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Classical Explorations with Roger O'Donnel Calgary Folk Festival

Kings of Chaos Play Sold Out Charity Event

Counffng Down to Glint-Won

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Contents

September 2015 Vandala 8 REVIEWS & EDITORIAL Guy Marshall - 'The Depression Blues' (Americana, Roots-Rock) White Reaper - 'White Reaper Does It Again' (Rock) Health - Death Magic (Racket/Art Rock/Noise) Dave Monks -'All Signs Point to Yes' (Pop/Alternative) Bernard & Edith - 'Jem' (Dream Pop) No Men - 'Needed' (Pop/Punk) Magister Templi - Into Duat (Heavy Metal) Chalice - 'Raise Your Chalice' (Heavy Metal) 16 LIVE MUSIC & PHOTOS 'Metz Live at Neumos' `Metal Madness with Fulgora, Child Bite and King Parrot' `The Order Of Chaos CD Release Party' `Hard Summer Festival + Photo Highlights' `Kings of Chaos Play Sold Out Show At The Historic Fillmore San Francisco To Benefit The Dolphin Project + Interview with Matt Sarum' 'Heart of Storm Blends Classic Rock Concert With Russian Ballet + Interview with Doug Sheriniany Gregg Bissonette, Doug Aldrich and Tony Franklin' 60 COVER STORY - Sublime With Rome "Panic & Gasoline" In the wake of the release of their newest album 'Sirens' we caught up with Rome to talk about the record, the history of the band, and working with the 'best drummer in rock n' roll'.

42 INTERVIEWS 42 Classical Explorations with Roger OVonnel 48 Sidewalk Serenades with Darius Koski 54 Momentum With Murder FM 68 Depression and Darkness with Scott Kelly of Neurosis 76 Counting Down to Extinction with Cattle Decapitation's Josh Elmore 86 Braving Samsara with 'Brothers Of The Sonic Cloth's' Tad Doyle 94 This Is Only The Beginning with Beyond Creation 98 American Nightmares with Jimmy Bower of Superjoint Ritual

‘,\ Mornen Mur

erview With Norman Matthew @asoline ,4tY

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Guy Marshall - 'The Depression Blues' (Americana, Roots-Rock)

By Michael Smith- 5/5 Dragons Country music has made vast changes over the last 60 years. A genre once defined by songs about love, heartbreak, death, and life (typically the rougher side) in general. A genre where some of the best voices, The Depressi onBlues musicians, lyricist and song writers at the time (and of all time) called home. Over the last twenty-something '1. r years this once great genre has devoled into a musical world where musicianship is almost gone, and could basically be referred to as pop with a twang, or any group of guys with beards, a mandilion and $200 plaid flannel shirts. But, underneath all of this there are still some acts that carry on the the great musical storytelling traditions. Knoxville Tennessee's Guy Marshall do just that on The Depression Blues, the l ot band's first full length release. Lead singer, and songwriter Adam Mcnulty, along with vocalist and wife Sarrenna, and co-songwriter and vocalist Eric Griffin, together, have crafted an album pouring a sweet but melancholic record that will take listeners on a melodic trek to a land of dirt roads, and honky tonks. Where the times and folk were simpler, and where as the track "Cowboy Ballad" says you can "lean back into chair and listening to them tunes". Mcnulty's voice and storytelling ability is engaging as is it rare these days, captivating and approachable to listeners of any musical style, and this is from the rawness and truth behind the music. The old country attitude is and life is not something Mcnulty and Griffin witnessed second, but something they lived, and continue to live with pride. The Depression Blues carries on the traditions of George Jones and Townes Van Zandt, many others that influenced the style of this album. It is a carousing that the old soul of country music has not been permanently holstered, and the esthetic of chronicling life and continuing traditions through song still exist. (www.guymarshall.net)

OIrRSHALL

White Reaper - 'White Reaper Does It Again' (Rock)

By Michael Smith- 4.5/5 Dragons

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White Reaper have thundered to some prominence now, with the release of their 2014 self-titled EP, and magnified that as one of the standout performers at this year's SXSW. Now, they are "back" with their first full length release "White Reaper Does It Again". The recent attention and exposure as not deterred the Louisville four piece from creating an album full of all .„-104111111 the youth garage rock angst, and catchy fun listeners love. The album's opening track, "Make Me Wanna Die" establishes the pugnacious Friday night out attitude which statins until the very end, and will not subside. Brimming with unfledged rambunctiousness and zeal of a recent high school grad, that creates an intoxicating nostalgia for listeners out of their teens.

The track "Friday the 13th" is two minutes of pure frenzied energy, and one of the best rock songs of .

2015, capturing listeners from start with a haunting synth line (lined with garage influence) followed by

OH VandalaMagazine.Com - September 2015

Al bu m Remi ew addictive guitar line creating a song that is a must listen and one you will play on repeat a few times before going to the next song. White Reaper is poised to have a big year and hopefully a more fulfilling career, do yourself a favor and go ahead and hitch a ride on this rock wagon. Youthful, rowdy, and boisterous, Whiter Reaper is a band rock fans need to know, and "White Reaper Does It a Again" is an album that is must own. (www.whitereaper.bandcamp.com)

Health - Death Magic (Racket/Art Rock/Noise)

By Michael Smith - 4.5/5 Dragons From the sound of the ominous bass drum sound that kicks off this album, listeners know they are going to experience something big and something unique to this group. The album's intro, "Victim", sets a gloomy overcast before you are smacked with the raw fury and power of the next track, "Stonefist" brings. The combination of creates one of the better intros to an album of 2015, and inaugurates a lot of expectations for the rest of the album, and those expectations are met. This release marks Health's first time working with producers outside of themselves, and together have created an album that is rich, heart pounding, exciting and vivid. There is a level of furor throughout this entire release inspiring the listeners hopes the group tours their city. Death Magic is without a doubt V1CTIo1 %WOWS LS T MEN TODAY 4FuErai WOW} the groups most purposeful of their three albums, 46OLIRTSAP N AIMK IMPUGN -4' LIFE -4"SALVIA NEW COKE LOCKS -.114MTYOURSUIF ,DRUGS displays the groups divergent song writing style. Their integration of live instruments and the syth make for larger than life atmospheres and soundscapes, but also accessible, and even at times romantic. Dark synth beats you'd hear from Cold Cave, with washed out but still pretty guitar lines of A Place To Bury Strangers, along with the electronic bass and power drum crashes of Crystal Castles, couple all of this with Jake Duzsik's almost Ben Gibbard-esc voice, and you create an album that is eclectic as well as unparalleled. The over the top nature of these songs is something that will translates even better in a live setting, especially with well produced special effects. (vvww.youwillloveeachother.com )

DEATH MAGIC HEALTH

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ON TOUR:

06.11.15 06.11.15 06.1/.15 06.1115 06,14,15 06.15.15 06.16.15 06,17.15 06.18.15

NYC. IT OP BoweriElettric Proiridence, B1 irehouse 13 ' Philadelphia, PA @ KUM Fu Neck Tie 1 Long Branch 11 C2; Brighton Bar' Washington. K @ That Cal a gellersville Pk @ Sellersville Thealer Cleveland OH @ Beachland Ballroom Pillshurgn, Hard Bock Cal0 Grapd Wills, MI @ fliarrid Scheme *ARTS

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0610.15 lionlebello. RC @ Rocifest 07.04.15 Yirtoria. EC @ Yidoria Skd festival 10.3015 Seati]e, WA El COMOTI 10.31.15 Portland, OR C2? Doug Fll 11.01.15 Read, OR @ Yol(anic TheaCre 11.03.15 SauaffleatoiCA (y) 11.0415 San lose, C @ The Ritz 11.05.15 tau Diego, CA Casbah

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11.0615 Costa Mesa, CA (iri_‘, 11. 0815 Sania Cruz, CA @•The Airloro

www.realmckenzies.com September 2015 - VandaiaMagazine.Com 09

Reiviiew Dave Monks - 'All Signs Point to Yes' (Pop/Alternative)

By Anne Lame - 3/5 Dragons All Signs Point to Yes is the first solo release from Dave Monks, vocalist of the indie rock band Tokyo Police Club. This six track folk-pop EP features Monks accompanied by simple acoustic instrumentals.

Overall, the tracks are light and airy, speaking of change, adventure, and the search for someone special. These themes draw on Monks' own experiences: from a personal romance to the journey of transitioning from life in Toronto to Brooklyn.

The bare sound of the EP, as Monks puts it, leaves "less stuff to hide behind", creating an honest and sincere experience that lets one into his mindset. Of this, Monks says "It could be too honest for some people but..I appreciate the connection that comes from sharing something that somebody might not have seen, that's not visible to the naked eye." This openness to revealing his raw emotion puts Monks in a vulnerable place, but as he mentions, it also ushers in a connection with the listener. The casual sound is perfect for summer, with the overall minimalism adding to a care and stress free vibe.

Vegas is the first track off the EP, helping to set the tone with talk of losing yourself through adventure in (you guessed it) Las Vegas. Though still upbeat, Gasoline brings in a somber mood of needing "someone to rely on" and the darker side of an escapade. Interestingly, it introduces the idea of needing someone to share adventure with. This is followed up with The Rules, which speaks of blending in ("I just play along//and I can't break the rules") while simultaneously naming people and exposing their relationships ("Michael I knowl/She cheated you bad"), creating an odd contrast. The Miss You track repeats the downcast sound and general meaning of Gasoline, keeping it from being as fresh and interesting as the other songs. A subtle electric guitar and a slowed down sound is introduced with Heartbeat Blues, giving a new twist to the love theme that Monks frequently reflects on. The final track, Summer Dream, illustrates Monks daydream of finally meeting the perfect girl. The return of the initial airy sound through the clear strum of the guitar in Summer Dream helps to bring this EP full circle.

Monks based his solo sound on "trying to understand what people really want to get out of music", and with this EP, he's well on his way. (www.davemonksmusic.con )

YOUR BAND IS A VIRUS! Behind-the-Scenes a Viral Mulcting Strategies for the Independent Musician

www.vourbandlsavirus•com 10 VandalaMagazine.Com - September 2015

Album Remiew Bernard & Edith -

(Dream Pop)

By Michael Smith - 4/5 Dragons The dream pop genre has always appeared to have a musical glass ceiling, where even the most influential and talented bands of the past and present are denied the mass exposure to accompany the legion of praise received. Yet despite this knowledge the genre treks on continuing to create some of the most beautiful soundscapes too few are getting to hear. Over the last few years, to all appearances, dream pop is beginning to put a slit crack in that glass with the recent success of acts such as Grimes and Phantogram, with hope, this release continues to add pressure that fractured glass. An alluring and provocative debut from Mancunian duo Bernard & Edith. Listeners be prepared to be whisked into an ambien laced sojourn, through an astral forest, where melodic winds blow through the relaxed needles of the somber pines lost in the darkness of the blue black sky dripping neon raindrops, being paired with the synchronized fireflies. Listeners will discover this release possesses the dark and mysterious atmosphere influenced by Cocteau Twins and David Lynch throughout the entire release, and notably on tracks "Crocodile" and "Girls Night Out",along with a modern interpretation of the ever growing dream pop world ('Tidal Wave", "Poppy" and "Heartache") equipollent with peers the likes of Zola Jesus and Austra. Greta Carroll's (Edith) darkly soulful voice narrates this hypnotic adventure, and along with Nick Delap (Bernard) this pair have crafted a gem perfect for the summer nights driving down a lost highway. (www.bernardedith.com'

No Men - 'Needed/ (Pop/Punk)

By Michael Smith - 4/5 Dragons Released digitally through the group's Bandcamp page, Needed is the second release from the Austin(soon to be Chicago) based quartet. It provides an exciting technical sound, accompanied by dancey and catchy garage rock overtones that will entice even the purest music snobs. Lead singer Pursley transmits malevolently sensual vocals throughout the album, as demonstrated superbly on the track "New Brute".

Guitarist DB takes over vocal duties on the track "La Intrusa", creating one of the most exciting songs of the album, with DB's infectious guitar styling displayed at it's best while still maintaining the group's more classic garage sound. Across the board, this album offers a tenacious release from a young and promising band, one whose music pedigree hails of the modern garage and no-wave genre. Available digitally now, keep an eye out for this album's physical release on cassette through Young Cubs Records in October. www.no-men.bandcamp.com/album/needed) September 2015 - VandaiaMagazine.Com 11

laum Reiviiew Magister Templi 'Into Duati (Heavy Metal)

By Jeff Black - 4.5/5 Dragons Now that's what I'm talking about. The 2013 debut grabbed my thumbs-up but failed to stick with me as time progressed. This time, I think the Norwegians hit the nail on the head. Drifting away from the doom-tinged Lovecraftian and occult themes and diving mullet-first into ancient Egypt automatically makes this record a step more original than most of their competition and the effect is more than pleasing alongside the Mercyful Fate riffs. Singer Abraxus d'Ruckus (uh-huh) presides over the pharaohs will, orating, gesticulating, invoking, summoning swarms of locusts and scarab beetles from hidden causeways to strip flesh and sinew in the name of Thoth. So yeah, you might say that I dig the record. No weak tracks but it definitely peaks during the mid-game with "Osiris" and "Horus The Avenger." Perfect soundtrack for your next appointment at the embalmers. You've earned it, stud!

Chalice - 'Raise Your Chalice/ (Heavy Metal)

By Jeff Black - 4/5 Dragons I'm pretty sure I'm gonna be the only one in a fortnight's march who gives a shit about this demo but let me make it clear: Chalice are probably the only er1FILICE thing in Vermont worth paying attention to right now.

TM* 'Fink 90LII) Four tracks, weighing in at an ample half hour of old-ass heavy metal with Arthurian flourishes. The imagery and lyrical themes aren't anything new but the medieval lilt which permeates the melodies, chord progressions and song structures keeps this bad boy smelling fresh as focken daisies. "Gaudete" and the first half of "Merlin's Lament" are the prime examples of this, the latter track clocking in at a fat 11 minutes.

Though lengthy, the tunes never flag or lose steam.

Vocals will rustle jimmies, mainly due to opening track "Witchfynder" having vocals that spat and hurled rather than sung. I kind of love it though. Rest of the songs have more conventional singing which really shines on the folkier tunes. Been on constant rotation since I got it so let's hope theyTve got the footwork to keep up. (www.facebook.comiChaliceMetal)

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Metz Live @ Neumos Article by Michael Smith

This night marked the return of Toronto trio Metz to what front man Alex Edkins describes as their "second home" of Seattle,Wa in the popular Capitol Hill venue Neumos, and what they brought with them is nothing less than a thunderous explosion of rock 'IV roll excellence. Currently touring in support of their highly-acclaimed second album, II, the band powers a packed house of enthusiastic fans that do not stop moving throughout the entire explosive performance. The set kicks off with a track off of II, "The Swimmer", followed by a lineup balanced of songs from both releases to the crowds delights. Midway through the performances, you can see the sweat power off the arms and head of Edkins and bass player Chris Solrach, both of whose stage presences are as powerful and energetic as the music they make. The passion rippling out of the band throughout the show bewitched the crowd, who responded to every guitar and bass riff with head bangs and moshing, as well as screaming lyrics along with Edkins' enthusiastic howls. At one point, opening band Big Ups' frontman, Brendan Finn, stage dove into the crowd. The show concluded with an extended and vicious rendition of "Wet Blanket", with Edkins throwing himself around the stage in sync with the excitement of the track.

Metz's self-titled debut, widely considered a best of 2012, precedes their 2015 follow up (likely to receive the same honors), leading the way on a revival of the early 90s grunge punk that changed the music world forever. The music created these three men inspires and excites, as does their live show. Metz may not only be one of the top live bands of the 2010s era of music, but also one of the top rock bands of the 2010s overall.

Metz Online - www.metzztem.com 16 VandalaMagazine.Com - September 2015

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Metal Madness with Fulgora, 'child Bite and King Parrot Article by Matt Bacon

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Another night, another show, that's what I like to say. There is a certain pleasure in seeing the same touring package on consecutive nights in cities four hours apart, and that's what I ended up doing when I saw Fulgora, Child Bite and King Parrot in Lancaster yesterday evening at the quasi-legendary Chameleon Club.

With hours of metal madness ahead of me and a relatively easy drive to get to the venue I couldn't help but feel charmed at the power of what I was immersing myself in for the second consecutive night.

Fulgora in particular really stood out to me on this second night. They deliver a wonderfully crunchy set with all sorts of destructive hardcore edges. These guys are just a little bit evil and very punk. Beyond that though there is a certain profound sense of artistry to what they do, be it in their frontmans trademark swagger or their bearded guitarist unleashing lightning speed riffs. As the band continue to evolve and differentiate themselves even more I get the impression that I will fall ever deeper in love. Fulgora understand what the underground is all about and their music will leave you on the ground begging for more.

Up next was Child Bite who I've always loved just for the sense of raw chaos in their music. Beyond that though what always strikes me about the band when I see them live is the sheer talent of the musicians. These guys may be playing some fairly simple stuff but they manage to pull it off incredibly well. They harness the chaos and make distortion their slave leading to a very exciting set where you feel the band somehow staying together even though it feels like they should go flying off the rails at any minute. With an extremely exciting frontman in Shawn and a vile live sound, Phil Anselmo was right, "This shit, is the shit".

Finally it was time for King Parrot (Unfortunately I had to leave before Superjoint) These guys always have astounded me with how straight up weird they sound and their ability to craft whole new sound worlds using typical extreme metal ideas. It was gratifying to see that they had a fan base of their own at the show.. It's exciting to me that a band as 'out there' as King Parrot are able to garner mainstream metalheads into their audience and show them the power and the depth that this kind of music can have. With yet another exciting live performance I was left with a gleeful grin on my face as I genuflected before the almighty live crush that this band provides.

And so my evening came to an end. I realized I had left my wallet at home and suddenly got paranoid about cops. The entire thing seemed like an appropriately Hunter S Thompson-esque freak out after an evening of relaxation with friends both old and new. This is the kind of thing that makes extreme metal so worthwhile, despite everything this shit remains crazy. A band like King Parrot will come out to Weird Al's Amish Paradise and you are left shaking your head. Extreme metal is utterly unpredictable and thus it will never die.

18 VandalaMagazine.Com - September 2015

TOUR DATES:

San Diego. CA Los Angeles, CA San Francisco, (A Por-tland, OR Vanotniver, BC Seattle. WA Salt Lake City. trr Denver, CO Minneapolis, MN Chicago. I. Ferndale, MI

e Cashah hoplex The Regency Ballroom Ilw.rthorne Theater Rickshaw Neurnos The Cornplex

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September 2015 - VandalaMagazine.Com 21

Hard Summer Festival Draws 130,000 EDM Music Fans to Pomona California Article & Photgraphy by L. Paul Mann Hard Summer, the ongoing premiere EDM music festival in Southern California, brought a huge sold out crowd to the Pomona Fairplex for two days, August 1st and 2nd. The festival, the brain child of promoter Gary Richards, began in 2007, and has morphed into an annual, multi event cornucopia of EDM music. Events now include the Hard Summer, as well as the Hard Day of The Dead festival, an annual cruise and a whole host of related one off concerts. The festival, which began in downtown Los Angeles, has found a new home the last two years at the massive Pomona Fairplex.

With summer temperatures soaring into the high 90's, some of this year's new features, including an air conditioned chilling station, (a big empty air conditioned building), proved quite popular. While many found different ways to escape the oppressive heat, other scantily clad concert goers, (as is the custom at most EDM gatherings), embraced the conditions spraying each other continually with water. The soggy sweaty masses engulfed the five stages and surrounding fair plex. Just like last year the festival featured five stages. Three large (Tent) stages, featuring nearly nonstop music from some of EDM's top DJ's, offered more respite from the blazing sun. But the large Hard stage featuring a more eclectic mix of music and the Massive harder stage, with a roster of EDM's top talent, were ground zero for most music fans.

Day 1 Memorable livi0MerItS A particularly fierce early evening set by Di Destructo on the Pink stage. His real name is Gary Richards. Yes the same Gary Richards that founded the festival back in 2007.

His smaller stage set had less of the glitz and glam of his Main Stage appearances in previous years, but the music was just as intense, invoking a trance like dance frenzy from the packed crowd around him. His mixing skills showcase his twenty years experience as one of the most influence proponents of modern EDM music.

ScHoolboy Q was set to hit the main stage at 6.30, but technical difficulties kept the show from beginning for another twenty minutes. In the meantime, dozens of delirious fans were being hoisted out of the huge steaming audience, as the relentless summer sun began to take a heavy toll. When the southern California hip hop artist and his band finally took the stage, he apologized for the delay, blaming a long list of behind the scenes people for the delay. It was unfortunate that set was cut so short, as the rapper made a great juxtaposition between main stage EDM DJ's. His rap style was refreshing and his crack band of live musicians gave his sound real dimension.

William Grigahcine, better known as DJ Snake made a surprise appearance as the next unannounced act on the massive main stage. The French EDM artist who mixes hip hop and electronic music is best known for his mega nightclub hit "Turn Down For What". He had a huge crowd gyrating to well known hooks in his songs.

The Weekend, arguably the biggest mainstream music star of the festival, took over The Hard stage at dusk. The set time benefited from cooler temperatures and an explosion of color, light and multimedia that brought the performance alive. For many who attended his pair of Coachella performances last spring, he stole the show at that venerable festival. The crowd literally looked like they were swooning when the experimental R&B singer sauntered onstage and signaled his band of impeccable musicians to begin. The singer may have one of the most pleasant singing and rapping 22 VandalaMagazine.Com - September 2015

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Lime Comerege FiesNma voices in modern pop music. Added to his set were covers of Beyonceis "Drunk in Love" and his collaboration with Ariana Grande, "Love Me Harder". But it was his final two songs that had the enamored crowd glued to the performer, singing along to every word on the nightclub hit "I Can't Feel My Face" and the ballad "Earned It" from "Fifty Shades of Grey". Inexplicably, the set ended early.

Ironically, the next and last set on the Hard stage by "The Chemical Brothers", was probably the longest set of the night lasting nearly two hours. It seems that the recent trend in this ADD generation is for festivals to have more and more performers with shorter and shorter set times. But fortunately these elder statesmen of the Manchester EDM music scene were able to play a full set, showcasing their music, some of which dates back to 1989. The band played songs from their great new album "Born in the Echoes," including "Sometimes I Feel So Deserted," and house music grooves like "Star Guitar" and their biggest dance hits, "Galvanize" and "Block Rockin' Beats."

Over on the Harder stage, the evening ended with a massive lights, fireworks and multimedia orgy, featuring sets by Porter Robinson playing much of his "Worlds" album and Dillon Francis. The headlining Los Angeles Di mixed just about everybody he ever collaborated or listened to into his mash up of dance trance music.

Day 2 Memorable Moments Jamie xx may be the newest old school Di, mixing actual vinyl. The Englishman's infusion of classic funk, jazz and blues into EDM has made him one of the most popular alternative Drs of late. Mixing classic New York house with Chicago acid house, he wrapped up the set up with his own solo track, "Loud Places," featuring, Romy Madley Croft, his band mate from the group xx.

There is nobody to compare Die Antwoord to. The South African rapping duo, who have created their own kind of music rapped in the mystique of the obscure Afrikaans language. The sardonic couple describe themselves as "zef rap-rave" ("zef" being roughly equivalent to the English word "bling"). The pair, along with their trusty DJ, Hi-Tek in his trademark guerrilla mask and backup singers, bolted on to the stage dressed in brightly colored Pokemon and Pikachu costumes. Tall lanky Ninja and tiny squeaky voiced Yolandi quickly worked the crowd into a sweaty dance frenzy. The anarchistic, irreverent duo produce perhaps the most original music since The Sex Pistols reinvented rock. Their infamous live shows almost invariably find the pair slowly disrobing throughout the set, until they are naked or next to naked. The tall bodied Ninja is always compelled to stage dive and crowd surf during every live performance, while the salacious Yolandi sensuously twerks about in every nook and cranny of the stage. The infectious grooves of their music are truly unique and their own invention. If their appearance alone wasn't enough to ignite the crowd, a surprise appearance by a portly Jack Black in a warm up track suit sealed the deal. The profusely sweating comedian turned rocker, sang along with the band. Then he told a short anecdote about how he had to climb the fence to get in because no one gave him a stage pass. By the time he disappeared backstage and the band ended their set with the song "I Feel Freely", the whole crowd was jumping in unison.

The Hard stage continued to offer up the most eclectic music of the festival, with Chromed taking over just before dusk. This Canadian duo from Montreal make their own sound as well, a funky electronics infused fresh sound. Dave 1 and P-Thugg brought their explosive funky mix to the HARD Summer crowd, with their hit songs 26 VandalaMagazine.Com - September 2015

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like "Bonafied Lavin' (Tough Guys)" and "Sexy Socialite".

As the sun faded and darkness fell over the gargantuan Harder stage, Los Angeles DJ RI_ Grime whipped the massive crowd into a frenzy playing much of his debut album "Void" and some of his most well known collaborations as well. A spectacular multimedia show exploded in a visual volcano of lights around him.

The hottest EDM collaboration of the summer closed the show, with DJ's Diplo and Skrillex performing as Jack U. Skrillex skateboarded on stage while Diplo came out on a personal people mover, the two waving giant American and California flags. The action was non-stop for the entire set, with the pair taking turns on the mic and bolting into the crowd or mixing masterful beats in the towering DJ booth. If that wasn't enough to send the crowd into euphoric frenzy, guest appearances by rapper 2Chains, Keizhsa, and Justin Beiber, all contributors to the Jack U album), sealed the deal. The duo offered up spectacular remixes of (Drake's "Energy" and Beyonce's "7/11"), as well as their original hit track(Major Lazer's "Lean On"). The not such a surprise appearance by Justin Bieber, featured the Jack U hit that he collaborated on, "Where Are U Now." To find out more about Hard Summer Festival visit them online at: www.hardsummer.com www.facebook.com/hardfest

28 VandalaMagazineaCom - September 2015

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Kings of Chaos Play Sold Out Show At The Historic Fillmore San Francisco To Benefit The Dolphin Project Interview, Article 81. Photgraphy by L. Paul Mann Members of the rotating rock royalty that make up the Kings of Chaos band gathered at the legendary Fillmore concert hall in the heart of San Francisco, for an ear shattering sold out rock jam on Wednesday, July 29th. The evening began with VIP guests arriving to meet and greet and have their photos taken with their favorite band members. Some of the veteran rockers then lingered on the upper levels snacking on vegetarian sushi and chatting with fans, who paid a premium to benefit Ric (Marry's Dolphin Project. The organization was started by Ric O'barry, following his internationally acclaimed documentary, "The Cove". The Fillmore was the perfect choice for the event, it's walls literally dripping with rock music history. From photos of early appearances by the likes of Janis Joplin and Jimi Hendrix, to a massive poster collection adorning the walls, nearly every major rock performer of the last fifty years was represented. The Kings of Chaos were a made to order group for the historic venue. For the San Francisco show the line up in the band included, rock legends Slash (Guns N' Roses, Velvet Revolver), Sammy Hagar (Van Haien), Matt Sorum (Guns N' Roses), Gilby Clarke, Duff Mckagan (Guns N' Roses, Velvet Revolver), Billy Duffy (The Cult), Glenn Hughes (Deep Purple) and Myles Kennedy (Alter Bridge). Sorum was responsible for much of the organization of the special benefit and he spoke with us shortly before the concert.

Kings of Chaos has an extraordinary revolving line up of talented veteran rockers.

Other than some of the core members sharing a period together as band mates in Guns N' Roses, what is the connection that brought this group together?

Matt Sorum: Playing around the world over the years you meet and our share the stage with many great musicians and great bands and relationships form while on the road.

I have been fortunate enough to have played next to some of the greatest rock icons of all time. When the idea came to play with some of my peers and heroes KOC was born.

Many of this group's members have given their time to play multiple benefit shows, including the annual Rock Against MS Benefit Concerts, Notes For Notes Benefit concert and now Ric O'Barry's Dolphin Project Benefit. What was the catalyst for this concert and why do you think this particular group of musicians give so much of their time to worthy causes?

Matt Sarum: Well since becoming very involved with Dolphin Project about 3 years ago I have traveled to the infamous Cove in Taiji, Japan and was asked to join the board of Dolphin Project, Ric Obarry is an amazing man, activist, and environmentalist. My musician friends have all followed me on this journey and when it came time to ask they were all so gracious in supporting the goal of this very important organization.

What is it like to play at the legendary Fillmore in San Francisco with its rich history of live rock music performances?

Matt Sarum: It's the perfect town and venue, San Francisco has always been at the forefront of positive change for our environment and world issues. Some of the 30 VandalaMagazine.Com - September 2015

Kings of Chaos The Historic Fillmore San Francisco, C Benifit For The Dolphin Projec

L.Paol Mann www.lpaolmann.com

DOLPHIN PROJECT 32 VandalaMagazine.Com - September 2015

September 2015 - VandaraMagazine-Com 33

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greatest bands of our time have played there. It seemed like a perfect size to create an intimate atmosphere for the message of Dolphin Project.

What was the good, the bad, and the ugly about being part of the 1980s music scene?

Matt Sorum: For myself I started professionally in the 70s the golden era of Rock n Roll, the 80s took it to the extreme with excess. I had an amazing 80s era moving through the different musical genres. And surviving !!! Ha ha I

Are there any future recording or tour plans for Kings of Chaos-, Matt Sorum: Always working on the next lineup and gigs, have thought about recording something. The future looks bright.

What advice would you give to aspiring musicians?

Matt Sorum: Practice and play, work harder than the next guy. You have to want it and go after it.

Kings of Chaos Show The general admission audience that had been waiting patiently in line all throughout the day, bolted into the auditorium just after 8PM and swarmed the stage. But before the music started there was an extensive auction of a phenomenal collection of signed electric guitars, which raised tens of thousands of dollars. Finally, in front of a packed house dripping with summer sweat, the music began.

The show began with core members of Guns N Roses, Duff McKagan, Matt (Sorum), and Gilby Clarke taking the stage along with Glenn Hughes, the former member of Deep Purple on vocals and Doug Aldrich of Whitesnake on blazing lead guitar. They jammed classic Deep Purple material opening with the song "Highway Star" followed by "Smoke On The Water," setting the classic rock cover theme of the night. The music was appropriately loud and Hughes vocals carried well across the venue, a fine juxtaposition to Aldrich wailing on lead guitar.

The Red Rocker himself, Sammy Haggar took over the vocals next along with guitarist Billy Duffy of The Cult. They played a Haggar solo song and a song from the Montrose band "Rock Candy," where Haggar had his first success as a rock star in the 70's. It was also a nice tribute to the late Ronnie Montrose. Haggar fittingly ended his jam with Hendrix "Foxy Lady". Myles Kennedy took over the vocal duties next, singing a Cult song, "Fire Woman" while Duffy hammered away on his custom Les Paul guitar.

Kennedy, the long time singer in Slash's current band, was then joined by that iconic guitarist in his characteristic top hat. Slash wailed on a couple of Guns n Roses classics, before playing a particularly fierce version of Led Zeppelin's "Immigrant Song". That was followed by another Zeppelin cover, "Communication Breakdown," with Hughes returning to the stage to take over the wailing vocal duties. Slash left the stage while the opening line up covered yet another Deep Purple classic "Burn". That was followed by the iconic rock song "Going Down," originally penned by Freddie King. Haggar and Duffy returned for this classic jam augmenting Hughes and Aldrich.

This group of musicians followed up with yet another classic Zeppelin cover "Whole Latta Love". Hughes and Aldrich left the lead on the next song to Haggar and Duffy, on another Cult song, "Love Removal Machine". They were replaced by Kennedy and Slash for two more classic Gun n Roses songs. Then all the musicians of the evening took the stage for two final songs and were joined by a young guitar virtuoso Dane Craighead. The entire ensemble jammed on yet another Led Zeppelin classic, "Rock 34 VandalaMagazine.Com - September 2015

ime omenage. Wiffigs of @lilaQS And Roll" and ended with Guns N Roses "Paradise City".

The small army of musicians traded guitar riffs and vocals before coming together for a thunderous climax and a well deserved bow in front of the ecstatic crowd. It was another historic show for the Fillmore and a great night for the future of dolphins.

~- DOLPHIN PROJECT

More information on the Dolphin Project: Donate at www.dolphinproject.net/donate Sign the petition! wwwitakepart.com/cove Follow Ric on face book: www.facebook.comiricobarrysdolphinproject Twitter: #Tweet4Dolphins @Richard0Barry #TheCove

September 2015 - VandaiaMagazine.Com 35

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Heart of Storm Blends Classic Rock Concert With Russian Ballet Interview, Article & Photgraphy by L. Paul Mann The Heart of Storm was performed in front of a live audience July 24th and 25th and filmed for a PBS television special at the Orpheum theater in Los Angeles.

Astonishingly, it was the first time that a live rock band performed with a classic ballet in the United States. The band featured an immensely talented group of veteran rockers, including acclaimed keyboardist Derek Sherinian (Dream Theater), drummer Gregg Bissonette (Ringo Starr, Electric Light Orchestra), lead guitar Doug Aldrich (Whitesnake, Dio, Revolution Saints), bassist Tony Franklin (The Firm, Jimmy Page, Paul Rodgers), rhythm guitarist Brent Woods (Warrant, Sebastian Bach) and alto saxophonist Brandon Fields (Tower Of Power, George Benson). The stunning visual presentation of the ballet was created by the talented young Russian-Korean choreographer Ras Tsoy. The awesome presentation also featured young Russian ballet talent--spanning the Bolshoi Theatre, Swan Lake and the Nutcracker in the tradition of classical ballet, while charting new territory into live, highly esoteric and sometimes erotic theater.

During a full dress rehearsal on Wednesday afternoon July 22nd, Brent Woods sat watching the young Russian athletes stretching before the show began. As he looked around admiring the opulent theater he noted, "I grew up not far from here near Burbank, but I never knew about this amazing theater. I only just recently came here for the first time to see a Patti Smith concert". Indeed, the Orpheum has a long and rich history in downtown Los Angeles. The Orpheum Theatre opened on February 15, 1926, as the fourth and final Los Angeles venue for the Orpheum vaudeville circuit.

The Orpheum has a Beaux Arts facade designed by movie theater architect G. Albert Lansburgh and has a Mighty Wurlitzer organ, installed in 1928, that is one of three pipe organs remaining in Southern California venues. Early live performers included a young Judy Garland and comedian Jack Benny and jazz greats like Lena Horne, Ella Fitzgerald and Duke Ellington. The 1960s brought Rock and Roll to the theater with performers such as Little Richard, Aretha Franklin and Little Stevie Wonder. After a $3 million renovation, started in 1989, it became the most restored of the historical movie palaces in the city. Since then the theater has a rich history of very special rock performances, making it the perfect venue for the American debut of The Heart of Storm.

Four of the musicians recently sat down to do a Q&A about this unique experience.

Doug Sherinian, Gregg Bissonette, Doug Aldrich and Tony Franklin shared their thoughts about the unique production: When did this whole idea for HEART OF STORM evolve from? What sparked it for you Derek Sherinian: The creator Alex Semenov approached me in late 2013 to produce and play on a rock instrumental record. Alex decided to have choreographed ballet performing live along with a rock band, he found Star Tsoy a talented Russian-Korean choreographer and this sounded like an exciting, unique opportunity to me.

What was your vision for this artistically? What message do you guys want to get across? What should people walk away with?

Doug Aldrich: : Artistically, I thought this was a cool fusion of arts and I wanted an opportunity to push myself in some new directions after Whitesnake. This was really 36 VandalaMagazine.Com - September 2015

something interesting and obviously with a great bunch of friends that also happen to be at the top level as musicians. I hope to have people walk away feeling happy to see and hear something fresh that is a new idea.

Derek Sherinian: Heart Of Storm is Alex Semenovis vision. My job is to help him see his vision through on the musical end.

Tony Franklin: Heart Of Storm is part rock show, part Russian ballet--with a killer band, featuring top name rock musicians--and world class Russian ballet. 'Storm' is the main character, and the storyline follows his tumultuous journey of love, anger, jealousy and death. But this is not just a dance show with accompanying rock music.

Both the band and ballet are interwoven into a unique, powerful and emotional performance. I've never seen anything like it.

How did the idea of fusing the music with ballet come about? How did you create the songs to fit with the ballet choreography?

Derek Sherinian: The music was written first, and then the dancing was choreographed afterwards.

Doug Aldrich: Music has always been in ballet I guess, but this is a fresh approach that the composer felt would be more intense and fit well with the choreography. It could possibly reach a new audience that might otherwise skip ballet. I myself have never been to a ballet, but now I'm interested. The Red Rock Ballet is made up of very talented young dancers from Russia.

What is the story of HEART OF STORM? Tell us about the production and look of the show.

Tony Franklin: The Orpheum Theater is the perfect setting. In the Broadway Theater District of Los Angeles, it has a long history dating back to the 1920s. The list of artists who've performed here is remarkable, including Judy Garland, the Marx Brothers, Ella Fitzgerald, Duke Ellington, Little Richard, Stevie Wonder--the list goes on. American Idol and America's Got Talent are also filmed here. The Orpheum stage has been transformed to accommodate the unique Heart Of Storm production. The lights, the setting, the sound and performances are all fine-tuned to express the broad array of emotions of the storyline. I'm really excited to be part of Heart Of Storm.

Doug Aldrich: I was so immersed in learning the material that I didn't really know much about the story at first. But once we started to run the show together, it all made sense... The look seems to be heavy....Very edgy, but with classic Ballet feel in spots. In other places it probably pushes the limit a bit.

Can you elaborate on the band's chemistry? What's the dynamic like?

Derek Sherinian: Everyone in this band is not only incredible musicians, but incredible people as well. Tony Franklin and Gregg Bissonette are hands down the nicest rhythm section in rock! I am truly blessed to be working with such a great team of people across the board.

Doug Aldrich: Derek is our fearless leader and has put together a very diverse bunch of people to perform the music. I know Derek had been working on this for some time.

Then I happened to be in Moscow for a day and I got a phone call from Brent Woods saying that he and Derek were out at a party in town and asked if I wanted to join.

Haha. I was asleep and jet lagged so I didn't go, but a few months later Derek started to think about this production and called me to play. I have to say, it's been a huge 38 VandalaMagazine.Com - September 2015

Lime Cromerage. @lassic Ro@k & Russian pallet amount of work for me to get up to speed, but we had so much fun that time has flown by. We are all very different people so it feels unlike any project I've been in. Gregg and Brent secretly coordinated wardrobe the entire time showing up with the same shit and shoes or whatever... Tony is truly one of the nicest people you could ever meet. His playing is just astounding... so giant. Like all the guys I reckon. Brandon has just blown me away...with horns and flutes!!! He has been very patient with us as he has not had to deal with a band this loud. But he seriously shreds if that can be deemed a compliment from me. Derek is that bad boy dude with chops that will back it up. Derek and Brent are serious gear heads which of course I can relate to. Derek has more gear than just about anyone I know.... I get it. There is always more room for something new. Brent plays so awesome. I'm really glad to work with him. He is playing solos as well, but also doing acoustic work which is very important with a ballet. Gregg is joking around all the time... always, but he just an insanely talented player. He like all these guys has played with the best of the best cause they are that good.

3regg Bissonette: The band chemistry is awesome. I've been a fan of all of these musicians for many years and have played with everyone before except Brent Woods, but now hews my new best friend. The first day I showed up for rehearsal, I was wearing a red Foo Fighters shirt and black jeans and Brent was wearing a red shirt and black jeans. Everyone commented on it, so each morning we decided to mess with the others by calling ahead of time and wearing the same colors. It took them a while to figure it out and they thought we were on the same wave length, but they quickly caught on. We all really take the music seriously, as a drummer in the band you have two man jobs: the tempo, and controlling the dynamics... bringing it way down and way up when you need to. Brandon is one of the world's greatest sax players and I've played with him at the Baked Potato Jazz club in LA, on his solo albums, and we were in the house band for the Latin Grammys a few years ago. I was in a band with Derek called Jughead which my brother Matt Bissonette (Elton John's bassist) and Ty Tabor (Kings X) were also in. Derek and I also played in Italy with Vngwie Malmsteen and Deep Purple, that's where I played with Doug Aldrich as well. Tony Franklin and I have played a ton together over the years and have been great pals for 20 years. We played years ago on a movie called Endless summer 2. It was a surf movie. We've done a million albums together and toured all over the world. Derek is the glue that brought us all together. He is a great guy, a fantastic musician, and a wonderful producer and band leader. The music we are playing with Heart of Storm is written so well that it lends itself to having a lot of dynamics, (playing at different musical volume levels).

It's very passionate music and when everyone sees the dancers and storyline, they will love it and see that it's all brilliantly connected.

The production was presented nearly flawlessly during the dress rehearsal, with an appropriately LOUD sound system blasting the music across the empty theater, while the young ballet stars danced to a classic story of romantic betrayal. If American and Russian politicians could find a way to interact so purposely, as this great band and magnificent dance troupe, the world could be a far safer and more interesting place.

To check out his unique performance for yourself visit anyone of these links: www.rockballet.com www.facebook.com/Hea rtofStormRockBal let www.twitter.com / Red Roc k Ba 'let www.instagram.comiredrockballet September 2015 - VandaiaMagazine.Com 39

Sept. 30th a London, UK Oct. 1st - Brighton, UK Oct. znd - Manchester, UK Oct. 4th - Glasgo‘v„ UK Oct. 5th • Bristol, UK Oct. 7th Amsterdam, Netherlands Oct. 8th Brussels, Belgium Oct. 9th - Zurich, Switzerland

Oct. 10th a Paris, France Oct. 12th - Cologne, Germany Oct. 13th a Munich, Germany Oct. 14th Berlin, Germany Oct. 16th a Copenhagen, Denmark Oct. 17th a Oslo, Norway Oct. 18th - Stockholm, Sweden

Classical Explorations with Roger OTDonnel Interview By Matt Bacon

Roger O'donnell is a truly cosmic dude with a lot of really smart ideas about music. Digging into them, and the meanings behind his new cello and piano suites was truly an honor!

To start, what inspired you to do this kind of project? Is it just a continuation of the other classically themed work you've done in the past?

Roger: I was asked to contribute to a project in Italy called Post Romantic Empire.

They asked me to compose a new version of the of Scherazade, initially they asked me to kind of remix or recompose Nikolai Rimsky-Korsakov's classical piece. This was an obviously absurd idea and I asked if it would be ok to write my own version of the story. It had to be in 3 movements and be about 20 minutes long. The idea was to work with a producer and another musician, this is when I was first introduced to Julia Kent. The producer dropped out pretty early on as his involvement wasn't necessary.

There's a lot to unpack there. First off - why did you decide to work with Julia Kent?

Was this merely the work of the producer or was there something else? I saw in the press release it says you "at one stage contemplated recording with other cellists due to scheduling conflicts" but that "This idea was quickly abandoned due to no other reason than that it simply wasn't meant to be." What attracted you so much to Kents playing?

Roger: I didn't, I didn't know Julia, she was suggested by Giulio Di Mauro who's project the whole thing was. As soon as we worked on Scheherazade together we then came up with the idea of completing an album. At this stage it didn't look like 42 VandalaMagazine.Com - September 2015

Scheherazade would be released so its then we came up with the idea. I then wrote the other two stories and sent them to Julia. She was so busy however that after about 18 months or so I decided to complete the album with two other female cellists in London. They were great players but I had written these pieces with Julia in mind and it just didn't feel right when I tried to mix it. On Christmas day 2013 I virtually begged Julia to finish it hahaha and she said of course and that she hadn't wanted to keep me waiting. Christmas day 2014 she delivered the finished files!` That's really cool! What about her playing inspired you?

Roger: Just her emotion and expression, those are the most important elements to me, I have little interest in technique beyond its ability to allow you to emote.

My music isn't technical anyway...

Given your discography that makes a lot of sense. You mentioned in a previous email that you "didn't go to deep into the stories" "but were just interested in portraying the emotions." How did you go about incorporating this into the music?

Roger: I read the stories and the music comes, it's as simple as that. I'm very much a stream of consciousness writer, I don't craft. I write very quickly each piece taking no more than a few hours.

Has that been a trend throughout your career as a musician?

Roger: Yes Are there any particular techniques you used on the composition of this particular record? Would I be correct in detecting at least a hint of minimalism on Les Deux?

Roger: I don't understand the question sorry. What sort of techniques might I have used? Minimalism isn't really a valid concept to me, I use as many or as few notes as are necessary to paint the picture. I don't approach composition with these kind of preconceptions.

I guess some people construct compositions from choral or melodic progressions based on scales and harmonic tables but that's really not what I am interested in.

I'm also curious about the premier of this piece. Who are you going to have performing? How is it coming together?

Roger: We are going to premiere in London on June 26th at an amazing church where we have staged a few things in the past. It's called St. Leonards or Shoreditch Church its very famous and stands right in the middle of Shoreditch. I will have four female cellists and we will play the entire suite, two of the girls I have worked with before, Miriam Wakeling and Francesca Ter-Berg. Julia won't be able to make it which is a great shame.

We are also going to have a string quartet play some arrangements of my electronic songs with a couple of the artists that have been on my label. Erin Lang and Hannah Curwood, I've also arranged some of their songs for the show. It's looking good so far!

That's really cool! I've actually been to that church (My mother used to be a tour guide at Notre Dame, so I've seen a lot of churches) Are you ever going to tour this particular project? Also Is there any special significance/symbolism of the cellists being female?

Roger: No I won't tour it, I'm more interested in the creative process, playing live is September 2015 - VandalaMagazine.Com 43

of little interest to me. I think this will be quite special though and am really looking forward to hearing the songs come to life.

In this context, the love stories, the piano becomes the male and the cellos are the female. I think it creates its own emotion and tension. I've always seen the cello as a feminine instrument and the piano male but that's just my interpretation.

That makes sense. What attracted you to these love stories in particular? You already talked about the Scherazade. But why did you choose Tristan Lind Isolde and Orpheus and Eurydice?

Roger: They are the all time classic tragic love stories if you exclude Romeo and Juliet and that would have been way too obvious! I liked Tristan as its based in the area of England where I live and I Orpheus was Julia's choice and makes sense as a musician.

Right. Now - you mentioned in our previous correspondence "hopefully this album will guide more than a few people into the beautiful music that exists in the orchestral world." Has that been a leitmotif of your recent career or was this just a particular goal going into this record? Furthermore - what aspects of this record do you think will particularly guide people towards orchestral music?

Roger: No not at all, I don't really care that much what people listen to. There is however a huge wide World of amazing music that people perhaps don't listen to because they think it's too intellectual or too difficult to listen to. Or perhaps they didn't even know it existed. Its less to do with the record and more to do with who I am and what I'm known for that might be the guide.

I think fans of my work in other areas may actually have way more open minds and hearts than fans of let's say 'heavy metal" or "country music" Hahahaha!

What do you love so much about music Roger?

Roger: I don't have a choice, it's a part of me.

To find out more about Roger O'donnellis newest project "Love and Other Tragedies" and to pick up your own copy and to keep up with him online visit the following links: www.rogerodonnell.conl www.facebook.cornirogerodonnellmusic www.twittercomirogerodonnell www.soundcloud.comirogerodonnell www.youtube.com/Roger0DonnelITV

44 VandalaMagazine-Com - September 2015

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Sidewalk Serenades with Darius Koshi Interview By Dustin Griffin

Im eriviiew You're a very versatile writer and Sisu is one of your most versatile records. When you write do you write with a specific sound or type of song in mind, or do you just write and whatever comes out come out?

Darius: No I never do that at all. If I ever try to deliberately write something, whether it's lyrics or music, it just never works for me. It has to be totally natural. Whatever comes out, comes out.

Do you start with music and add lyrics later or the other way around?

Darius: I guess I usually start with music first because I usually start with some sort of melody. But really I just do it whatever way I can do it. Sometimes have a melody in my head, but no guitar, so write lyrics to that melody and hum it into my phone or something. But they usually happen together in some way or another.

I read in an interview years ago that you steal a lot of your wife's poetry for lyrics and lyrical inspiration. Does that still happen?

Darius: Yeah, I just combed through a bunch. She doesn't actually write a whole lot anymore, but she still has a bunch of old notebooks laying around. So yeah I went through them recently and there's at least one song on the new Swingin' Utters record that's hers and there's a line or two that she did on my song 'Empty Thing' on Sisu.

That's awesome. Is it difficult to adapt her poetry to into a song format?

Darius: Yeah it's really interesting because she was writing poetry, she wasn't writing song lyrics, so it can be tricky to make that work sometimes. But it's a good exercise, it's a little more challenging.

Have you ever taken one of her poems and wanted to put it on a record and she was like 'there's no way you're putting that on a record.'

Darius: No, she doesn't care at all, she's totally into it. And we've done it for years. I mean 'Five Lessons Learned', almost all of that is her lyrics and it's one of the most popular songs we play live.

How old are the songs that are on Sisu?

Darius. A lot of them are pretty recent. A lot of them are less than a year old. But there are songs on there, the oldest ones, that are maybe fifteen or sixteen years old. But for the most part, they're pretty new.

I've interviewed both Johnny (from Swingin' Utters) and Jack (from Swingin' Utters and toyGuitar) and they've both mentioned what a prolific songwriter you are. I'm sure when you went to make this record, you had a pile of tunes to choose from. How do you shave it down to just fifteen?

Darius: It's kind of hard. I still have a lot of old stuff that I want to do something with.

I think for the foreseeable future, whatever I do will have some old stuff mixed in with the new stuff, because I like a lot of the songs I wrote, even twenty years ago. But I have help at the label, play them just kind of pick what I think is the best. And a bunch of stuff and tell them what I like and they tell me what they like. It's hard though, to pick songs over other songs.

So why a solo record now? Why only now, I mean. It sounds like you could've released one ten or fifteen years ago.

Darius: Yeah. I think I just wanted a label, really. I wanted people to hear it and I September 2015 - Vandalafilagazine.Com 49

Imteriview. Sidewal Seremades don't have much of an entrepreneurial spirit. I'm not somebody who would do very well running their own label. I guess nowadays I could've just released it on the Internet, digitally. But I was holding out for a record deal with somebody and was just being turned down left and right and finally Fat picked me up, which was one of the best days of my life, probably. Being on an actual label seems a little more legitimate to me.

I agree. It's more romantic. More official.

Yeah. Another reason it took so long was the performance aspect. Not really a stage fright kind of thing, more that I have major problems remembering lyrics. So that kind of terrified me a little bit because I pictured myself on stage playing acoustically and completely forgetting lyrics. I didn't want to be that guy. I mean I forget lyrics that I wrote twenty years ago in the Swingin' Utters, but it's not that big a deal, it's a punk band and nobody can really tell because you're just screaming anyways (laughs).

You've been out and about doing some solo shows here and there. How have they been?

Darius: They've been really great, I just want to do more of it. The attendance wasn't great for a few of those shows but it didn't really matter. You gotta stick your foot in sometime and I really liked it. It was a completely different mindset.

Obviously you're going to get Swingin' Utters fans coming out to the shows, but are you looking to attract a different audience for this stuff?

Darius: That is my ultimate hope. But I think it's going to be really, really difficult to achieve that. Once you're known for any genre really, but especially punk rock, it's hard to break from that. And there's a whole, huge scene of punk band dudes doing acoustic stuff now. And that's cool and everything, but there's a fine line between that and the Steve Earl's and the Elliot Smith types that are taken really seriously as singer/songwriters. So I think it will be really, really difficult for me to get a new audience, but I really, really want to. I mean I love to see Swingin' Utters fans come out and appreciate it, obviously, but it would be great to pick up some fans who would never buy a Swingin' Utters record.

If you started playing music now, and didn't have this history of punk rock behind you, would punk even be a part of your repertoire, or would you go more the way you went with Sisu?

Darius: There's so many other things I want to play, that I think I would try those first. I don't think punk is the first thing I'd turn to. But I still write those songs and I still like them and like playing them, so I don't think I wouldn't play that stuff. I mean we're (the Utters) having a lot of fun and we've been writing so much in the past few years and are still into it. But I kind of want to play everything, so I want the solo stuff to be whatever I want it to be, you know? I want the next record to be totally different. I mean I want to do an instrumental record, stuff like that. Whatever I can get away with.

There's all kinds of different instruments and sounds on Sisu. How much of the record did you play yourself?

Darius: I played everything except for the drums and the bass. Miles from the Utters played the drums and percussion and I brought a couple of good friends of mine who 50 VandalaMagazine.Com - September 2015

Elanitis Koski are upright bass players in to play bass. Spike (Slawson) came and played some ukulele on a song. But I did most of it myself.

That's pretty incredible that you did most of it yourself. Do you have a studio space at home or did you go find a studio to record in?

Darius: I did it at Motor Studios in San Francisco). Fat Mike's studio. The Utters have done a ton of records there.

That's a classic spot.

Darius: Yeah.

I love this album cover. Tell me about that.

DARIUS KOSKI

Darius: Oh it's great man, I love it too. I showed it to the art people at Fat and they didn't get it at all (laughs). It's a picture that a friend of mine took that she posted on social media somewhere and I immediately thought it would make such a great album cover. She was in Mexico and taking pictures of this guy training these, they're called zonkeys. They're donkeys but they paint them to look like zebras for tourists. So it's a baby zonkey.

And Sisu is a Finnish word that actually doesn't have a translation in English, but it's a very Finnish mindset that kind of stands for perseverance and guts. My father was born in Finland.

I asked Johnny about this and I want to ask you because I love the band, but is there any plans for another Filthy Thieving Bastards record?

Darius: No, there's no plans for anything right now. We haven't played in a long time, we haven't practised in a long time. We haven't dropped it or anything, it was just mostly because the Utters have been so busy. I think we'll do something again. I don't know what, but I'd like to record again.

It's Fat Wreck Chords' 25th anniversary this year. What has being on this label, which is without a question one of the great punk labels in the history of the genre at this point, what has it meant to be affiliated with and release records through Fat? Darius: Yeah. You know it's crazy to think about, because it completely changed our (the Swingin' Utters) whole path's and made us into a contender. We did so much more touring after we got signed to Fat and got so much more exposure. Getting signed to that label was the biggest thing that ever happened to us. But more so even is that they really are like family to us. I know people say that all the time, but Fat Mike and Erin, I would totally consider them close friends of mine. And for them to own the label that your band is on is pretty unheard of, that kind of relationship.

There's no contract with them, there never has been. I don't think we ever signed a contract with Fat, even after all the records we've made with them. It's a pretty unique experience being on this label. We're super lucky. We'd never go anywhere else.

To find out more information about Darius Koski and to grab his new album â&#x20AC;&#x2DC;Sisu" visit Fat Wreck Cords at www.fatwreck.com also visit their YouTube Channel at www.youtube.comifatwreck September 2015 - VandalaMagazine.Com 51

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1 TELLURIDE, CO THE RIDE FESTIVAL 16 PEMBERTON, BC @ PEMBERTON MUSIC FESTIVAL 18 PEMBERTON, BC PEMBERTON MUSIC FESTIVAL 25 MACON, GA @ BRAGG JAM (COX CAPITOL THEATRE) 30 INDIANAPOLIS, IN @ RATHSKELLER BIERGARTEN

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Interview By Sean Buren

With rapid momentum, Murder FM (Murder F*cking Music, in full) are in their ascent from the dive bar to the mega-stadiums in which they had seen KISS and Motley Crue as impressionable young'ns.

Their dark, industrial-tinged fist-pumping anthems have been picking up both critical buzz and radio airplay, striking chords within a diverse array of music-lovers. Between managing the affairs of his band, living on the road, and being a father, it's remarkable that frontman and songwriter Norman Matthew found any time in his schedule to answer our questions.

Pumped for Dirtfest?

Norman: Absofreakinlutely! Dirtiest was a big tipping point for the band last year, and to come back this year on the main stage is like a rock n roll cinderella story \m/ Any bands there you're looking foward to seeing?

Norman: Down, without a doubt. Hel!yeah. of course (1,2, Barbeque), those are our Texas brethren. Also Startset. We have crossed paths with those dudes so many times, it would be killer to actually see them finally! We are excited to see all our fans from last year and our traveling fans. Murder FM made a mess last year and now we're coming back to finish it up haha!

I'm not seeing any dates listed afterwards. Are you gonna be taking it easy?

Norman: Hell no! Dates are about to be announced. We didn't realize there was a demand for the band in certain markets in the US, add to that we had a surge at radio with the lead single "We The Evil" being added to so many killer radio stations, so we had to adjust and adapt to that quickly. We will definitely be out in big spurts from the release of "Happily Neverafter" on 8/7 until 2016!

Why do you think so few bands are shooting for the arenas these days?

Norman: Because they don't have the balls to dream big! I mean that in the nicest possible way. For some reason along the way, it became passe' to want to be successful.

So many bands trying s0000 hard to be s000 hard, it's actually become comical and a parody of itself. By trying s000 hard to not be cliche' and Spinal Tap, some bands have actually turned into the cliche' on accident, y'know? I grew up idolizing bands, they were larger than life to me and gave me the ambition and drive to be the biggest rock band in the world, or at least have a great time trying! I wasn't and still am not afraid to say that we want to be a successful band. We work our asses off, we have played every ditch and armpit we can possibly imagine. We rolled up our sleeves long ago and started doing the grommet work which earned us our cult following. Maybe it's just easier to get in with a scene and live in die in that scene, but I've always wanted to transcend that and cross over. I want people to be in love and captivated with rock bands again.

In a band of this ambition-level, to what extent are things kept D.I.Y.?

Norman: We are about is real as it gets man. We are part of the machine now with label, management, booking, publicist, distro, but make no mistake my friend, I grew up in a border town with a mafia mentality, so everyone is only lucky enough to go a couple days without hearing from me on some level haha! Part of our deal was that is was going to be treated as a partnership with the label. We have veto power on decisions. We have creative control and we choose when it's time to tour, we don't like to wring the towel on markets, we want our fans to know, if we are coming around a second and third time, it's 56 VandalaMagazine.Com - September 2015

Imteraviiew. INoximilaiii Matthew because we WANT to and we love doing. We keep the band and the legion very close to the chest.

Of the bands you've toured with, whose fans have responded best to your sound?

Norman: Oddly enough, we have had great responses from Deftones to Five Finger Death Punch, Avatar, Gemini Syndrome to Black Veil Brides, Korn and The Used. That's the thing about our sound, mentality and essence, we can appeal to a broad audience, by design or flaw, I'm unsure, but we do. Opening for Rob Zombie was without a doubt the absolute best responses and really put the band over.

Any up-and-coming bands out there you'd like to bring on the road?

Norman: The Projekt, Vannah Red, Heartbreak Heroes, Looking Glass, The Nameless. I remember being very young, in a band and needing someone to help me break the glass ceiling, and it means alot to me if I can ever help out any young band that really wants to lay it all on the line. There's a certain romantic element to helping a young band develop and grow under your wing. They become a part of you. "Fame may fade, but legacy is eternal".

How was the Tommy Lee remix for you? Any plans to collaborate with anyone else?

Norman: It was huge! Bigger than his infamous penis haha! I open my inbox one day and I've got a new message from Tommy Lee to share files in a dropbox. Next thing you know, we are getting that remix of "We The Evil" done. Our AR guy at the label put that together. He knows Tommy, had a hunch he might like the band. I jokingly mentioned the idea of a remix and next thing you know, it was real...well, surreal honestly. I worked with one of my childhood idols on my own music, and even cooler, I gained a friend out of it.

He's a big supporter of Murder FM and he is a super sweet dude. Definitely one of the biggest moments in my musical career. "We the LEE-Vil" Baby! We also have Will Hunt of EVANESCENCE playing drums on the title track "Happily Neverafter". I'm always open to collaborations. Someone tell Robert Smith of THE CURE to call me haha!

Anything else you'd like to add?

Norman: Thank you to all our fans. YOU put us on the map, YOU made this possible, our new record "Happily Neverafter" is a trophy representing your undying support! Everytime Murder FM takes a step up, know it's really a win for YOU! Sure we write the songs, play the shows and drive the miles, but if you weren't there to breathe life into it, we would not exist. So Thank you! #getevil.

"Happily Neverafter", 8/7/15 on Famous Records Global/ Pavement/ MRI/ Sony Red Check out Murder FM out online and be sure to grab your copy of "Happily Never After" as well. www.MURDERFM music.com www.twitter.com/murderfm www.instagram.com/murderfm www.youtube.com/user/ MurderFM September 2015 - VandaiaMagazine.Com 57

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CoverIffilerkviiRw. Sub.lime When the surviving members of Sublime decided to start touring and recording together under the Sublime name again, they did so with a talented singer/songwriter by the name of Rome. Not only were Rome's songwriting sensibilities in line with the ska/punk/reggae/hip hop mixture that defined the classic Sublime sound in the 90's, but his singing voice was a close ringer for Bradley Nowell's. After a short legal battle with Nowell's family over the use of the name, Eric Wilson and Bud Gaugh settled on an amendment and Sublime with Rome was born.

We caught up with Rome in the wake of the release of their newest album 'Sirens' to talk about the record, the history of the band, and working with the 'best drummer in rock n' roll. `Sirens' sounds very organic. How much of this album was recorded live off the floor?

Rome: The majority of it was. The majority of the album we tracked together in a giant room through this really old Neve console using vintage gear. Everything was done with that kind of fidelity in mind. So when it came down to overdubs, we didn't have to do too much. And mixing and mastering was a breeze, because of the way we recorded the songs.

Did that mean the rehearsal period leading up to the recording of the album was more intensive?

We had a lot more time to create this record, than we did the last one. Which was good when it came to weeding out the eleven or so songs for the album from the nineteen we had when we started. But having more time is crucial for doing albums.

What is the process like when shaving nineteen songs down to eleven or twelve?

Rome: A lot of the time, it happens as you go. You can work on a song for two days and then the next day you wake up and think 'dude, I don't want to sing that song every day on tour.' So you have to really try to be honest with yourself. It's a crazy process, but it's all part of it.

I would say this album, even more than 'Yours Truly', seems to be exploring the sounds of classic era Sublime. Was that a conscious decision on the part of the band?

Rome: No, it wasn't really a conscious decision to make it sound 'Sublime'. It just was a product of the recording process I think. And Eric (Wilson) and I now have been through some stuff together, so we're a lot closer than we were during the first album. So there's a level of input and respect for each other, and more so on this album than `Yours Truly', you can definitely hear what Eric Wilson's contribution is.

Another thing about the new album that reminded me of 90's Sublime was the cover.

Who's responsible for that?

Rome: Oh man, a guy named Drew Brophy. He's a killer artist out of San Diego, really really talented.

Did you tell him what you wanted, or did he come up with it all himself?

Rome: He came up with it all himself, just winged it.

When Bud (Gaugh) left the band, was there talk at the time of Sublime With Rome disbanding or changing the name of the band?

62 VandalaMagazine.Com - September 2015

Rome: No.

Eric wanted to keep the band going, so as far as that goes, whatever Eric wants, I'm down. But I'm pretty sure Bud wanted the band to go on, and he still makes money off of the Sublime name, so it works out for everybody. He gets to stay home with his family and we get to play with the best drummer in rock and roll.

Absolutely. Josh (Freese) is an amazingly skilled drummer. He's played with so many great bands, what has his contribution brought to 'Sirens'?

Rome: Well he's a killer musician too. He can play all kinds of instruments. But he's a great songwriter, got a great ear. He can hear if something in a song is working or not.

And of course, yeah, his drumming is just stellar. I've never witnessed anything like it.

I saw that he wrote one of the faster songs on the record, did he have a big hand in the writing process for the rest of 'Sirens'?

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Rome: Well the way it usually works is I will come up with the song and bring it in and the band will work on the arrangement and production of it.

But Josh had put together the song 'Run and Hide' while Eric and I were getting lunch. And like an hour and a half later, he's got a rough cut of the guitar and the drums and the bass and I just hopped in the booth and started singing. That song came together in less than half a day.

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You've been pretty busy with SWR these last few years and you've done some things with The Dirty Heads. Do you have anything else going on musically right now Rome: I have a record that I'm currently trying to find the best way to release, exploring different options. But I'm always writing and releasing music with other artists as well.

And I'm executive producing a hip hop album. But staying busy with music man, all the time, that's what I try to do.

So is Sublime with Rome your main gig, or do all your projects take equal footing?

Rome: Well, Sublime with Rome, that's what got me here. So that will always be first for me. I mean always be creating and producing music no matter what, but let's say Jay-Z calls and says he wants to do an album with me next summer, but I can't tour with Sublime, I'd say that's not going to happen. Sublime comes first.

I want to talk about 'Sirens' a bit more. It's a very versatile record. You've got ska, hip hop, punk, reggae, dub. What were some of the artists and ideas influencing those sounds?

Rome: A lot of Studio One reggae. The real grimy, Lee 'Scratch' Perry type stuff.

First wave.

Rome: First wave, yeah. That was the style we were really trying to hit at. Then mix that with banging drums in this huge live room, mix that with MPC samples underneath and it was just this concoction. I mean people are expecting Sublime to make like a reggae rock album, right?

Because those are the most popular songs from Sublime. But some of Sublime's best stuff in their back catalogue was the stuff that wasn't the singles. Stuff that was September 2015 - VandalaMagazine.Com 63

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influenced by Blag Flag and Greg Ginn for example. And that's what found its way onto this album.

And for someone like you, who has Bob Marley, Biggie and Dead Kennedys tattoos on his arms, it feels like the logical concoction of influences.

Rome: Yeah and that's my biggest influence. Just music, anything. I hear a good band and it can change my life. So every time I create music, I'm always like 'what's the music that movies me?' and I tap into that.

You came into this situation in kind of a tricky spot back in 2009. I mean, Sublime is such an influential and beloved band, that to resurrect the name, even with the best intentions, is tough without the original singer. But you fought for the name, released two great albums under it and are kind of hitting your stride as a band now, I think. Do you feel that people are coming to a place where they can accept this version of Sublime for what it is, rather than what it isn't?

Rome - Well, nobody ever wins everybody over. That's just not the way it works. So I don't expect everybody to be like 'yeah, go Sublime with Rome'. But I've said it before and it still stands: just come to a show. Come to a live show and then make your mind up about it. If you don't have a good time, it's probably not your cup of tea. I mean, I don't like Thai food. People think I'm f*cking crazy, because I don't like it, but it's just not for me. So that's cool. But I think we're getting to a place now where we've solidified a fanbase. And we have people who are going to come to the shows every year. So now it's time to work on expanding that and taking this band to places it hasn't been before. South America, Asia, more of Australia and Europe. That's what's next for the band.

And what is next? Where are you guys headed in the near future?

Rome We're going to finish up this American tour, drop some more videos and then head to South America I think.

So what are your hopes for 'Sirens'? What do you want to see this record do for Sublime with Rome?

Rome' I want it to live. I want people to sit with it and listen to it and really get to know it. We're going to be playing it for the next year or two and hitting radio and the whole thing. And we'll probably start writing a new one in the middle of that whole process.

But the album is definitely mastered to flow. You can put on track one and it'll just flow.

I mean we intentionally let some of the songs bleed into each other. So, it's meant to just throw on at a party and let it sit, you know?

You mentioned earlier that you and Eric have been through a lot together and gotten closer as a result. What does your friendship with him mean for the band as a whole?

Rome: Well, Eric said it last night man. We got off stage and he said 'we just keep getting better and better'. And it's true, every time we play, we get better. And every town we roll into, we get closer. And everyone in the band is like family. I mean, we see each other more than we see our own families at this point. But that's going to show in every show, tour, and on every album. The next album will be better and we keep on challenging ourselves to make it better. That isn't going to change.

Grab your copy of 'Sirens" and catch Sublime with Rome Live Website: www.sublimewithrome.com Facebook: www.facebook.comisublimewithrome Twitter: www.twitter.com/Sublimewithrome 64 VandalaMagazine.Com - September 2015

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DEPRESSION AND DARKNESS WITH SCOTT KELLY Scott Kelly is an inspiring dude and one who is a pleasure to talk to. He has a lot of deep thoughts and well articulated emotions and getting to pick his brain is truly a dream come true.

Interview By Matt Bacon

How are you?

Scott: I'm doing okay. Shows have been good. I'm nursing a couple injuries but it's fine.

What's wrong?

Scott: I just have some persistent injuries from gigs. Long term shit in my knees and neck. My shoulders and hands can get funky and I fucked my back up in Boston. I don't know what I did. I've been spending time on ice and that's been limiting my range of movement.

I'm 48 though. It's been thirty years of doing this and I was a hard laborer most of my life up until about seven years ago when I got a desk job. So that's what happens to your body. I also wasn't a healthy eater for a long time there too...

Do you think your days on the road are numbered?

Scott: I don't think so. Not that I can foresee. One of the reasons I put so much energy towards my acoustic music and stuff like that is because I have this need to express myself in this way and I see that if it gets to the point that I can only do a few Neurosis gigs a year I still want to be able to go out and play and sing so I'll have that to focus on.

Where does that need to express yourself come from?

Scott: I have no idea. I feel like I have this burning desire all the time to let this stuff out. I let it out the same way every night. It's always a heavy trip for me. I go through periods of time when I don't pick up the guitar. I don't pick up the guitar every day. I spend some time at home when I don't. I've got kids and like I said I work a regular job.

Sometimes the time doesn't come to me in the day to play my guitar. I keep them around everywhere and I try to make it easy to play and write. I don't know man, I've had this burning desire since I was... I don't even know. The first time I recognized it I was thirteen or fourteen years old. But I always needed to get this shit out of me.

Does that stem from depression?

Scott: I'm diagnosed manic depressive. I am manic depressive, there's no doubt about that. I've come to accept that. Typically it's coming from a pretty dark spot. It doesn't always. I find myself writing more love songs with my acoustic music. It depends where I'm coming from. Neurosis is one thing, Corrections House is another thing, my acoustic thing is something else and Shrine Builder was yet another. It reflects different aspects of my personality. I'm a little schizophrenic. So there are a lot of sides to it. It's like a square... there are multiple totally different side.

I suffer from similar mental... fun... So I get it..

Scott: Or not so much! I know what you mean though. I have every reason in the world to live. I have a great wife and kids and a great band. I get to travel the world. I have nothing to complain about! Most people would happily trade their lives for what I've been able to do and experience but sometimes it doesn't matter. It's just empty.

I'm a professional writer and promoter... and it's just terrifying how empty you feel when everyone wants your job...

Scott: Yeah... it doesn't matter.

How do you reconcile living the dream and also being depressed?

Scott: I don't know that I do. I don't know that I can. I found myself talking to two of 70 VandalaMagazine.Com - September 2015

my oldest best friends the other night. We rarely see each other but I've known these guys since I was twelve years old. We were sitting around and I found myself complaining about the fact the only thing I do well is like play guitar and write songs. I feel confident saying I can do that well. Everything else I do is a real struggle and takes a lot of focus and energy and I don't do it right very often and I make a lot of mistakes.

They kind of looked at me and thought I was crazy because they were like "I wish there was one thing I could do that well!"

I know right? Like... I can write about music and get paid for it but I can't follow a GP'S., Scott: GP 's are hard man. It's a total baffler to me. ITm getting better at some things.

But other things... like anything having to do with math and taking care of my household... I can't do it. My wife has to do it. I totally freeze up. It's like if somebody put me in this room and said "Organize it" I wouldn't be able to. Luckily it's pretty organized but I just can't see it. If someone sticks me in a cluttered room and is like "Okay let's clean this up" I just can't do it. I almost have to over caffeinate in order to pinpoint my vision and to say "Okay start here". It's f*cked up.

What I struggle with too is trying to explain that to people...Do you ever come into that?

Scott: Totally. I hate it. It's a bummer. I'm thankful, I really am. I know people who are like at least... in my perception, they might not agree, but I think that they have this god given talent as well as the ability to do other shit and be responsible and take care of business.

Do you think that we're almost...this sounds bleak... but do you think we're born broken?

Scott: I don't know man. I've had so many kids. I've seen them. I think people just get broken. I just think it's the process of living your life. I think kids come in and they go through their trials and tribulations and that's what shapes them into what they are and what we are. I don't know that though. It could be. I do believe that there's a fatal flaw with people that we're kind of doomed to make these mistakes over and over. I can't even get past that shit I know there's this whole other world of politics and controlling entities and all those things and religions but I can't even deal with that. That's a whole other realm. I can't get past the fatal flaw.

Does that mean you have no sense of spirituality?

Scott: I definitely do. It's definitely born from music. My experience with music is what showed me that there was something else there. I definitely believe there's other things involved in this whole experience. I feel them every night and every time I pick up the guitar. I know certain things resonate with me deeply typically old religious iconography of many different types whether it's pagan or Christian or Buddhist. So much of it touches me in a deep way. I gravitate towards that. I like going to old Catholic churches and absorbing all that stuff. It's the same with Buddhist stuff. I like to be around it. For me music is meditation so I can connect to it through that. Pagan stuff was the first stuff I really identified with. But I'm not choosing sides. I don't believe in that Is there a common thread in the iconography that attracts you?

Scott: I'm just attracted to symbols man. It doesn't matter. Like... my grandmother had this really detailed gory crucifixion statue that she kept by her bed. You could see the wound and the blood coming out of it and the blood coming from the nails at the hands and the feet. I used to stare at that endlessly to the point that my parents got mad at September 2015 - VandalaMagazine.Com 71

fferview. Depriession ano Dankmess with Scott me. All I wanted to do at her house was stare at it. It made my parents so mad. My dad was a staunch atheist he rejected the religion at 12 after being raised Irish Catholic. If you even brought religion up he would thrash you for it, but I was just tripping out on it. I didn't knowingly see any Buddhist stuff until I got much older. I wouldnvt have recognized it when I was little because I didn't grow up around Buddhists. Its the same with the pagan stuff that came later. It's just powerful stuff. It carries so much weight because of how much it means to the people who believe it Are you to some degree a universalist?

Scott! Probably. I have no problem with anybody of faith at all. In fact I get pretty bummed out when people pick on people because they're Christian or Muslim or whatever. I'm not into that. I don't know if you ever saw that Religionless movie that Bill Maher did. I f*cking hate that guy because of that movie. I thought he came off as a piece of shit. That was bullshit when he went into that Jesus park and made fun of the Jesus guy and that guy just stood there and took it. He was so insistent on saying "No man, this is who I am and what I believe in" He came off as a smarmy f*cking dickhead insulting people of faith. It's like.., go fuck yourself... that's what I would say if I saw him. I thought he was a smart dude until I saw that but he's just attacking people for the thing that gives them solace in this very hard life.

Previously you mentioned music as meditation. Is music your main connection to the divine?

Scott: Definitely.

Building on that...can you astrally project through the music? Or is it just like finding a void within?

Scott: Its kind of both but I'm not exactly sure because I've never been trained in that stuff. I can't say if it's one or the other. I feel myself go somewhere else completely during the time that Urn playing music. It doesn't have to be performance mode it can be at home or wherever I pick up a guitar. I know it when I find the right moment in a riff. It will just kind of hit me. I also feel like it just kind of comes through us. I feel like Neurosis when we're writing and creating it's coming through us. That's how I know it's right. We just stand there and let it happen. We give it lots of room and let it breathe and write itself. You have to give it lots of space and it will either expand or contract and find its way.

You're one of the fathers of this heavy scene that's dominating right now. How does it feel to see hundreds of bands that have a heavy Neurosis influence to the point that influence can dominate festivals?

Scott: It feels good man. I hope that it just inspires and pushes people to keep pushing things well after we're gone and I'm sure it will. There's a lot of bands that came before us and pushed us to do what we do. We committed ourselves to pushing ourselves to the limit and pushing our boundaries and skills. It's a total honor honestly. At first it was a little weird like twenty years ago when I first started noticing it happening. Now I don't even notice it as much.

It kind of defines the sound...

Scott: It kind of does and I'm not even aware of it as much. I found myself digging this riff from this band, they had given me a CD and I remember riding in the car with a German friend and I was like "I really dig this" and my friend pointed out that it was a direct rip of one of our riffs! And I was like "Well there you go, I wrote it so I like it!"

72 VandalaMagazine.Com - September 2015

rimfiew eu mos' s The thing is if you listen to Joy Division and if you listen to Amebix and Rudimentary Penii and Black Flag and Black Sabbath and with some Pink Floyd thrown in and you've got it. It's not a complicated formula. There's a shitload of all of those bands in our sound, that's us! Its not a huge mystery. We were lucky enough to be together for thirty years and survive this long. It's given us time to get the osmosis process to the point that we've absorbed the influences so much that what's coming out is... I guess it's less defined. The root influences are totally there. Voivod too... It's clear as day really.

A band of similar longevity that comes to mind is Napalm Death...

Scott: Totally. I actually saw them not long ago and they were so f*cking good. I was really impressed. be honest with you, I'd seen them a couple times before and I wasn't that impressed. Maybe it was just my mood because as we talked about before sometimes you get moody and miss things. But they just crushed the f*cking room.

There vibe was so good and their energy was just so positive. It's really... I love their politics. Their politics are right on. If I was in a political band I would want it to be Napalm Death. They are right on the money. They're not f*cking around. They don't pussyfoot. If you don't like it f*ck you. I was super impressed and became a fan again.

Well for me it's the same with Neurosis... like I didn't understand neither of those bands until I saw them live.... How do you channel that vibe when you play?

Scott: It's not a positive feeling. It's pretty murky. I think its the combination of the five of us that's what you get. I'm struggling with some murky stuff and I can't speak for everyone else but I know from my perception that it's really that stew and that combination of the five of us. It's just our lifer' work. You hear that term and this is what that is for me. It's 30 years of hard work and loyalty and perseverance. We've been through a ton of shit together in our real lives and we've always stood by each other. We made this a commitment when we started this band to never quit and just do it and it really comes through.

To head towards the end... In my head you've always been like William Blake in terms of how you speak... truth. I've always really admired you. What contexts shaped you?

Scott: I went through a lot of shit when I was pretty young. I was on my own really young. I had a lot of addiction problems and made a lot of really bad decisions. I've hurt a It of people. I've tried really hard to become a better person. I carry a lot of weight with me wherever I go for the shit that I've experienced and the shit I've unfortunately shared when I wish I hadn't. I don't really like to talk about specifics because I just feel like they're personal and I like to hide behind the music. But I can tell you it's no different than what you or what anybody else has gone through on some level. Everyone has hard times be it young, old, or just all the time. I've had a lot of great things and good times but a lot of those things have been balanced with the hard times and times I've had to learn. www.neurosis.com www.facebook.comiofficialneurosis

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After more than two decades in grindcore, a genre known for its short songs, short sets, and short careers, no one would blame Cattle Decapitation for resting on their laurels, touring as a legacy act, and maybe once in a while releasing albums which blatantly rip off- their earlier efforts. This, however, is not their M.O.. Such is evident on their latest and greatest release, The Anthropocene Extinction. More complex and terrifying than ever, the four-piece has evolved from fairly goofy gore-grind into one of the hardest hitting and most unique acts in extreme music. After their headlining show in Lancaster, PA, an off-date from the Summer Slaughter tour, guitarist Josh Elmore took some time to play the interview game with us.

Cattle Decapitation seems to take huge quantum leaps between albums. What happened between these last two [Monolith of Inhumanity and The Anthropocene Extinction)?

Josh When we decided to sit down and start writing things, in September/October of -4 2013, we all decided we wanted to do a darker record, not be slower or anything like that, but something a little darker, more sinister.

We didn't put any super-big constraints on anything, but we did go into the writing process with that thought in mind. Whether that distilled down to what we have on the record is up to the listener. That was the only thing we set out to do aside from, y'know, it's T consistent throughout all our records [that] e -4 11 '341.6A5 we just wanna be better at what we do and refine the positives and, anything we misstepped on, take care of those, rectify that, but I think at the end, and with Monolith too, we just wanted to write the best songs possible, which I think everybody does. If a technical part serves that, then great. If not, it's okay to just sit there and rock out a little, it's not a sin to do that, to really break ourselves of, y'know, going "Oh, but this is too straight-ahead". I felt it was just go with our instincts and not feel forced into anything. \

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I noticed that - different though it is - in the album art, the monolith is in the background.

Josh: Mm-hmm. Yes it is.

Do you view the albums as linked?

Josh: Urn, conceptually, maybe this is kind of the further step in evolution, as far as humanity's attempt. I don't wanna say it's the endpoint, because then what else are we gonna write about? It's not, but it's definitely in its death throes. I'd say linked conceptually. Musically, I think a lot people really liked Monolith, and even said to us, "Do a Monolith Pt. II. I know that's a total cop-out, but...". That's cool and all but we wanna keep moving forward and not-"Oh, write another Your Disposal, write another-" 78 VandalaMagazine.Com - September 2015

Inter-view, lo,_ski g worm of @atte Deerapitation It's the stupidest artist that can do that. You're less of an artist if you just copy yourself, so we didn't wanna do that; we wanted to try and move forward and make as streamlined and tight a product as possible, and expand upon themes that we started. They're all kind of linked to a certain extent. Even with The Harvest Floor and everything like that, [we] just kind of continue on that path.

Do you view the world in which Anthropocene takes place [in which the human race has polluted/consumed itself out of existence] as inevitable?

Josh: I know this all seems kind of alarmist, but it's not going to be overnight, like everyone at the same time. It's really going to affect people in third world countries who don't have access to, y'know, western security blankets. It's going to affect them first. How soon? I dunno. It's like people just can't stop breedin'. That's gonna be the death knell: all these resources that we need and all this garbage that we create that we either aren't prepared or just don't care to properly and responsibly handle.

There's only a certain amount of space. Clean water, potable water, is gonna be one of the biggest - it's gonna be gold in the future.

-and gold will be nothing, right.

Josh: Yeah, exactly, it's not just pretty rocks, it's survival. It's a little more serious.

Wow. Heavy. [Both: nervous laughter] How did you select the guest performers on this album?

Josh: First, Tristan, from Author and Punisher, is a local friend of ours in San Diego, and we've been watching him for a long time. He's just awesome, all the machines that he makes, and the music is just really engrossing. We wanted to have that brutal clanging industrial sound, so we hit him up and he was more than happy to do it. We had him and then Jurgen Bartsch [of Bethlehem]. Travis [Ryan, vocalist] and I are big fans of him. So he[pointing to Travis] had been corresponding with him, actually, and they got along well and, of course, "It'd be awesome if we get Bartsch on our record", so he asked him and he said [german accent:]" h, of course". He had this little passage that he gave him to read in German. It's not complicated; he's just reading it in this very - it's German enough, if y'know what I mean [laughs]. And, then, Phil Anselmo, urn - our friend John Jarvis, who's also our merch fellow, but also for Pig Destroyer, Fulgora, and Agoraphobic Nosebleed, he called us up and he was like "Hey, wouldn't it be amazing if you guys had him as a guest on your record?" "Uh, it'd be cool" "Let me ask him right now, cause he's on my phone" or some sort of equally amusing way, so Phil said yeah, and we had him do this kind of spoken word bit, and it's very distinctly him, if you know his voice. So he did this spoken word bit at the beginning of Prophets of Loss and he did a couple screams in the track as well. We don't usually do too many guests, but we've had Jarboe from Swans on The Harvest Floor, Jackie Gratz from Giant Squid. She's great; she did cello on a couple things for Harvest Floor. But, yeah, this one is three guests, although the parts are pretty short.

Enough that you could still do it live without 'em? josh: Yeah, well we had the sample for Bartsch's voice, as you heard, and, then Plaugueborne, um, we're gonna figure that out. It's a timing thing. There's a click and then it gets all complicated. And then, Prophets of Loss, obviously Travis can do that, but when we do see Phil at the Gwar-B-Q, we're gonna ask him if he wants to. That would be cool. If not, we'll just play it for him over and over and go "read this, here, right now" September 2015 - VandaiaMagazine.Com 79

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Josh Elmore Performing at the Armstrong MetaVest 2015 Photo Credit: Dana Zuk Photography

You don't have any obvious peers in death or grind. I was wondering if you were getting influence from outside of that little world.

Josh: All of us love to listen to drastically different music. I mean we all listen to metal, it's not like [grumpy pompous voice:] "Oh, well, none of us listen to metal," of course we do, but, as far as stuff that we may draw influences from, it's really disparate. I mean, Derek [Engemann, bassist], Dave[McGraw, drummer], and I love Tears For Fears. I don't know if that figures into the music. I doubt it. Also, Derek and I love black metal, so I think that definitely - it has for a while on the past releases, but more so on this one, I think there's more of that chording, tonalities, and stuff like that, it really rubbed off.

It's great how you play black metal as sort of a melodic instrument Josh: Mm-hmm. Instead of just [ugly rasp], which - I love that stuff, don't get me wrong. I love it! I love it! But it's like how, instead of the octave chord, you can do the minor black metal chord and get melody out of that, which, I mean, that isn't any innovation at all; people have been doing that forever, but, in the context of what we do, I think it sort of makes it that way. Musically, we love these guys, but I don't know how much it rubs off on us. As far as trajectory goes, a band I admire is Enslaved, because they've evolved throughout what they started at and they keep one-upping each album, it's like god! People have their favorites, obviously, but they're a band I respect; they're great live, great attitude, they just keep pounding it out. If we can obtain that and just sort of use that as a model, I'd be very pleased.

Travis rarely listens to metal. He listens to a lot of electronic stuff, stuff like pop. For a while, he was super into Britney Spears' last couple of records because of the production being what it was. All of us listen to really good-bad music, stuff that's like "this is awful", like really bad hip-hop that you find on youtube, just novelty stuff. It rubs off on our attitudes and the way we treat each other, hanging out with each other - not musically. There's just a million different things coming from every different direction that just gets kind of poured into the band, whether it's conscious or subconscious.

Anything else I forgot to ask?

Josh: Record's out on August 7th. If you haven't already torrented it, or downloaded it, or whatever people do, please pick it up. www.cattledecapitation.com www.facebook.comfcattledecapitation www.twitter.comicattledecap www.youtube.com/MetalBladeRecords

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Emerging from a 15-year hiatus as a changed man, both musically and personally, Tad Doyle (ex-TAD, ex-Hog Molly) has broken his contemplative silence with an earth-rattling, sub-sonic boom on the self-titled album from Brothers of the Sonic Cloth. While seeds of what would become doom/sludge can be heard in TAD albums, and traces of grunge/noise-rock can be heard on this album it is, after all the same person behind them), the evolution sees him tackling themes on a much Larger scale, perhaps the largest scale there is.

With his calm eyes and genuine warmth, Tad sat down with us to talk about what he's been up to, and accidentally enlightened us a bit in the process.

First of all, congrats on Heavy Montreal Tad: Yeah, that was a blast.

Biggest crowd you've played for?

Tad: Yeah, yeah, in this band, for sure Peggy Doyle (Bassist/Tad's wife) [in reference to my shirt]: Isn't that a Seattle band?

Pissed Jeans? Nah, they're local guys; they're Philly-based.

Peggy: Who am I thinking of?

Tad: Well, they're on Sub Pop Peggy: Oh, they're on Sup Pop; that's why I'm thinking that.

Speaking of Sub Pop, did you consider going back to them with this band?

Tad: We talked about it, and they don't really have the resources to work our record the way it should be, the metal resources. They do a lot of punk rock and whatever they're doing these days. They'd be capable of doing it, it'd just be challenging. They're not in touch with that much of the press of that type. (pause) They're good buds. In fact, they had us play the 25th [anniversary] for their celebration, outdoor festival thing.

That was a re-united TAD or that was Brothers?

Tad: That was Brothers, but we grabbed one guy, the guitar player, Gary. We played some old TAD songs and then we played some Brothers songs too. It was fun.

Was this album recorded in [your studio] Witch Ape? Tad: We recorded the drums and some of the basics at a place called Robert Lang in Seattle. It's a big underground complex [with] a huge stone room. We like that sound for the drums, the stone quality that you just can't duplicate with electronics. Then we did the rest and finished it up in Witch Ape. Both Dave and I did engineering for that.

One thing I just noticed during your set tonight is that this band has a really elemental vibe Tad: True. I'd agree Was that from spending time away from music, in nature?

Tad Yeah, for sure, and realizing that that's where the immensity and power is, in elementals, wind, earth, fire, water. There's nothin' like water for power, man. You get in the way of water, you're in trouble, as Fukishima proves.

Why do you associate water with power?

88 VandalaMagazine.Com - September 2015

Interimiew. Tad Doyle Well, water seeks its own level and, you try to hold it back, it's not gonna work, it always wants to move forward and just always wants to be...there. We try to harness it all the time, and it usually winds up workin' for a little while, but it can be disastrous as we've proven over and over. That's just one aspect of it: wind, earth, sun, the core [of the earth], I really identify with those things, and space as well, the magnetics that go on.

You're in a unique position to answer this next question. Cascadia, once known as grunge-land, seems to now be avant-garde-metal land. Any theories as to why that is?

Tad: There's been a strong metal contingent for a long time, with the exception of maybe the sixties or whatever, but things were pretty hard then; they were cuttin' some new ground too. But, y'know, Soundgarden, Metal Church, Queensryche, there's always been that metal influence there, but I think it just keeps going further, as it tends to, if evolution happens and people wanna continue to better. It's a good influence to have so many good players around that really just throttle.

They say a band's only as good as their drummer, and you've found a monster.

Tad: : Man, I am really lucky. Like I've said before, in other interviews, I can't play with just any drummer. They gotta be able to kick my ass, 'cause I'm a pretty decent drummer myself, so he or she has to be able to throttle, have some chops and power.

He's a very powerful drummer. That's one of the things I love about him so much. He's one guy I would not like to f*ck with, 'cause I know him. Speaking of Cascadia, this guy, he is a true mountain man. He goes by himself with a pack, disappears for a week or two at a time, climbs the f*ckin' Olympic mountain range, disappears, comes back with amazing photos of a mother bear bouncing, the warning bounce, twenty feet from him.

That explains a lot.

Tad: Yeah. We joke that he's feral, but he really is, in a good way.

I read that one of the themes behind this album is reincarnation, specifically this being your last incarnation on this planet. How did you come across this intuition?

--- -1- I've always felt, ever since I was about 16 or 17, like I've been here before and I've had - I don't know whether it was just daydreams or premonitions of being a foot soldier in European wars In' shit, going through that and the suffering that goes through life with that kind of a thing, and being a woman - I've been a woman before, too, and that's no f*ckin' walk in the park, believe me, as many women will attest. I ask for this to be my last time here, 'cause I don't wanna do it anymore. F*cking living is hard, man.

Jesus! It's rough. I've had my flavor and taste of it, so I think it's time for me to go wherever it is,. I always have this fantasy that, for every soul that passes and doesn't come back, it becomes some kind of body, spatial body out there. A star goes [makes whooshing noise] and then that journey begins, whatever that is.

Is this record a way for you to ask the universe for that?

Tad: I guess. It's just things that were inspiring to me, for lyrical content.

When you were having a regression, did you forget that you were in the present time?

Tad: Sometimes I do. I've bitten my tongue from having the shit scared out of me before.

Do you feel like you've learned all the lessons you've had to?

Tad: I feel like I'm at a point in my life where there's plenty for me to learn. I know that, and the person who claims to know everything is in trouble. However, there's a September 2015 - VandalaMagazine.Com 89

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Death is not a f*cking fear, for me. When it comes, it comes, and I'm prepared. My wife and I spend a lot of time preparing for what is to come, on a spiritual level, not just financially. It's the real thing, the real things that matter, to lay the path to make it easier for us.

They say people know when it's their time to die, and I think people know when it's their time for transcendence.

Tad: True. I certainly identify with spiritual things. I don't consider myself to be religious or aligned with any one thing. However, I subscribe to the Taoist belief that I have everything I need, I don't need anything else.

Peggy: I think his lyrics are a lot about gratitude to the universe, for the darkness and everything else, for the light. Don't you, Tad? Tad: Yeah, for sure.

Peggy: Like "I Am". To me, that's a statement of gratitude.

What you're describing is very beautiful, but your music can be quite terrifying, even to this metal listener. Why do you think that is?

Tad: I dunno Peggy: It scares you?

Yeah, is that just me?

Peggy: The music, or the lyrics?

I haven't gotten a hold of the lyrics yet. Is that terror intentional on your part, or is that just my software?

Tad: We did wanna bring the essence of stuff being on the verge, and it can go really horribly Pcked up, but there's that crazy energy when you teeter there in that energy zone where you're, like - you're there and "Wow, this is...kinda cool!" and I liken that to my history of getting out of my mind on psilocybin [mushrooms]. You're on this plane and it can go really bad, but, as long as you maintain and keep cool and let it go instead of tightening up, that's where a lot of the problems on the planet happen is people tightening up, and it's like "Just relax!" For me, meditation takes me to the place that I couldn't really go where I always wanted to go. I'm not trying to escape; my meditation now is being at peace and at ease with the f*Ckin' monkeys swingin' through the trees.

That is the nature of mind and life, and just relaxing, it eventually calms...or not. Three days from now I could be a lunatic, but I practice to be a good human being and just be quiet, calm, and not be the first to speak. We all grew up in these rules from day one.

The "Don't do that" in kindergarten. All this stuff. The human being, on average, hears the word "no" a hundred and fifty thousand times before they're even two years old.

How positive is that? The de-programming of that is extensive and life-long.

Yeah, I'm still not over that.

Tad: I hear, in my head, "no" a lot. "I can't possibly do that." Well, why? The other voice says "Why? Why can't you do that? Because you're telling yourself you can't do it?" And that sounds like a crazy person, but, to be honest, I think it's more sane than a lot of people who don't question.

What, if anything, would you like people to be thinking about and visualizing when cause this is very much a headphones album - when they get into it?

Tad: Yeah, I agree. It is a headphone album. Billy [Anderson, producer]'s amazing for 90 VandalaMagazine.Com - September 2015

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This Is Only The Beginning with Beyond Creation Interview By Matt Bacon

Simon Girard is a pretty optimistic dude, and a very interest one to talk too at that. Delving into the open mindedness of his fans and hinting at great things to come it's hard to deny that Beyond Creation are one of the most exciting progressive death metal bands out there these days!

How are you?

Simon: Pretty good! Tour is awesome and we're having a lot of fun all together.

What's it been like being one of the more extreme bands on the tour?

Simon: Actually this is pretty cool. There's a lot of fans who didn't know us that weren't listening to this kind of metal. There's a lot of Born of Osiris, Veil of Maya and Arch Enemy fans digging in. It's good that we're discovering new fans and cities. We're getting something more to build with our music.

So this is the next step forward for you?

Simon: Absolutely. The Summer Slaughter tour is really good for us. Well see what happens in the future but this is only the beginning for now.

Do you have anything cool in the works?

Simon: We have a couple tours coming up but we can't talk about it right now. A lot of people will be glad to see us finally...

Are you hinting at Europe?

Simon: Maybe, maybe not! We'll see! There will be great tours to come for sure!

94 VandalaMagazine.Com - September 2015

Yo1/412Mazr I've heard rumors that Summer Slaughter isn't doing great this year... _ _ - It depends on the city. There are some places that really rock and have a lot of people. I just feel that there's a lot of different kind of music on this tour and that's good. As we said in the first question... it helps us get more fans from other styles. They can discover something different. For us the tour is going pretty good and a lot of people are here to see us.

What's your relationship with other Quebecois bands?

Simon: Luc Lemay is a good friend of ours. The other members of Behold! The Arctopus are good friends too. There are a lot of good bands coming from Montreal. We have a chance to get further in some ways due to our attitude but there are a lot of great bands from there.

Is there a defining element to the Montreal sound?

Simon: It's one of the places where I find myself pushing the boundaries. We all have different influences with bands from Europe. Montreal... the musicians, especially in techdeath they like to get a lot of variety in their music and push their own boundaries in playing their instruments.

What do you think drives that?

Simon: I don't know man. It's in me. We like music and we like to discover new things.

We're pretty excited about the future because we know that our fans are pretty open minded, as we are. Our two records are totally different from each other. People understand that. You can't expect a band to be the same for twenty years. We play what we love and what we discover. There is a Beyond Creation signature sound and we will keep that but it will always be progressing like anything else in the world.

So it reflects your personal growth?

Simon: I guess so yeah.

What do you think that will mean for music to come?

Simon: I don't know man. It's really hard to say in advance what we'll be playing in ten years.

But you think Beyond Creation will still be around?

Simon: Of course! This is just the beginning and people are really excited about it and feel it. When we play we are very happy to be there. We have a good chemistry between us and I hope it will grow for a long time.

So it's like you're on the forefront of a new generation of death metal...

Simon: I guess so. We're still discovering new open minded fans who are not exclusive to metal. We're introducing jazz and classical ideas into the music. To be enjoying music at its simplest is great!

What do you love so much about music?

Simon: All those feelings that bring us all together. Wherever you are in the world or whatever you are up too right now in your own life. You can always rely on music and get feeling out of that?

Any final words of wisdom?

Simon: Thank you very much! We hope all the folks out there who we see on this tour will enjoy their time with us!

September 2015 - VandalaMagazine.Com 95

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NOV 14 NEW YORK, NY iRVING PLAZA

NOV 25 NEW ORLEANS, LA HOUSE Of BLUES

OCT 30 ANAHEIM . CA HOUSE OF BLUES

NOV 15 SOSTON. MA HOUSE OF BLUES

NOV 27 HOUSTON. TX HOUSE OF SLUES

OCT 31 SACRAMENTO, CA ACE OF SPADES

NOV 16 HUNTINGTON, NY PARAMOUNT

NOV 28 SAN ANTONIO. TX AZTEC THEATER

NOV 1 PORTLAND. OR HAYOHORNE THEATRE

NOV 17 PHILADELPHIA. PA THE FaLMORE

NOV 29 DALLAS. TX HOUSE OF I1LVES

NOV 2 SEATTLE. WA EL CORAZON

NOV 18 PITTSBURGH, PA ALTAR

NOV 30 TULSA, OK CAIN S BALLROOM

NOV 3 VANCOUVER RICKSHAW

NOV 19 CLEVELAND, OH HOUSE OF BLUES

DEC 1 DENVER.. CO THE FILLMORE

NOV 8 MINNEAPOLIS, MN THE CABOOZE

NOV 20 CINCINNATI, OH BOGART'S

DEC 2 SALT LAKE CITY. UT MURRAY 'THEATRE

NOV 9 CHICAGO. IL HOUSE OF 61.1JES

NOV 21 SILVER SPRING, MD THE FILLMORE

DEC 3 MESA, AZ NILE THEATER

NOV 11 DETROIT, MI THE FILLMORE

NOV 22 CHARLOTTE, NC THE FILLMORE

DEC 5 LOS ANGELES, CA THE WILTERN

NOV 12 TORONTO DANFORTH MUSIC HALL

NOV 23 LAKE BUENA VISTA, Ft HOUSE OF BLUES

DEC d LAS VEGAS. NV HOUSE OF BLUES

NOV 13 MONTREAL METROPOLIS

NOV 24 ATLANTA, GA TABERNACLE

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American Nightmares with Jimmy Bower of Superjoint Ritual Interview By Matt Bacon *'

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Jimmy Bower is a road hardened dude with a lot of interesting aspects to his personality. Trying to dig into them is a hard task but the few glimmers of light he sheds are wonderful!

How are you?

Jimmy: I'll be alright!

How's it been this tour?

Jimmy: It's been going good. The shows have been great. Were just jamming man!

I remember seeing you at Housecore and it was only just coming together and then I saw you at Poughkeepsie and it was like "Oh f*ck!"

Jimmy: It takes time to get tight man. Its been ten years so it's going to take a bit.

Housecore and Hellfest were the first two shows but now we're tight man!

What's your plan going forward with Superjoint?

Jimmy: Write a new record!

Is Phil doing most of the material?

Jimmy: Nah, we're in a band, we all write.

What element do you add?

Jimmy: Guitar... I play second bass man.

Is that something you've done throughout your career?

Jimmy: I've been doing it since I was 18.

Do you feel you do that with Eyehategod?

Jimmy: That's where I started doing it. Eyehategod was first. Riffs are free.

98 VandalaMagazine.Com - September 2015

I n hervielvy Where do those riffs come from?

Jimmy: I make them up on the spot, they come from my influences.

Like who?

Jimmy: I like country music, stuff like that. But also Melvins, Trouble and all that.

What is it like transitioning between Eyehategod and Superjoint?

Jimmy: I do guitar on both but the tone is different.

How are you going to balance those bands?

Jimmy: Like it always has. I'm just on tour man!

Could we have a Superjoint/Eyehategod tour?

Jimmy: That would be killer.

Is that in the works?

Jimmy: Well we only just got back so...

Will you be touring regularly with Superjoint or what...

Jimmy: Hopefully. More than that even. Touring is free man. It's a figure of speech but That's what we do.

I'm noticing the sci-fi movie behind you...

Jimmy: I don't watch TV. I only watch kids TV with my little girl. She's two and some change. We watch a lot of Disney.

What are you favorite Disney movies?

Jimmy: I don't have any! I'm big into Meghan Trainor man! My daughter loves her stuff.

Does your daughter know what you do? _limn Yeah. When I facetime her my wife says "What does daddy do?" and she says "Jam!" and makes a metal face. She's a future rocker!

When are you gonna give her an instrument?

Jimmy; She already plays man! She beats up the drums!

How do you maintain a relationship with your kid while on the road?

Jimmy: Just through facetime.

Do you think it could get to the point where caring for your kid could get in the way of touring?

Jimmy: Nothing gets in the way of caring for your kid, that's why I'm out here. Music is my job and I have to care for her. Touring is secondary.

Why do you have a cane?

Jimmy: I've got a nerve sciatica. Its a pinched nerve. The cane takes the weight off it.

Is that going to be recoverable or what?

Jimmy: I hope so man! It's part of old age. But I don't think health will limit touring.

What do you love so much about music?

Jimmy: It's music... music is killer!

What inspires you to keep going?

Jimmy: It's for the kids man!

Check out Superjoint Ritual Online CLICK HERE September 2015 - Vandalaltlagazine.Com 99

ARE YOU READY FOR EXTINCTION?

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13/10 INNSBRUCK, AUSTRIA WEEKENDER CAFE & CLUB 14/10 BUDAPET, HUNGARY BARBA NEGRA MUSIC CLUB 25/10 GRAZ, AUSTRIA PPC - PROJECT POPCULTURE 16/10 VIENNA, AUSTRIA SZENE WIEN 27/10 BRATISLAVA, SLOVAKIA MAJESTIC MUSIC CLUB 28/10 KRAKOW, POLAND FABRYKA KLUB 19/10 POZNAN, POLAND ESKULAP 3G/10 WARSAW, POLAND PROGRESJA MUSIC ZONE 31/10 GDANSK, POLAND KLUB B90 01/U VILNIUS, LITHUANIA FORUM PALACE 02/11 RIGA, LATVIA MELNA PIEKTDIENA 03/11 TALLINN, ESTONIA ROCKCLUB TAPPER 04/11 JYVhSKYLA, FINLAND LUTAKKO 05/11 TAMPERE, FINLAND KLUBI 06/11 HELSINKI, FINLAND TAVASTIA CLUB

07/11 JOENOU, FlilLAND RAVINTOLA KERUBI 09/11 STOCKHOLM, SWEDEN DEBASER STRAND 10/11 OSLO, NORWAY JOHN DEE 11/11 GOTHENBURG, SWEDEN STICKY FINGERS 11/11 COPENHAGEN, DENMARK PUMPEHUSET 14/11 GLAUCHAU, GERMANY ALTE SPINNEREI 15/11 ZLIN, CZECH REPUBLIC WINTER MASTERS OF ROCK FESTIVAL 16/11 NURNBERG, GERMANY HIRSCH 17/11 SOLOTHURN, SWITZERLAND KULTURFABRIK KOFMEHL 18/11 BRECIA, ITALY CIRCOLO COLONY 19/11 LINDAU, GERMANY CLUB VAUDEVILLE 10/11 STRASBOURG, FRANCE LA LAITERIE 1/11 HUY, BELGIUM ATELIER ROCK Z/11 EINDHOVEN, NETHERLANDS EPIC FBI

AVOCADO BOOKING PRESENTS

WITH SPECIAL GUESTS

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THE INTENIMPTEIS • THE IHITINCIABIES • TOTAL CHAOS

DENNIS MCCOY

SATURDAY, OCTOBER 10, 2015 GENERAL ADMISSION SHOW SAN MANUEL AMPHITHEATER FESTIVAL GROUNDS, SAN BERNARDINO, CA OVERNIGHT CAMPING AVAILABLE! #ITSNOTDEADFEST 'OFF THE WALL:.

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