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Contents August 2016 Vandals 8 REVIEWS & EDITORIAL Barb Wire Dolls "Desperate" (Grunge/Metal) Jeff The Brotherhood "Zone" (Psych/Grunge) Bat For Lashes "The Bride" (Indie/Alternative) Coco Marier "Dreamer" (Indief Rock/Synth) Blood Orange "Freetown Sound" (Synthpop, Alternative, R&B) Let's Eat Grandma "I, Gemini" (Experimental, Pop)

14 LIVE MUSIC & PHOTOS Don Henley Brings Southern Tinged Classic Rock to Paso Robles Mid State Fair Stevie Wonder Brings the Hits to the Remolded Chumash Casino Resort Hollywood Vampires End Their Tour in California Jeff Beck Brings 50th Anniversary Show Outside Lands After Dark: Snakehips, HALOS, Thomas Jack and Shadow The Wild Chic with Nile Rodgers and Duran Duran Bring Down a Chinese Rocket Beyond Bards with Boris Photo Highlights: Chris Cornell Photo Highlights: Miike now Woogie Weekend Makes Glorious, Splashy Return to Oak Canyon COCO rn

66 COVER STORY Get Schooled!

An Interview with Johnny Richter Johnny Richter's solo career has proven he is still a beast on the mic. His brand new release "School's Out (Still Laughing) is keeping authentic hip-hop alive! We chatted about his career, album and much more.

52 INTERVIEWS 52 Mortality And God with Michael Gira of Swans 60 What's Ugly?! A Sneak Peek Teaser With Intrinzik & Crossworm About New LP 74 Depression, Anxiety and Cats: An Interview with Marissa Nadler 82 The True Horror You Never Hear Coming An Interview With Cremator of GHOUL 04 VanclalaMagazine.Com - August 2016

Front Cover Design By Erin Torrance Augsut 2016 - VandalaMagazine.Com OS

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Barb Wire Dolls "Desperate" (Grunge/Metal)

By Chad Thomas Carsten - 5/5 Dragons Barb Wire Doll's latest release "Desperate" is a bonafide masterpiece! Each track is just a straight up raw in your face rock n roll anthem that would all make Johnny Rotten and Lita Ford jaws drop in amazement upon first pressing play. The riffs are definitely inspired by early Hole, The Runaways, Patti Smith, Motorhead, and Black Flag, as if the musical notes from the riffs of these great artists were all blended together in a giant blender the size of Mauna Kea. Only a titan from within Greek Mythology would be tall enough to blend the riffage and pour the blender, drenching the earth in tasteful juicy riffs that truly define who Barb Wire Dolls are as a band. The rock 'n' roll genre needed this type of record to flush out the staleness that's ruining today's modern rock radio, digital and FM. The energy of the band is what makes it so refreshing to listen to. You can tell just by listening to the first three songs of the record that Barb Wire Dolls are extremely passionate when it comes to creating heart-throbbing music.

They probably play full songs in their sleep, that's how dedicated this band is!

Besides originality and the style riffs, what will catch listeners off guard through their headphones, are the vocals from Isis Queen. Her singing is so powerful, it could lead an ancient army onto the battle field leading straight to victory. The people who love the pits will be thankful for her vocal talents too. www.barbwiredolls.bandcamp.com VI

Jeff The Brotherhood "Zone" (Psych/Grunge)

By Michael Smith- 4/5 Dragons

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The Nashville duo return with an exciting venture away from the world of modern garage rock, and create an album directly from the early 90's Seattle garage scene. Conceptually trading in their denied jackets for flannel shirts. Fans of this band will appreciate the growth in the band as well as their continuing to remain in the realm of slacker culture and not yet evolve into mainstream darlings lacking some honest rock n roll debauchery. Intent or not the influence of acts like Mudhoney are all over this album, and in a time where the early 90's sounds are in a resurgence few artist doing it with the talent and power, as demonstrated here. The tracks "Idiot" and "You" are two of the coolest rock songs released this year and are must for fans of loud music. www.daddario.com

08 VandalaMagazine.Com - September 2016

Album Remiew Bat For Lashes "The Bride"(Indie/Alternative:),

By Michael Smith - 4/5 Dragons Bat For Lashes (Natasha Khan) delivers the strongest release of her career yet. Crafted as a concept album telling a story of a bride to be who loses her fiancĂŠe in a car accident on the the way to the wedding. The bride decides to go on the honeymoon alone, and listeners here the trauma and emotions she experiences throughout. The product of this is a dark, haughty, work of beauty.

Khan takes her listeners to another place, and though the story may be something only a few can relate to, the concept of Joe (the groom) representing the concept of love, and it's connection with death. The songs whirl these heavy emotional with whimsical and at times chilling vocals. An auditory dreamscape of piano, guitar that many of her contemporaries emulate, but a sound and feeling that is exclusively Khan's www.batforlashes.com

BAT FOR MEE THE BRIDE

Coco Morier "Dreamer" (Indie/Rock/Synth)

By Michael Smith - 3.5/5 Dragons Euro style indie pop with heavy synth influence, and done the right way. The tracks on this release inspire a playful cheery attitude that have dream backing. To put a visual sense to this album, one can imagine a light sunshine shower, on an overcast day with the rays of the still blistering through the sky. A young girl joyously strutting down the sidewalk of a Paris or London) suburb.

Drops of rain spinning of the her vinyl umbrella and raincoat. There is a carefree attitude throughout this entire album that is infectious and nearly impossible to not make listeners crack a smile, this pairs seamlessly with the breathy voice of Nicole "Coco" Morier. By and by, Dreamer is a well made synthpop album that is a lot of fun and deserve to be heard by the masses. www.cocomorier.com

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Blood Orange "Freetown Sound" (Synthpop, Alternative, R&B)

By Michael Smith - 5/5 Dragons Blood Orange is the most talented musician going right now, and has, more so than anyone else, shaped the modern sound of Brooklyn, and New York City in general. He is the go to producer if you want an album or ep to sound amazing and come with a mass of artistic credibility. On this latest release Blood Orange (Devonte Hynes) continues his multi genre greatness, creating an artwork of an album littered with modern R&B, soul attitude, funk bass lines, New York indie rock, and pure sensuality. Freetown Sound is an album inspired by the experience of personal discovery and belief you are not living up to the cultural standards set by others and the musical prowess of Hayes will leave you in awe, and one may discover themselves a bigger fan of a genre they never knew they loved before. Like other albums listeners can sense Hayes is overloading with ideas and at times it can be a bit overwhelming, however many of the thoughts and expressions are true genius, and come from a source and heart of real passion. www.bloodorange.nyc

Let's Eat Grandma "I, Gemini" (Experimental, Pop)

By Michael Smith - 4/5 Dragons Very experimental, and hard to classify release.

The songwriting is reminiscent of the odd world you expect from Ariel Pink, but this is a sound that belongs to no one else. Drawing influence Western Asia, dream pop, 90's techno, new wave, and almost any/everything else one could imagine. Many times, album's blistering with as many different sounds as this have tendencies to get in its own way, and create something that is unlistenable, but that is not the case here. The songs may be dripping with odd quirks but are an easy and fun listen. This album may not change your life, inspire social change, or anything of that nature, but will put a smile on your face, and is a good addition to a summer playlist. www.letseatgrandma.co.uk

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Don Henley Brings Southern Tinged Classic Rock to Paso Robles Mid State Fair Photos and Article By L. Paul Mann

L.Paul Mann

Founding member and drummer of the Eagles, Don Henley, brought his grandiose solo project to the Paso Robles Mid State on Tuesday, July 26th, as part of a world tour that continues for the rest of the year. Henley lead a I band featuring no less than 14 performers on a two hour journey, covering his more than 40 years as a songwriter. Unlike last years tour that shied away from Eagles songs, the current tour includes Eagles classics, as well as the prolific songwriters biggest hit solo singles, songs for his latest album, Cass County, and a few surprises. The southern and country rock tinged show was well received by a crowd of about 9,000 people, which seemed fittingly set in the midst of the classic summer fair.

The musical journey began with Henley in the center of the stage, his guitar swung over his shoulder, singing an inspiring version of Seven Bridges Road, surrounded by most of the bands members acting as an impromptu choir. The Steve Young cover, on the Eagles 1980 live album, was a beautiful way to begin the show in the searing summer twilight of the Mid State fair. During the next thirty minutes the extended band of veteran musicians tore through some of Henley's biggest hits including, Dirty Laundry and Sunset Grill, a new song from Cass County, That Old Flame, and even an Eagle classic, bitchy Woman, setting the pattern for the rest of the evening. As has been well documented in recent reviews, the critically acclaimed and country tinged Cass County album offers up great songs with a legendary roster of guest singers.

Songs from the album appeared throughout the show, with three backup singers taking over the parts sung by guest vocalists on the album. Meshing majestically with Henley, the three sang eloquently. Laura Johnston, sang an emotional version of Trisha Yearwood's vocal in Words Can Break Your Heart, and both Lily Elise for Martina McBride in That Old Flame and Erica Swindell for Dolly Parton in When I Stop Dreaming, were also astounding. A real surprise on this tour is the inclusion of a cover of the Tears For Fears classic Everybody Wants to Rule the World, described by Henley as particularly relevant, in a veiled reference to his dislike for the Trump campaign.

The 19 song set list continued in the same vein, covering all aspects of Henleys career, to the delight of the crowd. A triple encore featured three Eagles classics, including Life In The Fast Lane, Hotel California, and a particularly moving closing rendition of Desperado, dedicated to the passing of fellow Eagle Glen Frey, and the turbulent times that we live in. www.donhenley.com www.facebook.comidonhen ley 14 VandalaMagazine.Com - September 2016

R7TDE-g FLIGHT OF THE CONCHORDS "WEIRD AL" YANKOVIC PATTON OSWALT MAC DEMARCO SARAH SILVERMAN WILL FORTE FRED ARMISEN MAYA RUDOLPH NANCY WHAM ERIC ANDRE LIVE! MUSIC OF WET HOT AMERICAN SUMMER TIM HEIDECKER JENNY SLATE THE VANDALS GARFUNKEL AND OATES GELMANIA MICHAEL CARBONARO DJ DOLIGGPOUND BRENT WEINBACH FUFOBB FEAT KYLE NEWACHECK IHEARTCOMIX SUPERSHOW JONATHAN TOUBIN TENACIOUS Di • • -F VOAC aXS

Stevie Wonder Brings the Hits to the Remolded Chumash Casino Resort Photos and Article By L. Paul Mann The newly remodeled Chumash casino resort in Santa Ynez was blessed with a two night performance by living legend, Stevie Wonder. The Samala showroom recently reopened after a massive casino expansion.

After some discussion, the original sound system, featuring the Ferrari of concert sound systems, the Milo system was kept intact. According to Milo, the system includes a dozen Milo high power curvilinear array loudspeakers, two Milo 120 expanded coverage cabinets, two M3D sub directional subwoofers, and six high power subwoofers. The result is simply the best sound system found in any venue in central California.

The excitement in the air was palpable among the fortunate 1400 fans who managed to score tickets at the second of the two sold out shows, on Sunday July 24th. Wonder took the stage, to perform a two and a half hour set, featuring no less than 32 songs.

Wonder, beaming widely, greeted the crowd warmly and opened the night with his classic song, "Did I Hear You Say You Love Me?" While a fourteen piece band of veteran musicians and backup singers quietly began to take their places onstage, Wonder began playing the 1980 hit song, on a strange instrument, which is a combination of a guitar and a keyboard, called the Harpejji. The crowd in the Samala showroom immediately leapt to their feet. Wonder and the band quickly followed up with "Master Blaster Jammin" from the 1980 album, Hotter Than July. The musical icon has long been a master of multiple musical instruments. When I first saw him perform in Hawaii in 1975, he played no less than nine different instruments, including an incredible 25 minute drum solo during that nearly four hour show.

The iconic singer spent much of his time bantering with the audience before most songs, always preaching a message of peace and unity. "We're living in a time where we wish we could go and be somewhere else, where things are better," he said "But the only way we can make it better is by doing that, by making it better ourselves," Wonder quipped. For the better part of the concert, Wonder's voice held up well, but late in the evening, he caught a frog in his throat. Caused possibly by the thick smoke in the area from the huge Santa Clarita fire on the next mountain range 30 miles away, his voice began to crack. The always upbeat performer had to restart "Ribbon In The Sky" several times before clearing his throat and joked with the audience in the process. But then he got back in his groove and moved into more rock oriented, explosive material like "Living For the City." Wonder introduced the song by saying, 16 VandalaMagazine.Com - September 2016

"I want rail to promise me that you'll never see America like this again. It's about moving forward, not backwards."

Wonder then told an anecdote about running up a sky-high phone bill on his mom's phone, explaining that he fell asleep while talking to a girl in Los Angeles. That led into a cover of "The Letter" by the Box Tops, and morphed into a medley with 11 Wanna Hold Your Hand" and "My Girl," followed by a cover of "Whats Going On" by Marvin Gaye.

Towards the end of the night Wonder announced, "From now until the rest of the show, you will address me as DJ Tick Tick Boom." He then played clips of songs from many of his recently fallen musical friends, while singing karaoke style over the tracks. He included songs by Prince, David Bowie, Glenn Frey and B.B. King. He even sang over tracks of some older Stevie Wonder classics to mix it up.

Wonder then returned to his keyboards to lead the band in a thunderous closing jam of one of his biggest hits, "Superstition". The adulate crowd went into a dance crazed frenzy for the finale. It felt like a very special night for all involved.

The Samala showroom has resumed a regular schedule of concerts again at the Chumash casino resort. www.chumashcasino.com www.steviewonder.net www.facebook.comiStevieWonder

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Hollywood Vampires End Their Tour at California Mid-State Fair Paso Robles Photos and Article By L. Paul Mann There is, perhaps nothing that personifies the spirit of America more than a state or county summer fair. The California Mid State Fair, in rural Paso Robles may be the best example of this classic American experience in the golden state. The small agricultural community of Paso Robles sits in a fertile valley surrounded by majestic mountain ridges, farther from any major metropolitan area than most any other community in Central California. Consequently, the area has become a coveted tourist destination, especially in the summer during the ten days of the fair.

The event is a classic fair complete with competitions for all manner of farm animals, an old fashioned carnival with rides and games and copious amounts of comfort food and beverages.

The fair was well under way on Monday July 25th when the Hollywood Vampires came to play the final show of their summer tour. The band arrived early to linger backstage and do a prolonged meet and greet with contest winners and special pass holders.

Meanwhile, most music fans were lingering in the main fair grounds. There was a whole host of activities to choose from. Young children were showcasing their farm animals, striving for the coveted blue ribbon awards. Huge milk cows were being paraded in front of one arena, while others were vacuuming their prize sheep and goats in another, for their competition. With temperatures nearing the 100 degree mark most fan patrons found indoor bars and exhibits to find respite from the blazing sun. One exhibit featured local school art and photography contest winning ensembles, mixed with an array of exotic animals. A hairless cat, long armed monkey and a South American armadillo created a big stir. Live music was also plentiful in the main fair area. Brandi Clark attracted a large crowd for a late afternoon performance.

The country rocker was nominated for a best new artist Grammy last year, but it is her songwriting skills that have put her on the map. Her songs have been recorded by Sheryl Crow, Miranda Lambert, The Band Perry, Reba McEntire, LeAnn Rimes, Billy Currington, Darius Rucker, and Lacey Musgraves. She played a crowd pleasing set backed by a strong country rock band, while the scent of barbecue wafted through the air.

The Chumash grandstand arena opened shortly before the 7:30 main event. The arena which holds over 14,000 people featured a near two week line up of top pop music talent. The Monday show by the Vampires brought in over 8,000 people filling the arena to just over half its capacity. The Vampires came on stage at 8.30 ready to rock.

There was some concern whether Aerosmith guitarist Joe Perry would be up to the task, after his mysterious July 11th collapse during a concert and subsequent hospitalization. But there was no sign of weariness in the master guitarist Monday night, who performed brilliantly throughout the set. Whether it was the fact that this was the bands final night of their summer tour or that they were happy to have Perry back, the band seemed to be truly living in the moment, frequently prancing about the stage, chatting each other up and laughing gleefully throughout the set.

The Hollywood Vampires began as a tribute to the many fallen rock stars that used to frequent the infamous Rainbow bar on Sunset strip in Hollywood. The brainchild of Alice Cooper and Johnny Depp, the idea actually morphed from a tribute set that Cooper was already performing over the last several years, during shows with his 18 VandalaMagazine.Com - September 2016

20 VandaiaMagazine.Com - September 2016

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Alice Cooper band. The tribute would feature a mini set of cover songs, featuring dead rock stars, including Jimi Hendrix, The Who and The Doors.

He expanded the idea into a tribute band and recording honoring his crazy rockstar friends and their infamous adventures on Sunset Strip. He enlisted the help of Johnny Depp. FYI, sorry to the haters, but yes Depp can really play guitar. During his performance Monday night he frequently played lead rhythm guitar with his own unique style and finesse. Depp brought along Bruce Witkin, his former band mate from the rock group the Kydz, which Depp joined in 1980. Witkin is sort of a rock everyman, playing bass drums, keyboards, guitar and is also a singer songwriter. The band also features Perry on a searing lead guitar and Cooper protĂŠgĂŠ, Tommy Henriksen from the Alice Cooper band on guitar and vocals. The band is completed with a rhythm section featuring go to rock drummer Matt Sarum, from Guns N Roses and Velvet Revolver fame and veteran bassist Robert DeLeo, from Stone Temple Pilots. Sometimes Duff Mckagan takes over the bass duties.

The band played the same 21 song set list that they have been touring with during their summer tour. The set featured covers of songs from the bandmates respective bands, and a few originals, as well as the extended list of their dead rocker tribute.

The band played full throttle during the entire set bouncing off one another like pinballs in a pinball machine. Cooper would frequently address the crowd and introduce each song. During the introduction of "As Bad As I Am", an original song from the band, Cooper explained that Depp had written the song about his step father, before introducing Depp, who launched into a piercing rock rhythm. The group not only played the part of rebel rockers but dressed the part as well. Cooper wore his classic horror garb, and had vampire marks painted on his throat. The rest of the band were also dressed like pirates. Depp even sported the same pirate teeth from his infamous Jack Sparrow character. The band seemed to play with ferocious intent but an uncanny ability to morph into a cohesive unit making each cover sound like their own original music. Sometimes the group would rework the covers into their own unique and interesting arrangements. For instance, on the classic cover of Whole Latta Love by Led Zeppelin, the lead vocals switched from Cooper to Witkin on the critical high pitched wails. While Witkin hit the high notes, Cooper switched to a blazing harmonica jam. Any classic rock fan would have to love this set of some of the best rock songs ever made. The band even reached back into the past, with hits like Bang a Gong (Get it On) by T Rex. The band returned triumphantly with a multi song encore joined by Def Leppard guitarist Phil Collen. Whether he was there as back up for Perry in case he could not continue, or was just there as a friend for the bands final performance on the tour, it was great to hear him join the searing cacophony of guitars on the classic rock song Train Kept A-Rollin by Tiny Bradshaw. The band ended with a classic from the Alice Cooper show, which features a morph of School's Out into Pink Floyds Another Brick In The Wall.

There has been some unofficial talk of a benefit show by the band coming up in Los Angeles later in the summer, but nothing has been confirmed.

Hollywood Vampires Online: www.hoilywoodvampires.com www.facebook.comfhollywoodvampires www.twitter.comihollywoodvamps 22 VandalaMagazine.Com - September 2016

Jeff Beck Brings 50th Anniversary Show Photos and Article By L. Paul Mann el For the second time in as many weeks a truly legendary pop music icon has made an appearance at the newly upgraded Chumash casino resort in Santa Ynez. Two weeks ago it was the inimitable Stevie Wonder who made an astounding two night sold out stop at the Samala showroom inside the resort. Thursday night, August 11, Jeff Beck brought his guitar drenched 50th anniversary show to the same venue. Beck, who is arguably the greatest living rock guitarist, played nearly two hours for a very lucky sold out crowd of just over one thousand ecstatic fans. The show was even more remarkable considering that Beck had just played the 18,000 seat Hollywood Bowl the night before.

The English musician began his career as a guitarist in his teens, playing in a series of mostly R&B cover bands with some regional success. But it was in 1965 that Jeff Beck rose to international prominence as a member of the hugely successful pop rock group The Yardbirds. Led Zeppelin guitarist Jimmy Page recommended Beck as a replacement for original guitarist Eric Clapton. Later Page and Beck both played L. Paul Mann in the band. In the 1966 British film "Blow Up," by then a young director named Michelangelo Antonioni, there is a scene where the main character in the film runs through a club where the Yardbirds were playing.

In the brief sequence Beck and Page can be seen trading riffs on The Yardbirds remake of the Tiny Bradshaw blues classic "Train Kept A-Rollin". Beck has been dubbed the "Guitarists Guitarist" and may be the most innovate of the triumvirate English rock icons to emerge from The Yardbirds.

The 72 year old master of guitar innovation came right out of the gate leading his masterful quartet of musicians with all guns blazing, launching straight into a song from his brand new album, the 17th of his solo career. The group opened with "The Revolution Will Be Televised" from the new album, Loud Hailer. The song was a homage to musician, poet and social activist Gil Scott-Heron, and in fact, the album is probably the most politically oriented that Beck has ever recorded. He collaborated with two of the members of his touring band singer Rosie Bones and guitarist Carmen Vandenberg, known as Bones, while making the politically charged album. The gritty vocal style of Bones lends itself well to the fiery lyrics on the new release. She confused the audience a bit at the Samala showroom Thursday as she wandered about the back of the venue singing through a megaphone, without a spotlight. Meanwhile, 24 VandalaMagazine.Com - September 2016

Beck and the band began wailing in a cacophony of sound and light on the main stage.

As adulate fans stood to get a better look at the rock icon, few knew where the vocals were actually coming from. Bones disappeared into the darkness as the band launched into the second song, an instrumental hit song called Freeway Jam from Beck's innovative 1975 album Blow By Blow. Stevie Wonder was a major contributor to the album, writing several of the songs. But it was the veteran English keyboardist Max Middelton that wrote the jazz rock infused Freeway Jam. The song highlighted Beck's foray into fusion music, a style which he admired after hearing John McLaughlin's Mahavishnu Orchestra. If Jimi Hendrix had managed to survive, his style most likely would have progressed into this sophisticated style of playing balls out freeform chord progressions. The fusion era highlighted Beck's unique and innovative style of playing electric guitar. For the most part he gave up using a pick in favor of using his calloused fingers. Sometimes he bashes the strings with his thumb creating a funk like sound almost like a bass player. His picking style is constantly in flux constantly searching for new microtonal areas. His use of the tremolo bar keeps his sound rooted in 60's hard rock, while at the same time expanding his tones into constantly new and innovative territory. The result is a symphony of guitar sounds that a trio of experienced pickers would be hard pressed to emulate. The explosive song also highlighted the requisite skills of the fusion rhythm section composed of Rhonda Smith on bass and Jonathan Joseph on drums. Their jazz oriented style matched perfectly with Beck's masterful techniques.

After several more songs from the new album Beck changed up the tempo with one of the most dramatic songs of the night, a cover salute to Mahavishnu Orchestra and their 1972 classic "You Know You Know". The explosive cover was a testament to the powerful guitar style of one of the only modern music guitar players to rival Beck's finesse, John McLaughlin. The dramatic song also highlighted the immense rhythm section talents of Smith and Joseph, with their respective bass and drum solos.

Beck then changed the mood again bringing out his longtime collaborator Jimmy Hall, the former lead singer and harmonica player for the Southern rock band Wet Willie.

Hall has played with Beck as far back as 1985, when he was nominated for a grammy award for his work on Beck's album Flash. The band with Hall on the microphone launched into two soul drenched blues covers of "Morning Dew" and "A Change Is Gonna Come," by Bonnie Dobson and Sam Cooke respectively. On the latter, Hall was able to hit some ear shattering and starling high notes that wowed the crowd and repeatedly brought them to their feet.

September 2016 - VandalaMagazine.Com 25

Bones returned to sing lead vocals on several more songs from the new album in a blues drenched style finding the throaty singer sprawling across the floor of the stage.

The mood returned to the political vent of the new album and the singer expressed the anguished emotion of the lyrics perfectly.

The band returned to the instrumental mode with one of Beck's most well known tracks Bolero. The stinging guitar drenched track was first recorded in 1966 by Jeff Beck on lead guitar, Jimmy Page on a12 string, John Paul Jones on bass, Keith Moon on drums and Nicky Hopkins on piano. Could there be any better supergroup of rock musicians? The original version of the song appeared on the flip side of Beck's single, Hi Ho Silver Lining in 1967. Later a truncated version appeared on Beck's masterful blues rock album Truth, in 1968. The crowd responded immediately leaping to their feet and standing for the rest of the set.

Jimmy hall returned to sing and play harmonica on the last four songs of the set.

These included yet another homage to Stevie Wonder featuring a spirited version of Superstition. The crowd by this time had surged forward pressing against the barricades and as is the custom at the Samala showroom, eager fans were allowed to swarm the front of the stage for the end of the show.

The double encore began with a Muddy Waters classic American blues song, "Little Brown Bird". Hall returned to sing and play an appropriately rocking harmonica solo.

The final encore featured an almost magical instrumental version of The Beatles classic, "A Day in the Life". Beck managed to emulate the entire London orchestra found on the original recording. The band took their final bow and Hall emerged to sign autographs and chat with music fans for nearly an hour. The huge crowd that stayed to meet him was a testament to the power of this amazing group of musicians.

26 VandalaMagazine.Com - September 2016

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Outside Lands After Dark Photos and Article By Cielo de la Paz Outside Lands came and went this past weekend at San Francisco's Golden Gate Park. One of the great perks of Outside Lands is that those who don't attend the music festival can still benefit because many of the festival artists perform at local venues. Some of the artists were Polka, Years and Years, Ra Ra Riot, Caveman, Haelos, Jauz, Snakehips, Griz, and Thomas Jack.

I was able to catch a few over the weekend at Rickshaw Stop and Mezzanine.

The show on Saturday night at Rickshaw Stop opened with a great new band called Shadow the Wild. Lead singer and San Francisco born Ari Welkom got the crowd primed with his strong vocals singing the band's hit song Twin Flame. Soon after, London-based band Haelos came on to the stage and mesmerized the fans with songs from their new album Full Circle.

There's just something about hearing AND seeing the female/male voices of Lotti Bernadout and Dom Goldsmith.

Bali. Well, it was hot in there.

Later that night was a sold out show at Mezzanine with Snakehips on stage. The duo, named as "1 of 10 New Artists You Need to Know" by Rolling Stone, were, simply put, on fire. It was a great time to get up close to see James Carter and Oliver Lee before their larger performance at the Twin Peaks stage at Outside Lands the following day.

It was amazing to see the duo move around nonstop on stage to give the crowd nonstop beats to groove to. Throughout their 2-hour act, everyone's hands were up in the air moving to whatever the duo mixed together.

The following evening was another popular act at Mezzanine - Aussie DJ, Thomas Jack. And of course, his trusty pineapple could be found by his side. You could tell the crowd below him were true fans as they waved their pineapples and palm trees in the air. Although it was one of the coldest days in San Francisco, listening to Thomas Jack made you feel like you were standing in the middle of the beach in Bali. Well, it was hot in there.

For a music lover living in San Francisco, there is nothing better than Outside Lands weekend. If there is an equivalent to binge watching a ter-show, this would be it with music from noon 'til 2 in the morning, 3 days in a row!

More Photos On the Next Pages 28 VandalaMagazine.Com - September 2016

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September 2016 - VandalaMagazine.Com 31

Chic with Nile Rodgers and Duran Duran Bring Down a Chinese Rocket Photos and Article By L. Paul Mann One of the hottest double bill concert tours of the summer literally brought down a Chinese Rocket on the night of July 27th at the Paso Robles Mid State fair. Chic led by legendary music producer, singer songwriter and guitarist Nile Rodgers opened the show with a party infused music medley of dance music hits. The 63 year old Rodgers is a national treasure. He began a successful music career with his former partner Bernard Edwards back in 1976 and together, they formed Chic, one of the most successful dance music bands of the disco era. But it was Rodgers work as a music producer, that has brought him the greatest success, producing hit after hit for over 40 years. The list of pop music stars that have worked with and revere him include, Sister Sledge, Diana Ross, Sheena Easton, David Bowie, Bryan Ferry, Madonna, INXS, Britney Spears, Spoons, and more recently, Daft Punk, Pharrell Williams, Avicii, Disclosure, Sam Smith, Pitbull, Lady Gaga, Kylie Minogue, Nervo, Laura Mvula, Keith Urban, and of course Duran Duran.

At the 2014 Moogfest in Asheville North Carolina, Rodgers gave a lecture on his life as a musician in New York City. He spoke of the trials of being born to junkie parents, including a 13 year old mom and having to fend for himself at a young age. At one point he skipped school for several months and snuck into a nearby movie theater every day and watched nearly every movie of the time, giving him quite an advanced world view for a child in the hood. His early fascination with the Beatles led him to take up guitar and he managed to settle in as part of the house band at the Apollo Theater, when he was still a teenager. This allowed him to play with an amazing roster of top talent, including Screamin' Jay Hawkins, Maxine Brown, Aretha Franklin, Ben E. King, Betty Wright, Earl Lewis and the Channels, Parliament Funkadelic, and many others.

Beaming widely from the minute he took the stage, Rodgers was living in the moment during his sunset set at the Chumash grandstand arena. He led the band straight into some Chic classics to begin his 75 minute set and danced around each member of the veteran group, making eye contact and leading them into a dance groove. The disco classics, included Good Times; I Want Your Love, and Le Freak. Shortly into the set, Rodgers took the time to tell his story of discovering that he had life threatening cancer, five years ago. His doctor told him to get his affairs in order. For Rodgers, that translated into trying to write as many songs as he could. Five years later he finds himself in the Paso Robles sunshine declaring himself cancer free and happy to be playing the fair and still producing hit songs. The set continued with some of Rodgers' greatest songwriting and producing hits from Diana Ross' I'm Coming Out and Upside Down and Madonna's Like a Virgin to David Bowie's Let's Dance and Sister Sledge's We Are Family. The music sent the crowd into a dancing frenzy. The biggest cheers came for his recent hit song 'Get Lucky' with Daft Punk and the David Bowie classic Let's Dance. But the real dance party broke out during the encore with the band playing the Chic classic Good Times. Contest winners and VIP ticket holders got to swarm the band onstage, along with the official fair queen and her court and some sort of strange twerking mascot. It was a spectacular feel good finale that felt like the end of a headline set.

As the summer twilight faded over the arena, the excitement in the crowd was 32 VandalaMagazine.Com - September 2016

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reaching a fever pitch, with ardent fans holding up their favorite Duran Duran album covers and squinting for the first views of the band. Just after the lights went out, copious amounts of fog billowed across the stage as red floodlights came up revealing lead singer Simon Le Bon descending a silver staircase. As ardent fans began to shriek, bassist John Taylor and guitarist Dom Brown emerged from the smoke at the sides of the stage and drummer Roger Taylor broke into the drum beat for the title track on the bands latest album, Paper Gods. Hardcore fans immediately noticed that missing from the band was keyboardist Nick Rhodes, who, according to Le Bon, "is not with us due to a family emergency". "We miss him dearly." California native PINDRI a singer, songwriter, keyboardist, and producer, was introduced as the replacement for Rhodes for the time being. Back-up singers Anna Ross and Jessie Wagner rounded out the band with great backing vocals and sensual dance routines.

The band stuck to the 18 song set list that they have been performing on their extensive world tour, but managed to personalize it to the crowd. Just like Rodgers earlier set, Le Bon expressed his gratitude for living in the moment, frequently bantering with the crowd. "How's the hamburgers?" he asked at one point, as the smell of barbecue wafted through the air. "We flew in from the East Coast. You are so lucky to live in such a beautiful place", he recounted, referring to the remote central California town, surrounded by majestic mountains. Speaking of Rodgers, halfway through the set, Le Bon paid homage to the master musician and then invited him out to play with the band on one of their biggest hit songs that the prolific music master had indeed produced for them, "Notorious". Rodgers stayed on to play another song from the bands latest album Paper Gods, which he also helped them produce, showing his and Duran Duran's continued relevance in the pop music world. The catchy new song Pressure Off features a guest appearance by young pop diva Janelle Monae, as well as Rodgers on guitar. A video with Monae appeared behind the band as they jammed with Rodgers. In fact there was a masterful video synchronized to each song in the set, sometimes employing live camera feeds to mix live shots of the band into the videos.

But the band may have not even noticed the most spectacular special effect of the night, which was completely random. About an hour into their set, the sky just behind the band lit up in a fiery display. No one really knew what to make of the spectacular explosion. It turned out that a Chinese commercial rocket had fallen out of orbit and just happened to break up in full view of the arena, disintegrating into a showering trail of fire.

The band played a particularly moving tribute to David Bowie, with Planet Earth/Space Oddity, while the image of Bowie towered over the stage on the video screen. As the band launched into crowd favorites like The Reflex and Girls on Film, there was a massive blast of confetti drowning the crowd. Before the encore performance of Save a Prayer, Le Bonn dedicated the song to the challenging times that we live in and asked everyone that had a cell phone to hold them high in the air.

The sky lit up with the devices as well as with at least one pair of a young tweens light up sneakers that he removed from his feet and waived over his head. Then there was one final song, Rio, complete with massive bouncing beach balls passing through the crowd. It was a magical night for the performers and their fans alike. www.nilerodgers.com www.duranduran.warnereprise.com www.facebook.comiduranduran 38 VandalaMagazine.Com - September 2016

Beyond Bard° with Boris Article By L. Sean Barrett Before the soul leaves the body upon death, there is a rattling noise of fluids caught in the back of the throat, often accompanied by various spasmodic movements and panting.

This is known as the "death rattle" In the Tibetan Book of the Dead, a realm of extreme chaos and confusion called "Bardo" is said to exist between this world and the next, so that the spirit must travel through it. I have just seen Boris play the album "Pink" in its entirety.

Hot on the tails of their seventh collaboration with pioneering noise-god Merzbow, this tour, for them, also coincides with the tenth anniversary of that legendary moment in their career that is "Pink". Still feeling it close to themselves, they have come back to these United States for the first time in four years bringing amps upon amps upon amps upon amps, and the legendary drone-doom act, Earth.

Dylan Carlson and Co. approached the stage, facing the packed room (roughly a thousand capacity) with a sort of swagger and bravado I hadn't seen from them last year during a more intimate show in which they headlined. This, I reckon, has a lot to do with the monsters they're opening for, and it was refreshing to see this different side of their collective personality. Drummer Adrienne Davies hit with a seemingly paradoxical mix of control/restraint and power. It was as if the air around her was molasses. Though this time around they were playing as a three-piece, those present were bathed and swallowed in glorious tone all the same. Now free from the promotional duties of touring their excellent latest album, this hour-long set of only six songs spanned the majority of their career.

Before we knew it, the time had come for an unthinkable amount of amplifiers (this from the creators of the album "Amplifier Worship") to heave their sounds through an impenetrable haze of pink-lit fog. To give you some idea of that unthinkability, the amps (in, again, a 1000-ish cap. venue) weren't even f*cking mic'ed. They just didn't have to be. Vocals and drums were, but not the torso-sized gong behind their diminutive firecracker of a drummer/vocalist, Atsuo, and his translucently pink kit. On lead guitar, Wata, and on a double-necked guitar/bass plus vocals, Takeshi. Oh, and did I mention the sheer volume?

Gear and volume aside, the level of energy and purity in their rock 'el' roll catapulted them beyond the all-too-common status of rock band and transported them into a very rarified and etherial realm of psychedelia in which they walk alone. Because of their connection with the more, er, "cerebral" (read: boring) music of Sunn0))), I had half expected those in attendance to just sort of headbob and "feel it", as we had all just done for Earth, but the manic celebration of freedom (which, to me, IS rock 'n' roll) was so compelling, so gut-grabbing that there was a joyously raucous pit with a decidedly non-metal flavor in spite of their receiving such a label), ditto with my brothers and sisters who got thrown around on top of people with me. One of those brothers was Atsuo, who, after alternating his gong hits with our screaming, leaped fearlessly into our outstretched, ready hands.

While all of "Pink" was played, it was not necessarily done in the original order, and several other gems made their way in, as did a two-song encore. The fuzz and noise of Boris, rather than defining them as they're so often defined, is the shaking and rattling that sets us free, the chaos that sends us soaring, the spasmodic twitching of light everlasting. www.borisheavyrocks.com 40 VandalaMagazine.Com - September 2016

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Woogie Weekend Makes Glorious, Splashy Return to Oak Canyon Courtesy of the TheConfluenceGrOup.com After hosting a sold out 12th annual Lightning in a Bottle festival and a packed house at their Coachella namesake stage, reigning catalysts of creation Los Angeles' Do La ventured to Oak Canyon Park July 8-10 to transform the lush, sprawling So Cal landscape into a whimsical water wonderland in celebration of the second annual Woogie Weekend festival. Two newly reimagined stages, The Hive and Kaleidoscope, brought a stellar collection of house and techno's finest to the forefront of an intimate, carefree playground overflowing with sublime vibes, vivacious dancing, blue skies, Slip n' Slides, water balloon fights and even a pond complete with fish.

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Temperatures soared while ecstatic daytime revelers flocked to the two juxtaposing neon chromatic stages that included a jewel-toned covered honeycomb hexagon structure known as "The Hive" and an industrial-piped jungle gym complete with foliage canvas laser light show known as "Kaleidoscope". Rejuvenating morning yoga sessions led by Gigi Snyder, Kishan Shah, Michelle Nayeli Bouvier, Shawni and Shayne Almeida transformed into two splashy daytime parties with electrifying afternoon performances from acts such as Blond:ish, FVDM, Taches, Dena Amy and Sunday's last minute surprise addition Lee Reynolds. Attendees had the pleasure of lounging in the grass or swaying from one of the many hammocks scattered about the grounds as they embarked on a playful, progressive auditory journey into a vibrant soundscape.

Sun chasers further exploring the grounds found themselves enshrined within Woogie Weekend's technicolor bliss, welcomed with a plethora of activities to seize the golden rays of daylight. As frisbees punctured the skies, vendors lined the perimeter with healthy offerings that crossed the spectrum of desires - from vegan foods to healing crystals, attendees found themselves delightfully wrapped up in a trove of amazement. Los Angeles' quirky dance and performance troupe Bijoulette returned to host the infamous slip n' slide, encouraging any and all through means of a booming megaphone to take a trip down the rolling hillside while riding atop inflatable sprinkle donuts, slices of pizza, or life-sized sea creatures. At any given moment, those traipsing along the grounds could find themselves entangled in the midst of a hard-fought water balloon battle, or maybe catch a ride on the towering furry pink flamingo art car roaming the grounds.

Sun-drenched days became engulfed by the dazzling embrace of warm twilight nights as the sun dipped below the mountainous skyline and the evening's talent took over.

Stars lit up the skies and an illuminating disco ball fell over the crowd while artists hailing from places both near and far lit up the decks. Taking over nightfall was a delicately crafted selection of global talent featuring Do Lairs own Jesse Wright, legendary Jon Hopkins, the elusive masked Claptone, visionary Damian Lazarus, and deep master of underground techno Oliver Huntemann. Sunday night proved to be the musical climax of the festival, encapsulating melodical magic into four hours of pure euphoria which included an ethereal performance from Kidnap Kid followed by a tantalizing 133 set from surprise addition Totally Enormous Extinct Dinosaurs who closed out a fanciful weekend of epic proportions.

To stay on top with news for Woogie Weekend 2017, be sure to sign up for the official festival newsletter found on the Woogie Weekend website. {Photos on the next pages} www.woogiewknd.com 46 VandalaMagazine.Com - September 2016

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How do you feel about doing press days?

Michael: It's the low point of my day but there is no offense intended, it's not my

favorite thing to do to talk about myself or the music. I realize it's necessary.

Have you ever liked to talk about yourself?

Michael: No. I kind of loathe people who talk about themselves and when you are in the music business you meet a lot of people like that.

So what do you like to talk about?

Michael: Usually it has to do with the proximity of death and the possibility of god.

I was going to ask you about that - I noticed you said you're not a deist...

Michael: I think that's a misuse of the word. I think deism was a popular theological argument in the 18th century. what I meant by that is I don't subscribe to a particular religious belief but I have a suspicion that some creative force of love or intention is buried behind our consciousness.

What makes you think that?

Michael: Observation and meditation and being completely dumbfounded by my own existence.

You actually do say in another interview that the infiniteness of the music makes you wonder if there is something greater... â&#x20AC;˘ --â&#x20AC;˘ =`. It could just be a neurological and physiological artifact. There is a positive force that occurs when the sound takes over. We are like marionettes and the music is playing us.

So do you view yourself as more of a conduit?

Michael: Well we rehearse like hell, but we look for spontaneity. Of course we don't get there without thoroughly digesting the nature of the material first.

That's something I've always loved about Swans live is that it is a very organic and almost spiritual experience...

Michael: The word spiritual is fraught with all sorts of hokey new age meanings these days but I see what you are trying to say. I can imagine seeing the Stooges back in the day must have been something similar. It is what it is. The guitars and the volume and the overtones and the sheer carnal abandon of it leads to something greater than the sum of its parts.

Something that struck me over the years is how many of them were inspired by your live show... where does your live inspiration come from?

Michael: First of all it's great to hear you say that after so many years of doing this

Right now my live inspiration doesn't come from anywhere since I don't go to see a lot of live music. That's mostly to do with my exhaustion. My ears can't do it! There have been a few standout points along the way. Seeing Teen Suicide back the day both in LA and New York City was hugely inspirational. Many of the nameless punk bands I saw were inspirational. The experience I mean, not sonically. Seeing Pink Floyd in 1969 at a free jazz psychedelic festival in Belgium was awesome. It was like reaching for something that was impossible to reach. There were other things I can't remember right now. I've seen some impressive Nina Simone and James Brown videos though.

What about those performances inspired you?

54 VandalaMagazine.Com - September 2016

Miehael Giro of Swariis Michael: The wild abandon. With band like The Germs it doesn't lead anywhere but when you are there at the time it's fantastic.

So you said you also like to talk about the proximity of death...

Michael: That's not a morbid occupation by the way. I don't think it's negative. I think its the most important thing that you can live with. It's the most pressing question.

It takes everything and focuses it on the correct perspective which is urgency. I just watched this fantastic movie by Andrei Tarkovsky recently called The Sacrifice. It's very long and very slow but once you give up it's utterly beautiful and thoroughly preoccupied with the question of mortality and the urgency of acting in life in light of the end. I wouldn't say he was religious but it has religious themes. That's a great movie I would highly recommend.

How does this urgency impact you day to day?

Like anyone. I get caught up in banal daily tasks and neurotic behaviors, but I'm talking as a general goal for my life, I'm talking way to personally, I don't normally do this! I try to keep a general awareness of that.

How do you get that, meditation?

I meditate. Once you step back and look at experience beyond judgment and analyzing things become truly psychedelic in a way. It's something I'm not privy to constantly but when the music gets there I experience something like that.

I've had similar questions personally, and I feel like there is a turning point where it goes from a grim specter to just something where it's like "Oh, that's going to happen"

September 2016 - VandalaMagazine.Com 55

IMerview Moritality An God Michael: Yeah! I read Zen books - it's obviously not meant to be translated into books but we are that kind of society. There is a book called Zen Flesh, Zen Bones it's beautiful in that way. It rearranges your mind and scrambles it and leaves you with sense of positive helplessness and confusion. There's another great book by St John of the Cross, Dark Night Of The Soul which is about people trying to get to the core of consciousness and existence and I find it to be helpful to read books that ask the important questions.

How long have you been.. seriously thinking about your own mortality?

Michael: I suppose when I was younger I didn't think about it much or if I did it was a sort of vague fear off in the corner. In the 80s I started to get very preoccupied with these issues. That was just from existence and being the kind of person who questions things. That impacted the music too. Look at the words. I was just looking at some words I wrote years ago, from '92 I think. You see it on a lot of records I've done. I'm particularly interested in how language through different juxtapositions loses meaning. It doesn't become nonsensical, but it points the uselessness of language. In modern philosophy, I've never read much, but it was the lingua franca when I was in art school but there was philosopher, Wittgenstein, who points out the absurdity of language. Then there are artists like Bruce Nauman who really influence me in that regard. I see similarity in his thinking to Zen Buddhism for instance.

Do you ever try to escape the confines of language?

Michael: Well as a writer that's kind of suicide! I don't know that I can even answer that question. The forces of nature take care of that. I have fewer words to put into the music these days. I don't think I will ever go instrumental though. I think that would be sort of cheating in a way, not living up to my full potential. I've obviously done a lot of instrumental music, and even the last two records have long instrumental passages. I did a record called The Body Lovers which was almost entirely instrumental. When it comes down to it I feel like it is my job to sit down with my acoustic guitar and write some kind of great song.

There's a lot to unpack there, you said you feel it's your job to sit down and write songs...

Well it's like - what my circumstances create. I started off as a visual artist and somehow ended up in music and adding words to the music. I'm a songwriter by occupation and that's so intertwined with my potential and being that to have a bad attitude would be doing a disservice to myself.

Is that something you grew into or is it from a God? Micvlael: I'm not a believer in a puppeteer God looking at our daily activities. I think

that's anthropomorphizing God. I'm just talking about my own circumstances. For example when I restarted Swans it felt like I had been denying myself of my own potential. I wanted to see what I could make of it.

What do you think God is like?

Michael: (Laughter) That's a preposterous question. I can't answer that. I'm sorry. I would recommend you ask someone much wiser than myself. Most of the time I am completely flummoxed as to why I exist or even if I exist. I have no knowledge whatsoever.

So you question your own existence?

Michael: Well yeah. Don't you?

56 Vandalablagazine.Com - September 2016

Iintertview. Mierhael Ghia of Smoriis Yeah, but I'm not a visionary!

Michael: I just do my work. I question my own existence, that's important. I try to live decently too I suppose.

Why is it important to question your own existence?

Michael: I just don't want to waste my life.

At this point, at 62 years old, do you feel like a success?

Michael: No. I just look at the music and my career as one long process of discovery and probably ril never discover what it was leading to. It's a long process. People ask about how I view the new record but I don't view it in any particular way I just view it as one piece of work in the whole cycle. Maybe this is taking on way too deep and philosophical a bent for a rock interview, I don't know!

Do you ever find yourself reminding yourself that it's only rock and roll?

Michael: Of course - but this is my life and as such it's what I make and what I leave is the most important question. I can't be frivolous about it, that's for sure.

So what do you love so much about music?

Michael: When music is great I think it's utterly transporting and it's a truly spiritual experience. Whether you are listening to Howlin' Wolf, or The Stooges or Ligeti or whoever. At certain points music reaches beyond itself and its great.

In an interview that has been filled with me picking your brain, do you have any final words of wisdom for me?

Michael: I have no wisdom, I probably should by this point, but sadly I don't.

Swans Online www.facebook.com/SwansOfficial www.younggodrecords.corn

Behind-the-Scenes &Viral Marketi

September 2016 - VandalaMagazine.Com 57

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etOtt'ANOtAN Abotni NtS41 Lp Interview By Chad Thomas Carsten

Intrinzik has been keeping the underground hip-hop scene alive for nearly fifteen years! His band Fall Guy toured with Twiztid and even performed in Austin, Texas via SXSW alongside Hatebreed and Mushroomhead. Mr. INT is also the founder of Underground Hustlin; which is one the longest running and one of the most successful hip-hop compilations within the underground to date! Kool Keith, Celph-Titled, Esham, and even Wrekonize (Strange Music) have hosted UGH! Currently, Intrinzik is preparing to release his next E.P. titled "UGHLY" and sound engineering pioneer "Crossworm' is producing the whole E.P.! This double interview is to give fans a teaser of what UGHLY i all about and how the release will in fact shake the underground to it's core!

Can we get into how UGHLY came to be and how it reflects society as a whole?

Intrinzik: I originally was trying to do like a Separated at Birth kind of deal. Like with a newer set of artists originally when I bought the fundraising package from Crossworm. My initial intention was to have it be an album with Me, Insane Loc, Mr. Grey, McNastee, and Snap; that didn't really go as planned. But all of those people are on the album. Some of that is on there, but then some of it is just me. I believe it's only six songs. The name of the album was actually going to be the name of the original group, but then it just changed into my own record. It was just hard to focus on everything at one time and try to get everyone together on the same page. It took up a lot of time for other projects, so that's what took so long. Another aspect of the whole thing; I wasn't originally going to put any guitar on it until I got a hold of Driver Williams, who is now the guitar player for Country super-star Eric Church. He was in the studio with a guy I was working with in Nashville, TN and they laid down some tracks for me.

This was with one of the biggest producers of all time, I met him through family and I had Driver go over there to check out this guy's new studio. Then as a favor I got Driver on a few tracks. Driver went back on tour and then I got my bra Larry (Who did most of the newer guitar for Fall Guy and Separated At Birth.) to help out. And then I had the guitarist of Strung-Out, (who've I've built a great relationship with over the years.) who happened to be in Phoenix and he came over and just knocked it out! This was Christmas of last year. The whole thing was not planned and came together righteously! I kept the name UGHLY too because Crossworm liked it. Symbolically it was an ugly process getting it together and Crossworm is still setting up a new studio.

The original fundraiser was to help build up his old studio to produce. And now he is putting together and even better one! We're looking to release UGHLY October 10th.

Ya know 10/10, it's sorta like a binary code because there is a lot of transhuman type of references on the record. The whole process is ugly but beautiful at the same time!

You and Crossworm have known each other online for quite a few years. Are we able to discuss your personal friendship?

Intrinzik: Him and I have been around the scene for so long and we see all the new trends come and go, so on that level we sorta relate to one another. lvlencaide was doing all that stuff on the old horrorcore.com website and obviously with me working with McNastee on his releases and Heavy Hittaz and of course Menacide hosting UGH; and then when Menacide starting turning over to Crossworm, that's sorta where a lot of people (me included.) figured out who Crossworm was early on. I was a fan of Crossworm's music because he was refreshingly different. In 2009 he produced a September 2016 - VandalaMagazine.Com 61

song for me on that years Devilz Nite compilation. That was our first collaboration and I think it was our last collaboration until recently. I liked that song on Devilz Nite.

Either you loved it or you hated it. With my stuff, people either love it or hate it. I think it's the same thing with Crossworm. But yea it was through horrorcore.com, but he's sorta reclused and I've never met him in person. But we would always chat. He's real dry and sometimes cynical with his uncle Crossworm videos. I totally relate to that!

UGHLY is our first major thing together! But we're in discussion about the possibility of using my infrastructure to put out his next record. It's definitely been a slow relationship, but it's definitely not a bad one! It definitely has big room to expand upon!

Can we discuss the track "Vacate the Building" from UGHLY and how it became to be?

Intrinzik: When I got the beat, Celph Titled was hosting UGH. Recently now when I network with hosts, I try to work out a better deal and get a hook or verse with the hosting package, just to get the artist a bit more money and to give me a little bit more mileage for the host's time. Ce1ph Titled threw the hook down and from there Daniel Jordan was over for some reason and said, "I have the perfect verse for that!" and his verse starts out with a call the police thing and I responded with,"Dude! Let's put that in the beginning of the song because that's a catchy thing and it's such a police state in our society lately!" Insane Loc did a verse to it, but the beat was too fast for him.

He's more of a slow-type rapper. So I reached out to ]-Reno in Canada and we hadn't did anything in awhile and I asked him what he thought about it and Reno went straight to it! Larry threw down the guitar and bass on there and it became a rock 'n' roll type anthem!

What's the main goal you want to accomplish with UGHLY and the future of INT? Intrinzik: I just want it to come out, dude and see what happens! But also to be financially independent within the next 12-18 months, so then I dedicate my life to be a hundred percent of constantly releasing music and compilations. That's where I'm headed now. Underground Hustlin probably has about 5-10 years left in it, because there are so many artists left who haven't hosted yet. For sure going to keep that going. I'm definitely going to keep the animated videos and cyphers, going along with what UGH is about to do too. I have to keep getting inspired at this point because I probably already have over 125 songs on I-Tunes at this point, so I have to stay inspired and I'm constantly reading books and researching things and keep trying to come up with an approach that no one is taking in hip-hop in general. I have a lot of transhuman type songs.

I'm working on a lot of songs, but I have to make sure things are fresh and innovative.

I can't just keep doing the same thing. The health and detox inspiration for others will be a main priority too. I'm building a yoga brand with one of my very close friends who is like an Amazon digital marketing genius. I've been involved with Yoga for quite awhile now and I've noticed that the problem with the Yoga scene in my opinion they've sorta mind-f*cked themselves into thinking everything is so positive. So I got into that scene and realized that the underground hip-hop scene is actually more open minded. It's like I'm too horrorcore for the Yoga scene, but the underground hip-hop cats and even the bigger artists are following with what I'm doing in the health area of detoxing because they want to be more healthy. The hip-hop heads understand where we're going as a society is dangerous with wearing all these electronic tracking technology. The Yoga scene seems to ignore /aren't hip about where mankind is going to end up because of the daily use of technology. I'm trying to merge both spectrums; 62 VandalaMagazine.Com - September 2016

Iinterview4S

k & Onossworm

the whole light and dark together.

What makes UGHLY appealing to the masses?

Crossworm: If talent were enough, then I would say that But that combined with all the variables, it's truly a big picture record. I started producing these instrumentals a couple years ago and we've been building the album slowly, leaving no stone unturned. Intrinzik's layered this album with intelligent thought, entertaining jabs, high level guest features, and instrumentals that have made this a BIG sounding record!

Lyrically, what verse from Intrinzik first captured your attention?

Crossworm: It didn't happen that way. I've known Intrinzik through the scene since his work with Mencaide and McNastee. So I can't really remember that far back. But he always stood out to me as a rock-rap dude that always had these giant sounding songs that I admired. As you may know, this album actually came about as the result of a crowdfunder I held back in 2013. One of the perks was an E.P. fully produced, mixed, mastered, and cover art from me. I was totally pumped when he showed me that support and immediately could envision the size of the record we were going to undertake. I'm building a brand new, beastly production computer right now, and the final mixes of Intrinzik's record will be down on it. I feel like it's full circle because he literally locked in this E.P. in the crowdfunder that paid for my FIRST machine. So it's like cosmic bookends; from needing help, to self-efficiency. I feel like that's also a major tone on the record.

Can you describe the production using only your currently craving for dinner as the lead metaphor?

Crossworm: I already ate. Which still fits metaphorically. Because the next step is a giant shit! The production will shit all over everything! Including what other people are craving for dinner. I'm a f*cking beast on the production, unapologetically.

As a hip-hop fan, how would you listen to UGHLY? Intrinzik: It doesn't play like a hip-hop record, man. Intrinzik is a beast lyrically and obviously he raps but this is something else entirely. It's not hip-hop in that kind of sense at all, especially in a modern/current sense of term. Rap music is a disgusting embarrassment of its former self, and I'd rather do push-ups into my own vomit after swallowing dogshit, than listen to popular rap music. I know over a hundred dope hip-hop artists, so don't get me confused. But as far as content of this album, I wouldn't call it hip-hop. To me it's more culturally punk in a rebellious sense. But how would I listen to it? I walk everywhere! I'm always locked in my ATH M50 headphones; typically my red pair with the coiled cable. (I have three pair of these.) I listen to WAV files when I can get them because it's my lifestyle and my job to care about high quality. An MP 3 is a tenth of the actual recording quality and I've trained my ears to hear the difference.

So I would say that it's a short listen for the kind of walks I go on. I would definitely bump it when I need to feel motivated and get where I'm going. I would play it on the way to my office/studio back to back with my last record. Because I actually make my music for me to enjoy like that. TNT's record was no different from front to finish! www.facebook.com/IntrinzikUGH www.facebook.comicrossworm www.crossworm.net September 2016 - VandalaMagazine.Com 63

IS YEAR ANNIVERSARY TOUR NIGHTS AND'2 ALBUMS IN EACH CITY

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NIGHT 1 SELF-T1TLEB NIGHT 2 IN LOVE AND BEATH AUG 16 & 17 - CRYSTAL BALLROOM AUG 19 & 20 THE OBSERVATORY AUG 23 & 24 HOUSE OF BLUES AUG 26 & 27 EMO'S AUG 30 & 31 - ARVEST BANK THEATRE Al 1HE MIDLAND SEP 2 & . THE PAGEANT SEP 6 & 7 - BOGART'S

PORTLAND, OR SAN DIEGO, CA HOUSTON, TX AUSTIN, TX KANSAS CITY, MO SAINT LOUIS, MO CINCINNATI, OH

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THE CLOSURE TOUR 2016 26-SEP: MANCHESTER, STAR & GARTER 27-SEP: GLASGOW, THE GARAGE ATTIC 28-SEP: NEWCASTLE, CLUNY 2 29-SEP: LIVERPOOL, STUDIO 2 30-SEP: LEEDS, THE KEY CLUB 02-OCT: NORWICH, EPIC STUDIOS 03-OCT: BOURNEMOUTH, THE ANVIL 04-OCT: GUILDFORD, OILER OM 05-OCT: TUNBRIDGE WELLS, FORUM 06-OCT: LONDON, BOSTON MUSIC ROOM 07-OCT: BIRMINGHAM, ASYLUM 2 -40•41E....0100nW LIVENATION.CO.UK • TICKETMASTER.CO.UK A LIVE NATION & FRIENDS PRESENTATION IN ASSOCIATION WITH CAA .. • ' :

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@rover Imteramiewic3i Get Se.hooled Johnny Richter's solo career has proven Mr. Richter is still a beast on the mic and great success will always keep following him wherever he may go. His brand new release "School's Out (Still Laughing) is a strong effort and keeps authentic hip-hop alive! Fans all over the world are more than proud of Johnny for soldiering on by himself without the Kottonmouth Kings and still continuing to follow his hip-hop dreams with a microphone tightly gripped within his hands, while conquering venues around the globe!

What inspired the album title for "School's Out"?

Johnny: It seemed like there was just a bunch of drama; like it seemed like I was in a high school environment. There was a lot of back talking and just people being two-faced with the he said-she said and people trying to say, "you can't wear that or talk to that person." and it was just like f*cking high school, like "What the hell, dude?!" Just knowing the truth about a lot of things behind the scenes, I couldn't believe it. So that's what the title means; "School's Out" is me being done with that high school shit. People need to live in the real world, not some made up fantasy drama world. I was going to just call it "Still Laughing", but "School's Out" just came to me one day and I just stuck with it. But I kept the "Still Laughing" inside because it's still me, I'm still the same guy people know from back in the day reaching for those positive vibes. But this is the new shit tho! School's out and I've moved on! I don't spend my days trying to be negative about shit. Don't have the time for it.

Laughs) I did the record in four sections, actually. When I was staying in San Diego and was hanging out with a friend, we met this dude that had a studio, because I had to record a verse for this Reel Wolf Underworld 2 track that I'm on it has fool G Rap,Vinnie Paz, Blaine, Chino XL, Swifty McVay, a ton of rappers!) and a friend of a friend knew this dude that had a recording studio in his own spot. He just had it. But anyways I was just hanging out in San Diego just relaxing and chilling, just living life and I finally just started getting the feeling to start writing again. I hit up Josh like, "Send me beats, if you can" and he sent me a bunch of beats and I just listened through and like chose six of them or something and literally started on a Thursday night. And by that coming Monday I had the first five or six songs done! I was writing a song a day and just kept getting pumped on the songs and would just put on another beat after a song was written and do it all over again the next day. So it was my place, Humbolt, San Diego, and then back to my place. Life inspires me to write shit. I don't sit around with a pad everyday and write, write, write. But it starts off with a beat usually and then the life experiences pour out.

Who did the album art?

Johnny: My buddy Andy, one of his friends did. I couldn't even tell you the dude's name, honestly. All I know is Andy said he had a friend that could do it and I had two different ideas. It was getting close to having to have a release date and the label called to see if I had any of the artwork and I told them, "No, but I am in the final mixing stages and I haven't thought about the artwork yet." And they replied with "Well, we need to get it going!" and well, they showed me one thing and it had nothing to do with the concept of "School's Out". It was all weed related and it definitely was not where I was trying to go with the record. There is only one pot song on there. Like with my first record "Puff, Pass" is the only weed smoking song. I don't want it to be 68 VandalaMagazine.Com - September 2016

Coiver I ii)eriview 101-ouiroi .

a Kottonmouth Kings record, minus the other guys. I've gone through 20 years of material with the Kings about smoking weed. Life is a lot more than just smoking weed. And then I finally saw the album art from Andy's friend and immediately dug it!

It's awesome that you decided to only focus the album on just you and not have a ton of guest features. What sparked that decision?

Johnny: I did that on purpose! I could've made phone calls and I was going to, but I decided, "Nope! I'm doing it myself!" and I didn't want to rely on a ton of features to sell my record after dealing with all that turmoil and going solo. It would look like I couldn't do it by myself, when can! So the two features are not the biggest names, but they're my friends and we made some dope shit! But I'm not saying in the future I won't have more features, it's just this is the first one out the gate after all that high school like drama.

"School's Out" is just me, check it out! I can carry a whole f*cking record myself.

Let's dive into the creation of the song "Keep On Keepin On" and your state of mind when you wrote the lyrics. Any details you'd like to share?

Johnny: Honestly, I was just at my house and I had buddy over and I was cooking breakfast. It was probably around noon or one p.m. and I was just going to cook some eggs and just started f*cking around. I was talking about getting loud and getting Bud Lights or something -Starts singing the lyrics- I was just laughing and playfully talking shit, joking around, ya know. And then the groove of the lyrics just came on through. So I was making breakfast and just started writing it and that's how that came out. The chorus part I was just writing and it just turned into that. The chorus was originally part of the first verse. I started the first part at my place and then went to Humboldt (Where Potluck stays.) and wrote the last two verses.

What was it like recording with Potluck again for "Burb Words"?

Johnny: It was fun! I just had my verse and the hook on there and Potluck's verses were complete surprises! They did it while I was up there visiting. I thought it came out really dope! I'm just super pumped on it because they are on it! I went up there for probably about seven or eight days to work with Potluck in the studio to finish up the record. I had about 95 percent of the record finished by that point.

Where were you exactly when you first wrote "Mad Cow"?

Johnny: I still keep a notebook around sometimes and this time it was for "Mad Cow".

I was going over to my buddy's house when I was down in San Diego and he was staying at his Grandma's. And his Grandma needed some yard work done and I decided to help him pull out weeds. He came and swooped me up, but before he got there, I was listening to some beats and one of them instantly hit me with an idea for September 2016 - VandalaMagazine.Com 69

@rover Iiiiteramiewu Get Sgiooled that hook! I started writing that hook and my buddy showed up and I told him, "Give me like ten minutes or so really quick, I want to finish this hook!" and he said, "No Problem" and I finished the hook while he waited. We got in the truck and I had my pad with me still and I just started writing the first verse and then we were removing the weeds from the lawn in his Grandma's back yard You can see the ocean.) and I kept writing every time we stopped to get a cigarette break. I would grab the pad and write down two more verses every time we took a break and then go back to another forty-five minutes of pulling weeds and then go back and work on a couple more bars, really quick. That's how I wrote the first part of "Mad Cow".

Any stories behind "High On Life"?

Johnny: For "High On Life", I wrote the first verse while talking on the phone to the girl the song was inspired by. She had just left my house and called to see what I was doing. And I replied with, writing your song." I honestly came up with the lyrics and wrote it while I stayed on the phone with her. It blew her mind!

How did you and Brawdcast end up meeting?

Johnny: I went to school with his older brother and he actually went to school with my younger brother. Two different schools that were located in the same city. I was actually playing golf with his brother and his brother gave me his "Suburban Spokesperson" D. I was listening to it and I was actually tripped out by it! Like "What the hell, no way!" It was dope! I started checking out his little scene and all that and I was like, "Let's do a track together!" He caught flack from his whole crew about it because they're more of the pure hip-hop type heads. And his response was "So what!

F*ck it! Let's do a track!" We made a P-Town track and then we made another song together called "Freedom" for his record. And then did another track produced by C-4 called "For The Fans" and then I was making "School's Out" I invited him on it. We were hanging out a lot before that, drinking and spitting/free styling bars at each other, just off the top. His verse is ridiculous on "School's Out"! When Brawdcast came over to do his verse, I just left the room. I didn't want to get in his head If I would've.

I don't if I would've or not.)or put any energy behind it that my have influenced him.

I just told him to do his thing and left him a lone for a bit. And of course it turned out dope! Raps Brawcicast's verse} You've recorded with Insane Clown Posse a lot in the past. It was just recently announced that the Insane Clown Posse are preparing a march with Juggalos in Washington D. .to stand up against the FBI labeling their fan-base a gang. What are your true thoughts about this and will you join the march?

Johnny: Shut up! That's insane! I know about the FBI thing, because FMK was there when they announced the gang label at a seminar during a past Gathering. But I didn't know about the march. If ICP called me up and wanted to bring me out to participate, yes! I'm sure they already have a file on me, so I'm not worried about it. Laughs). I wouldn't shy away for any reason. I could see why someone would. But they shouldn't be on a gang list! It's stupid! They're building a database of fans of a band and that shit is ridiculous. There are so many things wrong with that! The collection of data that they do and they way they treat the individuals with random stop and seizures because of a sticker that features a certain record label logo is absurd! I mean come on, there are so many bigger issues the FBI needs to worry about/the government needs to take care of right now than Juggalos. At the end of the day Juggalos are really good people. The one's I've met showed me nothing but love. They're always helping people out. It's a community, not a gang!

70 VandalaMagazine.Com - September 2016

Comer Imiteriviiew. lorommy RiEtiter Why should someone attend a Johnny Richter show that never has before and what do you want to accomplish that you've never done?

Johnny: Come out to a show if you want to just have a good time! If you don't want to have a good time, I guess don't come! (Laughs) Most people tend to want to have a good time. If you're a fan and you want to come meet me I usually am hanging out at the venue. You'll probably catch me at the bar or hanging out at the merch booth. I get sick of hanging out at the hotel or stuck on the bus, so I'm always happy to meet fans and catch a good vibe. I like hanging out. If you want to see just bars after bars after bars, I spit everything I say. I even spit them in different ways sometimes. So if you want to come out and have a good time by listening to some real shit and party to escape; that's what music at the end of the day is all about; to be able to escape from the everyday grind. You're never really in the present when you're in a song. I've done a lot my friend. My goal is just to sustain my career and continue to be able to make music. www.facebook.comitherealrichter

September 2016 - VandalaMagazine.Com 71

FKA TWIGS • GRAMATIK • RL. GRIME SANTIGOLD • TA-KU (LIVE) • WARPAI NT SPECIAL PERFORMANCES BY SYMBIOSIS ALL-STAR FAMILY

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Marissa Nadler is a triumphant musician â&#x20AC;&#x201D; her unique brand of dark acoustic music reminds us of Townes Van Zandt and Jeff Buckley. Her new album Strangers is an ethereal walk through paradise.

So how are you?

Marissa: I'm running around like crazy right now! I'm good. I'm in the middle of a pretty intense tour all around the United States. There has not been a lot of down time but I'm good. That's a good problem to have. I'm really enjoying touring right now with the band. It's kind of fun actually!

You've had a lot of trouble with touring in the past right?

Marissa: Yes. It's the combination of stage fright, insecurity and inferiority complexes and a fear of failure in front of a large group of people but now I'm more seasoned and professional. I'm realizing ways to make it easier for myself and that includes not touring by myself because that was I think the biggest issue, how lonely it was and how hard it is to fill a set with just one person and the amount of pressure that can create.

So to clarify, Wrekmeister Harmonies is your backing band right?

They were planning to be and we tried it out in Europe but it didn't totally work out. I've actually hired the bassist from the band Earth and I have Milky Burgess playing electric guitars and doing harmonies and he actually plays on the new record.

Some of those songs are pretty complicated and I was looking for something specific.

Members of Muscle & Marrow are filling out the live band and I love that band so much.

One of the things that really struck me as I was digging through the articles on you is that you seem to be really happy right now...

Marissa: (Nervous laughter) I think I do a good job of it. I'm okay. That's a tricky word. Who is ever really happy? I'm alright. I'm better than I have been. I have some major ups and downs like everyone else. I think I am doing okay because I am trying to live life day by day as opposed to thinking about the future. I think that living in the moment has helped my psychological issues. I'm a real worrywart and the more I can stop my brain from freaking out the better.

I totally sympathize; I've had to come to a similar realization in recent months...

Marissa: I'm never going to be like Pharrell Williams!

Do you think he's actually happy?

Marissa: I think that's an ironic song! (Laughter) To circle back... you said 'Is anyone truly happy?' and that was just too real for me...

Do you think that being sad is an inherent part of the human experience?

Marissa: Yes I do. Even when you watch babies learning how to emote it's pretty fascinating. Humans are born with complexity. Animals also! There is so much middle ground in between happy and sad, though I would never go so far as to simplify those emotions...

Are you a nihilist?

Marissa: Let me think about that one! I don't know. I think I'm more of a realist, which is weird for someone who writes such mystical songs. I'm a little bit of a nihilist I think, but I'm not totally negative all the time.

76 VandalaMagazine.Com - September 2016

Inter:view, Martissa Nadler There's a very human sadness to your music that draws a lot of people to it... _ = - I think that's because I try to be as unpretentious as possible. I believe that one of the greatest unifiers of humanity is music. I don't want to play music that is pretentious that no one can relate to. I want to be sincere. I can't stand heavily ironic music that talks down to audiences. I've had a lot of people tell me that my music helped them through a hard time and that's enough for me.

That must be really empowering...

Ic_1; Sometimes it makes me feel better, especially if I'm playing a smaller show.

If someone says something like that it's like "Okay, there is some meaning to my life I suppose!"

Do you have difficulty finding meaning outside of music?

Marissa: A lot of people have day jobs that don't let you think about everything because you are so f*cking tired. Because I go on these tours and then go home and there's nothing I have a lot of time, too much time even to think about why I'm here.

That's why I picked up stop motion animation!

How is that going?

Marissa: My last two music videos I did myself with stop and slide motion animation.

I have a fine art background so it's kind of a natural thing to do, but man is it fun. I've been having a whole creative breakthrough.

I know that you had a hard time with fine art for a while because you were being graded on it...

Mariss It took some of the joy out of it when everything you do is critiqued.

Don't you run into the same problem being a professional musician?

Marissa: Sometimes! I guess I've reached a point where I stopped taking record reviews to heart. I'm doing it for so many different reasons other than to get a good grade or be famous. Those are the least of those goals. I never thought I would be a pop star. The fact that I'm successful is just a cool plus. I don't know what I would do with my life if I wasn't making music or art. I do both and it's a big part of my life and without it I don't think I would have much identity...

So I saw a quote from you saying that your art is best when you are at your most manic. Do you think that now that you are less manic your art will fundamentally shift?

Marissa: I think that I may have said that a longtime ago. I really don't believe that anymore. I wrote Strangers in a fine mindset and July as well and I think they are my two best records. That quote is from an older version of myself. I don't believe that you have to be self destructive to make good art. I use to believe that firmly and I feel like my life used to reflect that. I don't want to feed into the "I went to the woods and mountains and isolated myself" There are people who wrote music as a day job and wrote some of the best songs ever. You don't have to be Townes Van Zandt or Jeff Buckley.

But at the same time you have collaborated with Xasthur who is the definition of crazy tortured artist...

Marissa But look at the timeline. There was a distinct departure in my mindset and

personality from 2009 when I was just a mess. When I collaborated with Xasthur I was drinking a lot. After 2009 I signed to two great labels and got a job as a special September 2016 - VandalaMagazine.Com 77

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needs art teacher. Scott Connor... I really like him. He's really legit. He's not a f*cking hipster. A lot of people put on the cape and claim to be black metal, but one thing I will say about Scott is that he's the real deal - a dark motherf*cker! That was fun. He was chain smoking watching me sing and letting me do whatever I wanted. He was pretty rad.

That ties into something else I wanted to ask about. Obviously you are not a metal musician, but you have had ties to metal for years. What has your relationship been like with metal music?

Marissa: I started out really loving the band Earth because I was on the same booking agency as them in '05. I always liked dark heavy music. I'm not sure about the world metal because there are so many genres I'm not crazy about. I really like droney black metal and bands like Locrian, Earth, Sunn. I wouldn't say across the board I'm a metalhead but I would say that people who like metal - especially black metal like my music because the subject matter is fairly bleak and dark and obviously shares some influences even if it presents itself differently.

Before the interview you started you said you loved cats. Do you want to talk about cats?

Marissa: I love cats so much. I'm home for two days since I live in Boston. The tour is in the Northeast right now and I've gotten to see my cat Twila, she's a very tortoise shell, she's very vocal and adorable. Cats are my spirit animal; they are independent and keep to themselves. What do you like about cats?

With my kitten, who is just a baby, it's really empowering to have something that so clearly loves you and that is just so stupid...

Marissa: I don't think cats are stupid! (Laughter) Well mine is six weeks old!

Marissa: Give him some time - they are smart animals!

I found having a cat has really helped me with depression because it has shown me that something is reliant on me. Do you find the same with your cat?

Marissa: I know exactly what you mean. Having somebody else rely on you is a nice feeling. It's easier for me to take care of other people instead of myself. I'm a nurturer. I put myself last. I'm trying to work on that a little. That's not a self sustaining MO! Related to that - I definitely had a point where I started to realize I was putting myself last - did you have a point like that ever?

Marissa: Yeah. I think I'm still realizing that and learning how to say no. It's weird. My inbox was like a ghost town forever but as soon as you have a little bit of press and people give a shit about your music there is a bombardment of solicitations. I always want to be nice to everybody, but I'm trying to learn how to look out for myself and say yes or no based on what I want, not what I want to do to make other people happy and like me. I have to unlearn that weird trait of wanting everybody to like me. Not everybody is going to like what you do. Who gives a shit? It took me a long time to learn that.

I feel like putting yourself in a medium where you are constantly judged would make that hard to deal with...

MarissE It's just par for the course I guess! I have accepted it. I think as a female 78 VandalaMagazine.Com - September 2016

MaFissa Nadler musician there is really an added pressure to fill a void. If you're demanding you're a diva and bossy. I know exactly what I want and I can't afford a sound guy because I brought a band instead. One out of three nights it's like "Lady, I know what I'm doing." Its unbelievable shit, they assume it's my first rodeo. I've come to accept that I don't care if I'm making the best impression because it's a job after all!

What do you love so much about music? [ -iFs;l: That's a hard question to answer. I love how unifying it is, how it brings people together and expresses things you can't express with words. It congeals memories. It soothes you and matches your mood. It can do so many things. I feel the same way about art. Without those things life wouldn't be worth living.

Website: www.marissanadler.com Facebook: www.facebook.com/MarissaNadlerMusic Twitter: www.twitter.com/marissanadler Instagram: www.instagram.comimarissa_nadler

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FROM THE CATACoM135 OF CREEPSYLVANIA RISETH 0)-1101.11., ONCE MORE. WORLDS SETTER THAN IT HAS ANY RIGHT To 13E, THEIR LATEST OFFERING, DUNGEON )3A.STARDS, GIVES US A REJUVENATED AND FULLY CONSOLIDATED SLAB OF THEIR TRASHADEATHISURF-ROCK SLIME. THESE CANNIDALISTIC GOONS HAVE SolyIEHOW THREATENED THEIR WAY ONTO A TOUR WITH CROWI3AR AND CARCASS, DuRit\m WHICH WE CAUHT UP WITH BASSIST CREMATOR To HEAR TELL OF HAPPENINGS IN THE UNDERGRAVE HELLSCAPE FROM WHICH THEY CAME. So, Cremator, from the two songs that have lyrics online, it seems that some trouble is afoot in Creepslyvania.

Creamaton Creepsylvania's a f*cking hellish shithole that we're stuck living in

underneath the cemetery, just minding our own business. Meanwhile, Commandant Dubrunkum won the Motorcycle Wars in 2012 and he's clearing out the ghettos with his fascist bully brigade, using acid throwers to melt down poor people. It's causing all this mess, and all the runoff started f*cking with our roof which, of course, is a bunch of coffins, and it was revealed that they left a bomb, the omicrom bomb, of some war past and they invaded our house and took the bomb - do I really gotta go through this whole f*ckin' thing? - so, these f*ckers, they kick in our door, and we're fighting them, and they steal the bomb. Our sometimes buddy, Baron Samedi, who we thought was pretty f*cking cool, he says "We have to get this f*cking bomb back", so he could blow himself up and end his hundreds of years old curse of being a voodoo death god, and exit this mortal plane. We're like "Nah, that's work, dude." He says, "Alright, force you to do it", and sent an army of zombies after us. Thus began a really, really bad day, a terrible day. And, y'know, you can check out the rest of the record for the rest of the story. We're just reporting from the streets, like N.W.A. Do you think Bernard Fussbottom will be helpful?

Creamator: Bernard Fussbottom was out of town at the time, I guess. I don't know where that f*cker was. He was doing some rallies trying to make his political base, `cause he wants to defeat Commadant Dubrunkum, the president of Creepsylvania.

He's going the hippy route, getting five dollar donations and all that shit. He's been going to our shows, like Jill Stein, trying to grab a crowd from someone else. It's real shitty. You've got these kids paying to come see us, and we wanna kill them, but he's taking them outside and talking his commie socialist bullshit. I think he's an anti-vaxxer too. Fussbottom's a terrible guy.

Was your house raided because of the antiquated anti-thrash laws?

Creamator: Well, y'know, we skirted out that by hiding. It was the runoff from all the acid-throwing guns that was melting all the poor people. That was Dubrunkum's solution to poverty in Creepsylvania, just to kill the poor, and there would be no more poverty, or force them into labor camps so there would be zero unemployment. He built that wall around Creepsylvania. He said it was to keep people out; I think it was to keep people in. We have a real bad emigration problem. The place is garbage.

When someone leaves Creepsylvania, they're usually quite deformed. Are they able to make it in the outside world?

Cr- ..=Imator: No, no one ever makes it out. If they get past the wall, then I think they're 84 VandalaMagazine.Com - September 2016

Tinteriviievy, eniernator of CHI, L fair pickin's for us. We like eating the dead, but fresh meat's always nice as well.

Now, I have a bit of a dilemma: Should I eat posers so there are less of them, or would the falseness of their meat infect me?

Creamator: Well, they don't taste great, tell ya that. You gotta go for rich dudes; they got all the yummy fat and gristle, y'know? Some fat cat living large in his ivory tower, eventually he's gonna pass on and I get the remains.

What kind of bands taste the best?

Creamator: Jazz. Definitely jazz, and they get you real high too from smoking those jazz cigarettes. The worst is black metal. Scrawny, no meat, pathetic, pasty - they never got any sun. It's awful, awful meat, the opposite of kobe beef.

So it sounds like these anti-thrash laws have eased up a bit Creamator: Oh, no, no. They're still punishing people. We can't play. We've been trying to play shows forever, but when we do they come bust it down. No one in Creepsylvania really listens; the thrash scene's really dead, cause it's basically just us.

There's not much of a scene to build on, but we hop on a freight ship, we get a horse and buggy, and we go to America, because you have a ripe audience of idiots willing to swallow our bullshit Uh, man, I just had a thought...let's see if I can find it...uh, no it's gone Creamator: That happens to me just about every night after a bunch of drinking. I can't remember a damn thing, including the riffs.

You ever make a recording of something awesome and not remember how to play it?

Creamator: Yeah, ours. Well, they're not that awesome, but I don't remember how to play them either.

Still? Any of it Creamator: Any of our records? No, it's bass, who cares? I just get up there and kick people's heads in and they love it. You Americans love to be punished. I think that's why you've got the two nominees for president you have. You just wanna be hurt in one way or another.

Oh, yeah, so if there's no scene for thrash in Creepsylvania, what're people listening to?

Creamator: Well, Igmvar Schmenkie and The Turnips. I'd call him depressing folk. He sings sad songs about what it means to be a Creepsylvanian, nothing. There's nothing good about being a Creepsylvanian. It's a terrible, awful place. I'm not sure why he haven't moved yet, but y'know, it's cheap.

What horror movies of the past few years haven't sucked?

Creamator: There's actually been quite a few good horror movies as of late. House of The Devil was pretty good. I liked - I don't know if you would classify VVitch as a horror movie - I guess it is in a more classic sense. I like that one a lot cause a kid throws up an apple and that was weird. I don't think people understand that all the horror doesn't have to be Rob Zombie, in-your-face bullshit. The true horror, you'll never hear it coming, like us, except for when we're playing guitars, in which case that's stupid, pointless, 'cause you can definitely hear us coming.

[Baron Samedi speaks out of the mic's range] Baron Samedi just chimed in saying to check out a movie called Ex-Drummer. Oh, and September 2016 - VandalaMagazine.Com BS

In! teriviRme TihLe Tque ITIorror You Nevier Hear Coomimg speaking of band-related horror, Green Room, that's a great movie, with Captain Jean-Luc Picard as a racist leader of an aryan brotherhood cult, who picks on a poor little punk band.

But he's so nice.

Creamator: Uh, not in this movie. When he says engage, those skinheads engage.

So, this new album rules. Why is that?

Creamator: Cause we're GHOUL. We moved studios, 'cause our old engineer was gone.

We looked around for a guy, and we kidnapped him, and we liked his band that he recorded himself, Kowloon Walled City. So that's a neat thing he does where you can actually understand what they're playing, some kind of weird engineering trick. So we tried him out, and we did one song with him for the Human's Comic Book Soundtrack to try it out, and we had a very good relationship. He doesn't cry when we beat him; he just gets to work. He's alright with Digestor pleasuring himself, so we decided to keep him around. We're not gonna eat him. I believe his band will be going on tour soon too, if they're not already in Europe. We put down the rot-gut, didn't drink quite as much Numskull, and we turned out something that sounded pretty decent. After playing around during the motorcycle wars, we put out Hang Ten, the more surf-oriented cd. I think that was a nice outlet, but then it was decided to go straightforward thrash on the next one, and we don't know what the f*ck will be next.

We're probably gonna do some weird shit, because it's GHOUL and we're idiot lunatics.

That's about all I got.

Creamator: Alright. Get the f*ck out of my green room, you piece of shit, before I eat you.

Oh, god' [Moments later, I walk back in, realizing I had forgotten one or two things.]

Creamator I told you to f*cking get the f*ck out I'm getting my mani-pedi before I go on stage. You're really harshing my vibe.

Could I just get my arm back?

Creamator: Yeah, alright,

let you get -

Also, is GHOUL pronounced in all caps or just spelled that way?

Creamator: GHOUL is not spelled in all caps.

[I am still choosing to spell GHOUL in all caps.]

Really?

Creamator: No, it's a logo. Sometimes we write in all caps for emphasis. Well, we don't know how to write, so I wouldn't know caps from lowercase in the first place; when I write the name, it just kind of looks like a line with a couple scratches on it I'm functionally illiterate, I grew up in France. They don't believe in the work ethic, so I never worked at anything, except for blowing shit up.

Ghoul Online: www.creepsylvania.comi www.facebook.com/GhoulunaticsAsylum www.twitter.comiGhoulOfficial www.youtube.com/Creepsylvanian 86 VandalaMagazine.Com - September

2016

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THE AMITY AFFLICTION HELLIONS

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JAN

MISERY

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HO • ADELAIDE

18 JAN

THE JACK • CAIRNS

19 JAN

DALRYMPLE HOTEL TOWNSVILLE

20 JAN

CIVIC CENTRE GYMPlE

21 JAN

LAKE KAWANA - SUNSHINE COAST

22 JAN

CONVENTION CTR • GOLD COAST

25 JAN

C-E} COFFS. - COFFS HARBOUR

2 6 JAN

BAR ON THE HILL - NEWCASTLE

27 JAN

WAVES - WOLLONGONG

28 JAN

ANU BAR CANBERRA

FEB

CHELSEA HEIGHTS HOTEL FRANKSTON

2

FEB

THE ARENA - GEELONG

3

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THE AMITY AFFLICTION

SPECIA GUESTS

STRAY FROM THE PATH WEE ME TUE 29 NOV TAUBCHENTHAL I LEIPZIG D WED 30 NOV GRUENSPAN I HAMBURG D THU I DEC LIVE 1MUSIC HALL I KOLN F) FRI 2 DEC TRIX ANTWERP 11 SAT 3 DEC FLECHE D'OR I PARIS F SUN 4 DEC 02 ACADEMY I BRISTOL UK MON 5 DEC 02 RITZ I MANCHESTER UK TUE 6 DEC ROUt,./DHOUSE I LONDON UK THU 8 DEC ABC GLASGOW UK FRI 9 DEC 02 INSTITUTE I BIRMINGHAM UK SAT 10 DEC WATERFRONT I NORWICH UK

11 DEC MELKWEG I AMSTERDAM NL TUE 13 DEC FRYSHUSET I KLUBBEN I STOCKHOLM S WED 14 DEC PUMPEHUSET I COPENHAGEN DK THU 15 DEC ASTRA I BERLIN I) FRI 16 DEC BACKSTAGE MUNCHEN 13 SAT 17 DEC ARENA I VIENNA A SUN 18 DEC KNOCKDOWN FEST I KARLSRUHE D MON 19 DEC KOFMEHL I SOLOTHURN CH TUE 20 DEC CCO ILYON F WED 21 DEC RAZZMATAZZ 2 I BARCELONA E THU 22 DEC SALA ARENA I MADRID F

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