doing what we like.

So are you going to pull an Ulver and do an acoustic record?

David: Probably not. But we definitely are going to use an acoustic guitar on the next record, that's one thing Stavros wants to do. He's always wanted an acoustic guitar.

The Old Believer has the same pace throughout. There was a lot of criticism that it has the same hypnotic pace through the whole record. The dynamics we achieve are from different instrumentations, not actual levels of volume. It would be cool to have just one person playing, or synth and vocals. Some people aren't going to like that, but I'm okay with that.

It might be less traditionally metal, but in the context of bands like SubRosa it makes sense.

40 VancialaMagazine.Com - September 2014

Illitersview?

Damicl Kush

David: It's heavy, but it's not shredder metal. There's a lot of bands who are doing that way better than we would if we tried to do that.

Have you just gone back to the riff as a basic statement?

David: I don't think you'll ever see us that straightforward, I think that's one of the lessons we've learned from this record though, we can do more of that. It's cool for us to all do the same thing sometimes. We never do that and the few times we do it works out incredibly, especially in a live context. It's hard to have three cooks in the kitchen, you know what I mean? To have tact and taste and not step on each others toes... We do a good job of it but there's definitely improvement we could do on that.

I don't have to think of myself as the lead guitar, I could play more rhythm. Andrew doesn't have to play guitar at all, he can just stick to keys. I would like to have more straight up riffs and then expand upon it. I don't think you'll ever see us doing just riffs.

That's a nifty necklace, can you tell me about that?

David: I got it in Peruâ– It's actually interesting that you ask about it because my trip to Peru was a big part of the record for me.

Why did you go to Peru?

David: This is too long of a story for this interview but I went there because something pulled me there I can't really explain it. The past few years of my life all led to that trip in Peru. It was right before the Gojira tour, almost two years ago now. It was like a meditation tour with a psychedelic mindset. It was a group retreat that I went on. We went to all the secret sites in Machu Picchu and all the big monolithic structures in Peru. I had sessions with a shaman and did ayahuasca, hence the song Sacred Vine, it was detailing my experiences. I didn't go into the jungle, but I went to the Andes mountains and spent a few days drinking ayahuasca.

It was very much a sort of awakening in my life. It's been going on for the last 5-6 years and it's very much about who you are and where you came from and what I'm supposed to be doing here. That's the moral of the story for Peru. In the quest for answers that I don't think I'll ever get I was pulled to Peru.

The necklace is quartz from Macchu Picchu, there's the serpent which represents ayahuascaff the sun which is like their god, the cocoa leaf, an the condor feather which are all sacred objects.

Do you also do DMT? David: I've only smoked DMT once or twice. I didn't really blast off. There's a

threshold level which if you don't fast it's just like trippy mushroomy stuff, I didn't blast off. Working with sacred plants and going where they come from it shows you you shouldn't be f*cking around with stuff. You can use it for entertainment or for learning. I'm not into the party-recreational kind of thing. I feel like DMT is very American. Its like, "We're going to take the active ingredient and just smoke that". I really do want to have the whole blast off experience, but I'm more interested in ayahuasca at the moment.

Do you also do DMT? David: I've had stuff like that with fasting. Before this tour I actually did a 40 day fast, it was a juice fast so I had no clear water. I would make green juice out of kale and cucumber. When you deprive your body of things you become more aware of what's around you. All these chemicals floating around in your food, you don't know what September 2014 - VandalaMagazine.Com 41

Irderwiew, David bus' of The A glas what they're doing to you until you start taking them away. They poison your body and your thoughts.

I've done fasts along the way, never that long though. But that 40 day fast was probably the best thing I ever did. I've always been searching for some DMT-Iike experience without having to do a drug. It's something you have to work on for a long time with yoga or meditation or something.

What do you love so much about music?

David: I've been playing music since I was very young, and I've played classical music and orchestral music. The emotion you can get out of people and the experience you can get from talking to people after the show is great. All the other guys love touring, but I kind of hate it. I like to be by myself and hang out with my dog and shit. I just kind of put up with that part of the music. I'm more about sharing the message with somebody. That kind of weighs the scale for me. That's what matters. Being able to connect with the music vibrationally and projecting this message of opening your eyes and trying to be a good person and all these questions that I have in my head that I wish everybody else would think is important. That's why I do this.

Last words of wisdom?

David: Go to the jungle of Peru, try ayahuasca, you'll find where you came from and meet God.

V

The Atlas Moth is Currently on Tour with dates stopping both in Canada and the USA. All dates can be found on their facebook page.

Also do not forget to check out their latest release "The Old Believer" that was released this past June Check them out online: www.facebook.comitheatlasmothband www.soundcloud.comithe-atlas-moth www.theatlasmothabandcampacom www.twitter.com/TheAtlasMoth

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How have you been?

Paul: Good. It's been kind of busy doing all kinds of work as a musician in LA and doing a little bit of touring for the new record.

And some Death to All right?

Paul: I'm done with that now. They're still doing it, but I'm not doing it anymore. I think they're doing a lot more they're kind of riding the wave while they can.

Is there any chance you'll go back in the future?

Paul: At the moment I'm not planning on it. I know they're focusing more on later records. I guess they thought it would make more sense if they did the earlier stuff with the earlier line up. It's kind of ridden its course for me. We toured it more than we toured Human back in the day and it's without Chuck so I'm like "Okay, enough!"

This is some of the first touring you've done for "Kindly Bent to Free Us right?" How are you feeling about the record now?

Paul: It feels good. I haven't listened to it, I don't listen to my records much. It feels good to perform it, it's fun to get on stage, play the stuff and share it with an audience.

It feels really good, its fun to play it.

Is there a plan for more Europe shows?

Paul: At the moment no, but I'm sure there will be. We're doing some stuff in October but it's not confirmed yet. We want to hit the festival circuit next summer too.

I was hoping to see you at HeWest...

Paul: We were trying to get on that this past year but it didn't work out, maybe next year. We're due back for next year. We were there with Death to All this year though and we were there with Cynic in 2008. It's overdue.

How did you find the Hel!fest experience?

Paul: It's awesome. They're way more organized this time too. Earlier on you could tell they were still getting it together. Now that they have such huge bands it feels legit. It was fun, we had a good time, everything seemed great. The audience was awesome. It's the biggest metal festival in France now right?

Here's a question that was germinating in my head on the way over here. Last time I interviewed you we talked about Terrence McKenna. I was thinking about his idea of a significant event happening in his life every 64 days. Do you use that type of calendar?

Paul: I haven't. I know he got a lot of that from a few other writers. I never got into that whole thing, they're like calendar nerds. It's pretty interesting stuff. I don't know enough to say anything about it.

I've listened to Kindly Bent to Free Us probably more than any other record this year, and every time it makes me cry. That's not something I got with your previous records, even if I loved them. What additional emotion went into this record?

Paul: I'm older and wiser and probably more honest than I've ever been. There's more truth, it feels more real. That's probably what you're tuning in too. A deeper sense of honesty. It's definitely the most naked album we've done, there's no hiding, there's not a lot effects, it's pretty transparent. It's very raw, it's a performance album.

Did you feel like you had something to hide on previous records?

Paul: No, I was just in a different place in terms of how I thought things needed to be September 2014 - Vandalamagazine.COM 47

Iraiierview Paul Masimic!al produced. For some reason this record felt all about stripping away. The next record could be the complete opposite, you never know where the journey takes you. Each record is its own process that informs itself, you just have to show up and see where it goes. For this one it just felt all about being naked and raw. I don't know what it was I think it was just where we were at. Carbon Based Anatomy was so layered and dense that I think it might have been a reaction to that, going in the other direction.

There's been a couple major older bands who have removed growls entirely from their sound, are you ever going to bring them back in?

Paul: I don't know. It's possible. I'm not ruling it out. It could happen. It's hard to say right now. It might happen, or maybe it could happen under a different name. The material I have now doesn't have any, but you never know. It just depends on what the song is asking for and you figure that out as you write. Are Opeth not doing growls anymore?

No, neither is Alcest.

Alcest really went shoegazey. They're not metal at all to me, it's like post rock shoe gaze. It's just like ambient rock. I actually really liked what I heard. We tried getting them for this tour, but they were touring at the same time? they were our first choice though.

How did you decide on these bands for the tour?

Paul: I met Lesser Key at a festival in LA called Desert Haze. Brent the guitarist came up to me and we just talked. I first heard of them through that. My agent brought them up when we were looking for bands and I was like "Oh I just met those guys" and they were local and it just made sense.

What about the other guys?

Paul: Reign of Kind째 I found out about through the agent. It seems like Berklee grog kind of stuff. It's definitely not metal, it's its own trippy kind of thing. It seemed interesting and musically dynamic and fun.

So you're still in the process of discovery?

Paul: Yeah, all the time.

A lot of metal musicians from your generation don't really do that...

Paul: There's so much cool stuff happening, I'm always curious to hear what the latest is. It's cool to stay abreast. I get a lot of inspiration from new music.

Like who?

Paul: Some of these bands like We Are the City. Just seeing them live made it all come together. It was like "Wow, these guys are way cooler" If you went through my iPod there's a big list of stuff. I've been all over the map. I'm going blank right now. Every day is different, when I'm going to dive into a record I get perked up on some new stuff. I'm into drum and bass and EDM as well as old school bebop and classical. I'm very eclectic (laughter) Did any newer bands influence the new record?

Paul: Yeah. I'm trying to think of a reference point. I think with this record what I remember was that there was so much noise in my head during the period of writing it and working on it. When it was time to bring the songs together I turned off all the noise in my house and in my life just because it was so noisy in my head. I was tunnel visioned into the noise of the album. Before the record there was a whole bunch of 48 VandaiaMagazine.Com - September 2014

Imtretiviiew New Muw stuff I was tuning into. There were definitely some production references that I was trying to use. I was digging the drier approach with the less heavy guitars with the old school sound. There's some bands out of LA that I'm into that are not necessarily newer but I'm still into.

Do you go to local shows in LA? Paul; I live around the corner from a local venue called The Echo and I go all the time.

They have music every night. It's one of the main cool venues in town.

I feel like it would be surreal to see you at a show, do you get recognized?

Not much! Once in a while I'll run into somebody, but it's rare. In LA people leave you alone to because it happens a lot.

Have you put any changes in the set list between here and the West Coast tour?

Paul: We've tweaked a few things but we haven't changed any of the songs. We're refining little moments. Tonight we'll work out the bugs. It will be rawer I'm sure. You keep refining it, it takes time. I feel like you're never done, it's an ongoing process.

You have to make it fresh so it feels current, otherwise it feels like you're rehashing an old song. After tonight we'll be talking about a dozen things.

Do you ever bring in an improvised element? 째au!: There's little moments throughout. I wanted to have a whole stretched out thing happening and there's a little bit but not to the extent I wanted. Maybe by the last show in New York.

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

Paul: Well I'm mixing an album right now that no one knows about that I made last October with a friend of mine, Amy. It's an experimental folk kind of prog thing. It's really cool and ambient and interesting and it should be done by the end of the year.

So there's some big news.

Are you planning on promoting it as a Paul Masvidal record?

Paul: It's going to have a name. We had a name that was floating around for a while but we found out it was taken so we're rethinking it now. It doesn't have a name yet.

It's kind of exciting for me because it's another thing that's almost done.

Are you going to do it live?

Paul: We definitely want to tour and do a lot of stuff. She'll be at the show in Boston tomorrow but she'll be in LA when I get back and we're going to dive into wrapping it up in the coming months. There's a lot of layers to it that I feel like I can't even talk about yet because it's not fully flushed out.

Was there a reason you didn't choose to announce it?

Paul: I didn't know when it would be done. Sometimes you jump the gun and people get excited and then get upset when it never comes out.

Any final words of wisdom?

Paul: I always just say, don't forget that your life will end one day. Keep breathing when life gets tough and realize that just the fact that you're breathing is an accomplishment every day. There is enough in that. It's an accomplishment to breathe.

Keep up to date with Paul Masvidal www.facebook.com/paulmasvidal September 2014 - VandalaMagazine.Com 49

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An interview with Desoendents' Bill Stevenson The Descendents are an institution. Formed in 1978 in Manhattan Beach, California, the band popularized, and in a lot of ways invented, the potent mixture of pop punk hooks with hardcore aggression. And used it as a backdrop to sincere, heart on the sleeve lyrics about love, growing up and drinking coffee.

Most acutely realized on the now classic punk record Milo Goes To College.

Cited as a lynchpin influence on everyone from Blink-182 and Green Day to Foo Fighters, they are true punk rock legends.

With their recent reemergence on the live circuit, as well as a forthcoming album, their first since 2004's Cool To Be You, there is a renewed interest and appreciation in the band and their legacy.

I spoke with Bill Stevenson (one of the nicest guys in punk rock) from his home in Ft. Collins, Colorado recently, about the band's history, the new record and Milo (Aukerman) and Chad (Price) trading songs between Descendents and ALL like baseball cards.

What do the Descendents mean to you in 2014? What does it mean to be in the Descendents today?

I think it's enjoying some long standing friendships with people that I will go to my grave, knowing them as my very best friends. The band, the crew, and people who are no longer in the band. I mean I just got off the phone with our original bass player Tony.

The Descendents are so influential and so beloved. Your fan base is just huge in the punk scene and beyond.

If you could name one band who is responsible, or who you could say wouldn't be where I am right now without them. Who would it be?

Well it would be Black Flag or The Last. I mean even though I played in both these bands at one point, they influenced us long before I played in them. And when I think of Black Flag, I don't think of me. I think of Chuck and Greg and Lobo and Keith and Ron and Dezo. And same with The Last, I think of the three brothers.

What did it mean to you when you finally got to play with these guys later on?

In the case of Black Flag, I was quite young so I was sort of just happy to be there. In the case of The Last, I was such a long afterthought that I don't even think it bears discussion.

How did (the Descendents documentary) Filmage come about?

I'm not completely sure other than there were these fans of the band that wanted to make a movie about us and they were friends of Stephen's and Stephen talked to us about it and we were Iike yeah, somebody should probably do it because we're never going to be organized enough to do it. We don't think like that anyway, like some people have said 'hey why don't you write a book?' No. I'm not writing a book, you know? So I think it was just really good that they came along and took such interest in it and had such expertise. It was fortunate because otherwise it would've never gotten done.

What was your reaction when you first saw the finished product?

That's kind of a trick question because it's not fair. The way the movie ended up, with me being the sort of grandpa of the band and then having my near death stuff in 2010, I ended up being an easy focal point, you know? And when I watch it I feel self conscience that I was given too much real estate within the movie. So it's kind of hard for me to judge because I'm like 'why is it so much about me' and not, like Frank or whatever. Sound stupid, right? And that's not false humility, I just got used for good drama 1 guess. Its kind of funny.

52 VandalaMagazine.com - September 2014

The Descendents are constantly in demand.

You play the big festivals, headlining many of them, you draw the big crowds, etc. With ALL, although the fan base is solid and ever growing, you're still kind of in the club stage.

Playing smaller venues to smaller crowds.

For you is the energy and the feeling the same, whether playing to 5,000 people or 500?

The chemistry of a band can be affected by many things.

The members, the material, the conditions, outdoors or indoors, big dubs, small clubs. All those things affect your experience when you're playing. And that's true even in the practise room. The factors is an intangibility. It's what makes great bands great and mediocre bands mediocre. So for ALL, there's always been this thing where ALL is the band guilty of not being the Descendents. But now that the Descendents are playing more and we're starting to record a new album, now I think that people can go ok, Descendents are Descendents and ALL is ALL: And now both bands are generating more attention than they have in years.

But the Descendents was inactive for like 20 years and ALL almost kind of took the flack for that.

Which was kind of annoying because ALL has this repertoire of really killer songs. And in most ways I view ALL as a kind of progression from Descendents. The same way I view the Descendents record CALL: as a progression from 'Milo Goes To College: So in that way I would expect a lot of Descendents fans to be into ALL, but there's always this thing where its like maybe one in ten Descendents fans like ALL. On the other hand though, with Descendents, people are buying into a piece of the late 70's Californian punk rock movement. They're buying stock in that thing whether or not they actually know the songs or own the records, You don't really have that with ALL, There's also some nostalgia I think attached to Descendents that you don't get as much with ALL. Descendents are the band that got a lot of people into punk rock in the first place and introduced them to that particular brand of poppy sincerity mixed with the more aggressive, heavier elements. Add to that the fact that ALL is the band guilty of not having Milo and that very recognizable brand and logo.

Yeah, I mean it's better for us now. Now we'll go play somewhere and ALL will play the Friday in a club to like 800 people and Descendents will play the Saturday in a hall to 4,000 or 5,000 and everybody's happy. Because we're not sitting there playing in ALL wishing we were playing to thousands of people.

D CEIMEIITS September 2014 - Vandaialigagazirie.com 53

In lerviievy With

Is it safe to say that the music that will be on the new Descendents record is all fairly fresh and recent?

I think it'll end up that way. Other than the odd b-side that we rerecorded because we didn't like the way it turned out the first time, there might be a couple of those on there. But there's also, and it's weird that Pennywise just did this. But in 2002 or 2003, Frank and Tony and I recorded all our original songs from '78 and '79- So we have those on tape but they need to be spruced up a little bit and have some vocals added to them. But we didn't want to release that as our new album, because it's more of novelty.

Something cool for the fans. It basically involves our first set of material that we used to play and by the time we actually had a little money to record with and gotten better at our instruments, we had already gotten sick of all these songs. So the 'Fat EP' and 'Milo Goes To College' are actually our second batch of songs.

Who wrote those early tunes?

Most of them, two thirds of them are Frank's songs. I wasn't really a songwriter back then and we were mainly leaning on his songs. But Frank and Tony and I were hanging out in 2002 and just decided to rerecord all these old songs. So it's weird that Pennywise just did that. And I would hope that no one would think that we were just doing that because of them cause we did it like 13 years ago (laughs).

ti

So are these songs the kind of surf-y, 'Ride The Wild' type songs?

A little bit. The closest thing would probably be 'Statue of Liberty.' Because 'Statue of Liberty' and Parents' were some of our earliest songs. Parents' was the second song we ever wrote and played.

And 'Statue' was the third or fourth song we ever played. But Tony's were a little more new wave punk sounding, the way Tony's songs are, you know? Like 'It's A Hectic Thing' or something like that.

Well, take it from a lifelong Descendents fan, if you ever get around to releasing that puppy, there'll be no shortage of enthusiasm for it.

I think we weren't sure what to do with the songs vocally. Because originally everyone sang their own songs, before Milo came along, But to be totally authentic, I think if there were 14 songs, Milo would sing eight of them and Tony would sing three and Frank would've sang four or something like that. But now that Frank's passed away, its probably best for Milo to just sing all of them. Because he originally sang most of them live when he joined. But you'd have to go way back to find those tapes cause that was his first four or five shows in the band. By that time were sounding less like The Last and more like Black Flag and he Alley Cats.

Some years ago I came across a bootleg of 'Everything Sucks, but it was the ALL version. What's the story behind that?

The 'Everything Sucks' story is funny. We had about 25 demoes. And at that point we decided we were going to do a Descendents album and an ALL album out of those 25 songs. So we looked at all the demoes. And there were the ALL ones, which is the thing you're talking about. And then Milo had like six demoes that he had done. So Chad and Milo and I got on the phone and we did it like how you'd pick teams in baseball with two captains taking turns picking players. And you flip a coin to decide who goes first. So we flipped a coin and Chad won the toss and picked 'I'm the One' and Milo picked whatever Milo picked. So they picked out the new album's playlists for each band that way. Then we were going through them and we realized that one of the songs for the Descendents record was in a range that was too deep for Milo. I can't remember which song it was, which sucks cause now you'r going to think I'm making this up. But Chad traded Milo whatever song that was for 'I'm the One' S ifs just ironic that that's one of the most popular Descendents songs.

September 2014 - VandalaMagazine.com 55

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Do you ever record an album by one band and wish after it had come out that you had recorded it as the other band?

Well not for a whole album. There's certainly has tish songs that I've written where I think that would've been better if the other guy sang it: But AL as had three singers so you could go on with that forever if you wanted to. Deno should just sing everything.

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I vote for rerecording the entire discography for both ands with him on vocals. t: Yeah. Yeah, You know you seem like a very humble guy. You're very nice and easy to talk to and not at all pretentious.

You've been in two bonafide legendary bands that have and will continue to stand the test of time. You've recorded amazing records with amazing bands in one of the coolest studios currently around, which you own. How do you keep your feet on the ground, how do you keep your head from swelling? Because I gotta tell you, if I was in Black Flag and Descendents, I'd have trouble fitting my head outside my front doorway most days.

You know Iliad the misfortune Of blerme-ing egotistical and arrogant when I was 19. When I first started touring. I leilltrotc my head then. So for a couple years I was incorrigible and insufferable.

But then I learned that I'm not special. I just happen to be fortunate enough that I get to play music in front of people. So I sort of checked my attitudes realistically by the time I was in my late 20's. I got over it and realized that being a musician isn't any different than being a plumber or an auto mechanic, It's just what you do. And you should take pride in it and do a good jobs but you shouldn't ever be arrogant about it or think you're better than anyone else or abuse your privileges as some successful musicians tend to do. So I learned my lesson 25 years ago. And I _just want to be a happy person and I'm just happy to be able to play music. And hopefully my kids will grow up to be happy people too. I mean I can't really ask for anything more than that.

56 VandalaMagazine,Corn Septe

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Why Your Band Needs an Interesting Angie

By Matt Bacon Why does your band need an interesting angle? Ever since Upon A Burning Body's frontman Danny Leal had the gall to ask "What publicity stunt?"when questioned on his recent highly irresponsible attempt to garner interest for his new record, I've been thinking about my article on gimmicks. It didn't take me long to realize that there is something else that can get people interested in your band, having an interesting angle.

Now, how is this different than a gimmick? Well, as opposed to gimmicks which are often silly and disparaged by elitists, having an interesting angle simply gets people from all walks of life interested in your band, and if it's unique enough, you could easily draw in fans who don't normally listen to the genre of music you play. While it's possible to screw this up, there has been enough success to suggest that if you're looking for a way to promote your band, this is the way to go.

•

Perhaps the best example of stirring up interest for your band comes from Sepultura, the first major heavy metal (well, thrash metal) band to come out of South America. Though they very much adhered to the 'look' of thrash metal at the time Sepultura never forgot their Brazilian roots. To this day, the bands frontman Max Cavalera (Now in Soulfly) will scream about being from Brazil on stage, even wielding a guitar with the Brazilian flag on it. This pride in their national heritage made fans in the 80s do a double take. Who were these guys from a country none of us had barely ever heard about outside of school? How could metal come from somewhere so far away? What drove their incredible primal aggression? Being the premier metal group to rise up out of the third world was not an easy task for Sepultura (The current incarnation of the band has no original members left for one) but it left them on top, among the lords of heavy metal.

When it seemed like interest might start to wane, more than a decade into the bands 60 VandalaMagazine.Com - September 2014

Ed iko ria [121 career the band released their all time classic Roots a record that fused thrash metal with the tribal music of the Amazon. They did this by actually going into the Amazon and living with the Xavante Indians. If that's not dedication I don't know what is! Part of the reason that this record was recieved so well was because the bands previous record Chaos A.D had already started to experiment with tribal sounds. In the end, this new direction earned a lot of respect for the band. One critic writing for The Daily News put it best when he wrote "Sepultura reinvented the wheel. By mixing metal with native instruments, the band resuscitates the tired genre, reminding of Led Zeppelin at times. But while Zeppelin mixed English metal with African beats, it's still more moving to hear a band that uses elements of its own country. By extracting the sounds of the past, Sepultura determines the future direction of metal" The lesson that you should take from this is, once you have an interesting angle and interest starts to fade, it may be time to take your idea to a whole new level. The key though, is to make sure that it fits in with your artistic vision. Fans (Especially millenials) are jaded, and they can tell if a new spin on an old idea is simply there to make more money. Preserving the honesty and integrity of your band is always important and will allow your group to profit more than any gimmick or angle ever could. If you are trying to find a new angle for your band though the you may want to find something that has room to grow, ideas that could be developed on and taken to strange new earths in the future.

Choosing a superficial angle (More on that later) is only going to hurt your sound.

Before we get into what not to do, I'd like to bring up another example or two as proof that an interesting angle can garner fan interest. A lot of you might be saying, "Sure, being from a unique country is all well and good, but there's music on the market from every country now, and my band is based in a rather wealthy nation!" While this certainly might seem true at first, it's more a result of a lack of creativity. There are all sorts of unique things you can bring in to draw interest into your band that are not at all gimmicky and in fact uncover strange new musical pastures.

The first example that springs to mind is the Salt Lake City doom/sludge metal band SubRosa. They are immediately interesting, not just because they have three women fronting the group, but also because of their unique set up. There are tons of female fronted doom metal bands these days and the band doesn't make a big deal about the gender of the musicians, instead SubRosa make their music interesting by using two violinists. This makes their sound eerie and mystical, and certainly unlike any of their peers. Imagine grunge, sludge and doom derived riffs accompanied by violins that mix Schoenberg with Beethoven, that's the kind of beauty you get out of SubRosa's most recent output. As Sepultura did, they too took their sound to a new level in a way that made sense artistically. After their first two releases with only one violinist, they decided to bring in another and then went on to make their best work yet. Think about it, not only did adding another violinist improve the band, but also, which is more interesting, a doom band with a violinist? Or a doom band with two violinists?

Another band who managed to generate interest with a unique angle is Nylithia, a band who are blowing up the thrash metal scene right now with a sound they have dubbed "Hyperthrash". Normally, making up a new genre label for your band comes across as silly and pretentious, making you seem unaware of the scene around you. But when done right, it can give your band a shocking an exciting new angle. This doesn't necessarily mean fusing genres (Nylithia certainly don't) but moreover coming up with a creative way to market what makes your sound unique. While it probably should incorporate a part of an existing genres name, it should also reflect the distinct aspects of your sound. This technique is not necessarily for everybody, but when it does work out, it works out big, leaving your band in the position to be views as the founders of a movement.

September 2014 - VandalaMagazine.Com 61

How To At Like An Extravagant Rock Star... On A Budget!

By Bryan Staggers Some of the outlandish things that bands can splurge for can seem insane, to say the least. Sometimes, the most extravagant things they come out with are so unique or off the wall that they're the ones that really get people talking. From creating actual vacations around a band, to exploiting the lyrics of your own song (Katy Perry Cherry Chapstick, anyone?) there are all kinds of ways bands are putting their names to commodities to create a hype. Now, why can't you? Getting some quirky merch or branding up a good old fashioned (or not so much...) party could work as some really cool promotion! Here are just a few ideas to get you started....

Band Beer (Like Enter Shikari) Sssnakepit beer from Enter Shikari was bound to give fans a buzz - quite literally - from the moment it was announced. Although your band may not quite be at the level to create a signature brew from the company of the same name who also work with the likes of Professor Green, you can impress your fans by handing out a custom -label drink of your own to some select lucky fans, in an age appropriate setting, of course. Try Chuckle Monster's own custom label alcohol to get you started!

Band Cruises (Paramore, Weezer and Kiss) have been seen as a bit of a family affair - or even an old person's foray - for quite a long time. But Sixthman are helping to change all that by offering music themed cruises. Oh my god, right? Paramore's 1Parahoy, Weezer's cruise and of course, the now infamous 'Kiss bruise' and more have all had rave reviews, and whilst hiring a cruise ship would literally cost millions you most likely don't have, there's no reason you can't get your own party vibe going and rent out a boat of your own. Say a small boat costs $500 or ÂŁ500 for five hours, depending on where you live, and it can fit 50 people. Set up an intimate acoustic gig on board and charge everyone just $10 to get on board (literally). Voila, you've got an awesome event that will get everyone talking (and maybe even a tan!).

Band Toys (Like Fall Out Boy) Fall Out Boy have their own amazing sets of Russian Dolls, which are not by any means just for little girls, because the detail on them is awesome. Any fan would most likely want these in their home - so why can't you recreate the fun of it with you own band dolls? You can have a play with this one (see what we did there...) and go all out. Why not go one step different and 62 VandalaMagazine.Com - September 2014

create some cute teddies? If you've got a younger fan base, personalized teddies would be absolutely perfect.

Band Cards (Like Neck Deep) Pop-Punkers Neck Deep have been offering their own Tarot Cards in their merch store, which is super quirky in itself. The fun doesn't need to stop there though, as you can add your own spin to the card game (see what we did there?!).

Everyone loves a good card trick, or casual game with a trusty pack of cards, especially when it comes to drinking! So, when it comes to your after parties, or even your merch table, stand out with your own pack of personalized playing cards.

Sand Sauce (Like Bring Me The Horizon) Okay, so you're probably not huge international artists, and as such, you probably can't afford your own sauce to just be like, invented. The aptly named 'Bring Me The BBQ' sauce from Bring Me The Horizon is an exception because, well, the British metal-heads are REALLY, REALLY RICH, You could get crafty in the kitchen, have a designer friend design you some labels, and go in that direction, but to be honest, why not just play it safe? Nobody's saying you have to do this for anything other than novelty at a select event (band picnic in the park, anyone?) but it's yet another bit of fun that not many people think of, so add a personal touch to the table.

Bryan Staggers is a bit of an entrepreneur and a marketing expert who enjoys writing in his spare time. His love of music has been with him throughout his life, and isn't going anywhere, no matter how old he gets! You can follow him on Twitter: @bryanstaggersuk

NOVA SCOTIA MUSIC WEEK NOVEMBER 6-9, 2014 TRURO COLCHESTER

CM founder Robert Kampf Announces Creation of Another Century Records Century Media Records founder, Robert Kampf, has announced the formation of a new record label, Another Century. The label will focus on hard rock and has already signed 3 bands to the roster: Los Angeles rock veterans, Rev Theory, New Zealand's rising stars, Like A Storm, and Chicago based, The Bloodline. Kampf comments: Twenty five years after starting Century Media the excitement to do another version of the label could not be any larger. My undying love for rock has driven the formation of this label ANOTHER CENTURY. Over the years great bands like Otherwise and In This Moment have been released on Century Media but sometimes got lost or felt ill mixed among some of the heavier CM bands. Another Century now has a clear path and mission statement: To develop and break the best bands in rock to come!!!

Otherwise is gearing up to release their sophomore album, Peace At All Costs, on September 16 and currently is having massive success with their single, Darker Side of the Moon, which is currently #29 on the US Active Rock charts. The album was produced by David Bottrill (Tool, Muse) and mixed by Jay Ruston (Steel Panther). The band is set to hit the road with Like A Storm next month and will be appearing at Sacramento's Aftershock festival as well as Louisville's Louder Than Life fest.

Rev Theory, formed in 2002, have sold over half a million albums and are currently wrapping up the recording for their next album. The first single, Born 2 Destroy, is making its way to radio soon. A teaser for the song as well as the single's artwork can be seen on Another Century Records YouTube channel.

New Zealand's Like A Storm are the rock world's 2014 Cinderella story.

The band self-released the EP, Chaos Theory: Part I and made their way over to the States touring with the likes of Sick Puppies, Shinedown, Alter Bridge and Creed as well as hit several festivals.

The band sent their single, Love The Way You Hate Me, to radio and personally 64 VandalaMagazine.Com - September 2014

called stations to play the track. The song became a hit, soaring up the charts, where it currently is sitting at number 22, making them the US's highest charting rock band ever from New Zealand. The band will have a new full length out on Another Century on October 28th and are currently on tour now, meeting up with Otherwise next month.

The Bloodline was formed by Shaun Glass (Soil) and feature vocalist Travis Neal (Divine Heresy), guitarist Chuck Wepfer and Frankie Harchut on drums. The Bloodline is currently in the studio recording their debut album and deliver a huge fresh sound in Rock/Metal with massive hooks, soaring melodies and pummeling grooves that will ignite any listeners ears.

Checkout Another Century Records and all these bands online: www.anothercentury.com Videos www.youtube.cornAnotherCenturyTV Bands Online OTHERWISE - www,weareotherwise.com REV THEORY - www.revtheory.com LIKE A STORM - www.likeastorm.corn BLOODLINE - www.facebook.cornithebloodlineofficial

YOUR RAND IS A VINE Behind-the-Scenes a Viral Marketing Strategies for the Independent Musician

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POP MONTREAL 2014: Get Ready, It's On Who's ready for the #MEGAPARTY! ? That's right kids! POP Montreal is back and more fun than EVER. We're going to celebrate our 13th birthday in full on, coming-of-age, DRAKE style Bar Mitzvah mode and YOU ARE INVITED! Headliners previously announced include The Unicorns, Ronnie Spector, Hailu Mergia, Suzanne Vega and Ty Segall. We added lots more to that, 400 + bands, local discoveries and next big things in waiting like Pierre Kwenders, Look Vibrant, Black Atlass, L.A Foster, Country and Doomsquad.

NEW announcements include Win Butler's POP vs JOCK III charity basketball event, which will feature the Butler brothers of The Arcade Fire playing alongside Justin Vernon (Bon Iver), Nicolai Fraiture (The Strokes) and coached by Matt Bonner! We also got L.A hippy rapper Schoolboy Q, a live recording by SiriusXM Canada by smooth Quebecois crooner Jimmy Hunt, Bonsound's yearly rooftop show with Sarah Neufeld, a super intimate live broadcast show with swoon pop darlings STARS at Breakglass Studio, and the Canadian premiere of Music for Heart and Breath, Richard Reed Parry's (The Arcade Fire) new classical project, which he will play alongside JUNO Award-winning band, Esmerine. We've also programmed shows almost everyday of the fest at POP Quarters, so get ready everyone! It's gonna be big, different and like nothing else out there!

And hey, it doesn't stop there. As part of Art POP's 10th anniversary, world renowned British artist Phil Collins will head our way to screen his 2007 single-channel video, dunia tak akan mendengar , filmed in Indonesia and depicting fans of The Smiths performing karaoke versions of the band's entire compilation record. He will also partake in an artist talk with the legendary Damon & Naomi, presented in collaboration with the POP Symposium. These three compelling cultural figures will share stories and perspectives stemming from the past thirty years of their incredible careers.

But before you start on all the show hopping, how about first checking out a documentary on the mythical 90s rapper Nas? Or a film about Fela Kuti by Academy Award-winning director Alex Gibney, featuring archival footage and new interviews with Tony Allen and Paul McCartney? Those are just some of the treats Film POP has in store for everyone amongst its seven premieres, sneak peek screenings and retrospective events.

The POP Symposium put together 30 events, featuring 3.3. Fad, Hailu Mergia and Ty Segall in a live recording of Psi Factor and The Cougar, while Puces POP and Kids POP will be nothing but fun, as per uje.

Our program is out today! Be sure to find yourself a copy and get cracking on the reading!

To help to build your schedule, you might want to check out our app (www.oneevent-oneapp.comipopmontreal-2014) which has got some SWEET new features this year: - The "Discover" section, which makes it easy to quickly preview different artists by simply clicking 'play' on their profile image.

- The "Recommend" section, a tool that gives you personalized artist recommendations for the festival based on the artists you like on Facebook and the artists already marked as favourites in the app.

- A built in radio.

- Direct access to POP Montreal's Twitter, Facebook and Instagrarn feeds to be on top of all our news!

Get Full Details about Pop Montreal at www.popmontreal.corn www.facebook.cornipopmontreal www.youtube.com/PopMontreal 66 VandalaMagazine.Com - September 2014

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Summer is coming to a simmer while plans at Hangtown Halloween Ball are just heating up.

Event organizers announced their late night schedule and daily lineup including a powerhouse super jam with Railroad Earth featuring Dan Lebowitz, Zach Gil, Jeff Austin, Allie Kral and more in the Hangtown Halloween Orchestra scheduled to kick off the fest on Friday night.

Tickets are on sale and moving swiftly for the 4th annual affair where Halloween, costumes and music collide.

Railroad Earth's 4th annual Hangtown Halloween Ball has shown considerable growth since its inception due in part to the incredible mountain setting with top-shelf accommodations and an unrivaled lineup of diverse and well known performing artists. This year will be no exception with over 30 performing artists scheduled over the three-day event including three nights of Railroad Earth, moe., The Meter Men, Leftover Salmon, and bay area favorites ALO among others. Plus, with the addition of the late night music hall, an array of artists will also have the chance to perform a full-night of music in a more intimate indoor location each night.

The 2014 Hangtown Halloween Ball will feature late night performances with such talent as Jeff Austin, The Motet, Dead Winter Carpenter's and more.

Also known for its fantastic family atmosphere, Hangtown Halloween Ball will also feature a number of day-time activities for kids of all ages including pumpkin carving contests, jam sessions and workshops loaded with fall-time fun while adding to the holiday festivities and overall atmosphere of the event.

Set to take place at the gateway of the High Sierras in picturesque Placerville, CA tickets are moving fast for the 4th annual harvest-time extravaganza. In fact, due to demand, event organizers have added even more RV options to accommodate large groups and families who come back to attend each year.

For more information about the Hangtown Halloween Ball including lineup, late night music and ticketing details, check out wwvv.hangtownhalloween.com.

68 VandalaMagazine.Com - September 2014

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