February 2013

February 2013

Using the ‘damage done’: Blind Melon singer Travis T. Warren Talks about the healing power of music

Musicians: Reasons to record in studio Authors: Creative writing and revision Featured Artist: Shari Kantor Featured Poet: Steve Brightman Plus: Writing contests and deadlines

/ index / Reasons NOT to record at home........................page 3

“Art School 101” by Cyan Jenkins........................page 16

Creative writing and revision.............................page 4

Hatebreed: Divinity of Purpose review............page 17

How I got into THAT band: NIN..........................page 5

Tomahawk: “Oddfellows”review.......................page 17

“Deeper Than the Sea” by Shari Kantor...........page 6

Voivod: Target Earth review................................page 18

Too Good to be Bitter: Steve Brightman..........page 7

Lydia Salnikova: Valentine Circle review.........page 18

“Your Band is A Virus” musicians resource......page 9

Voivod interview....................................................page 19

Interview with Black Sabbath biographer.....page 10

The art of Shari Kantor.........................................page 22

“Land of Smeard” book review..........................page 12

Emilie Autumn at Tabernacle Atlanta..............page 24

Interview: Travis T. Warren’s solo project........page 13

Want to contribute or advertise? email ellen@targetaudiencemagazine.com

Staff Ellen Elridge Russell Eldridge Victor Schwartzman Ryan Meriweather David Feltman

Editor in Chief Music Editor Poetry Editor Graphic Designer Film Editor, staff writer

Contributors: Dan del Ben, Danielle Boise, Rich DeCicco, Ellen Eldridge, David Feltman, Cyan Jenkins, Jerel Johnson, Shari Kantor, James Ward Kirk, Gia Lee, Lucas McPherson, Victor Schwartzman

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February 2013

Reasons NOT to record at home

by Rich DeCicco of www.audiodojo.com In last month’s column, I advocated pretty heavily for musicians making recordings at home. And while I stand by the points I made, there is still nothing like a day in a professional studio. Hell, I own a studio, so there is some self interest here. But, there are a few very good reasons to take your act into a pro studio.

Presumably, you and your band mates have lived with your songs for a while. You’ve rehearsed and finetuned the material; all members can play their parts in their sleep. (If you’re not at this point, don’t go into the studio just yet). So, why not just lay it all down at home?

oneself in a place of complete attention the performance. Letting somebody else worry about the recording makes playing well so much easier.

3. Fine-tune home recordings

Home recording or pro recording; It doesn’t have to be one or the other. You can get the best of both worlds.

Get a good solid start at home and then take your tracks into a professional environment: -Put together a basic track at home, and then overdub your most treasured elements at a pro studio. (For me this would usually be drums and vocals) -Run your home-recorded tracks through all of their high end gear. This is especially useful for dance and hip hop acts.

-Do all the recording at home and then pass it on to a pro for mixing.

1. A fresh set of ears

-Track in a studio and mix at home.

To put it plainly, do what you can at home, but have You think your songs and everything about them is perfect and amazing. Sometimes, however, you are just the humility to admit when you need help.

A professional engineer just might save your project a little too close to your material to know if it truly is the best it can be. No, the average engineer isn’t going someday. to sit down with you and rewrite the song (although a producer might). But as he sits down and listens to you play, he might have some suggestions that put a good song over the top. And these suggestions may be things that everyone in the band was thinking but not saying for fear of offending someone. Things like Full Service Studio From Bach to Rock “maybe the bass should lay out here” or “that guitar line doesn’t quite fit” are hard to say to a friend sometimes.

Call Luke Testa: 678-891-9369

Chase Rhythm Recording

in Atlanta’s back yard!

2. Focus on the performance

As someone who’s engineered sessions that I’ve had to play on, I can tell you that there is no greater luxury for a musician/engineer than to just get to be a musician for one day. There is so much technical stuff that can go wrong when you’re in a recording session. Gear shitting the bed, computer crashes, bad cables…. the list goes on and on. And even when everything is functioning perfectly, I still have to make sure it sounds good. It’s hard to be in an engineer’s mindset and put

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Creative Writing and Revision

by James Ward Kirk, author of Indiana Horror 2012

Resources for writers courtesy of Excuse Editor http://www.excuseeditor.com

Click here for February contest and submission deadlines.

I hate revision. I revised this essay three times. And I’m still not satisfied. But that’s a good thing. I’ll probably revise again once the editor reads this essay. As John Irving said, “Half my life is an act of revision.” We must revise. For a writer, revision is like making love for the first time. As a professor once told me, “Revision is next to Godliness.” And she was right. I’m probably like any other published author. I read my story in print and think I should’ve done that differently—it isn’t perfect.

So I’ve finished a story. Do I then send it off to publishers? No! I revise. And then I send the story off to some peers for review. Then I revise some more. I’ve had peers tell me to how to revise and rewrite an entire story from scratch, and I’ve had peers point out minor details on the same story. What to do? Trust yourself.

I accepted my peer’s comments on minor details that she pointed out and the story won an award. Without my peer’s advice on revision, the story might not even have been published. And I wish I could revise it some more.

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I co-wrote a short story with the great Murphy Edwards. The publisher sent the story to one of its editors. I began the story with “Me and Sister Mercy. . . .” The editor wanted to change the sentence to the more “correct” structure of “Sister Mercy and I . . . .” I pointed out the protagonist was a poorly educated low level thief speaking in first person. He got it and the sentence remained unchanged. This same editor also pointed out some areas where a bit of revision might be needed and he was on the mark. Listen to your peers and editors, but stay true to your vision when revising.

One cannot get “stuck” on revision. As Oscar Wilde said, “This morning I took out a comma, and this afternoon I put it back again.” At some point one should just stop, take a deep breath and send the story out for a home. If the story finds a publisher, excellent! If not, put the story into a “trunk” and come back to it later with a fresh mind. Even if you choose to keep the story in the trunk, the creative idea behind the story is still there. Use that idea again in a different way.

In the end, remember this: revising is writing.

And I love revision.

February 2013

How I got into THAT band...!

If you would like to share your story--the story of how you discovered that band or artist that influenced you, shaped you and possibly defined you during your formative years or after--we want to hear from you!!!

E-mail 500 words to ellen@targetaudiencemagazine.com detailing your story and you might be featured on the next How I got into THAT band...!

1994 stands out as a formative year, in which I first saw Nine Inch Nails: To say I didn’t fit in well during my time from10 years old in 5th grade through 12 years old in 7th grade (1991) would be a drastic understatment, but things got so bad for me in middle school that I begged to go to private school, which I started in 8th grade. One of the first people I saw, a guy with long black hair and a penchant for art who, to me as an impressionable outcast, exuded the essence of cool, liked this band he assured me I hadn’t heard of, called Nine Inch Nails. I couldn’t communicate the things an almost-13-year-old-girl needs to to this guy, so I ran out and bought Pretty Hate Machine, and my life changed instantly.

When I hear the phrase “formative years,” I think of 1994.

I turned 16 in October of 1994, after Kurt Cobain blew his brains out in April. I saw my first concert about a week later—Pantera’s Far Beyond Driven tour—a show that I attended with someone whom I didn’t know well, my parents didn’t know at all and who managed to flood his car engine, stranding us in a New York City parking garage for the better part of the evening.

Sometime in June or July, I attended my first college

class, Sociology 101, at a community college that allowed advanced high school students to attend concurrantly. I turned in my final project on the sociological implications of suicide, and pasted every clipping about Cobain’s suicide I could find onto construction paper to accompany my paper.

I remember feeling anxious when “Pinion” began during Nine Inch Nails’ set at the 25-year anniversary celebration of Woodstock. I spent the entire day trying to make my way to the front of the stage; the majority of the estimated 350,000 crowd at Woodstock 1994 stood more or less behind me, and I was alone in the biggest crowd of my entire life. The intensity of the crowd and being on my own so far from home for NIN’s show meant quite a bit to me as I carried around my muddy journal recording my thoughts.

I hitched a ride with a person I had only met in person a handful of times. Justin’s dad drove about five of us to Saugerties, New York, about 120 miles from my house.

I didn’t bring so much as a sleeping bag, and as the MTV VJ Kennedy surprised people in tents with pizza, I longed to be one of them.

By December 1994 I was following Marilyn Manson like he knew the answers to life’s questions. Nine Inch Nails had a lot to do with that because I first saw Marilyn Manson open for them. Nine Inch Nails really solidified my sense of self and fueled in me a catharsis as well as an outlet for my teen angst.

Thanks Trent!

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How I got into THAT band...!

Shari Kantor, this month’s featured artist, used her paint brush to feel out a painting inspired

by Nine Inch Nails. She came up with “Deeper Than the Sea,” her original image that takes the resonant chorus lyrics from the song “Ringerfinger” off the first Nine Inch Nails album, Pretty Hate Machine (1989). To purchase, visit http://www.spkcreative.com “Ringfinger” lyrics: Well, you’ve got me working so hard lately Working my hands until they bleed If I was twice the man I could be I’d still be half of what you need Still you lead me and I follow Anything you ask you know I’ll do But this one act of consecration Is what I ask of you Ringfinger, promise carved in stone Deeper than the sea Ringfinger, sever flesh and bone And offer it to me Well, you just leave me nailed here Hanging like Jesus on this cross I’ll be dying for your sins And aiding to the cause Ringfinger, promise carved in stone Deeper than the sea Ringfinger, sever flesh and bone And offer it to me Wrap my eyes in bandages Confessions I see through I get everything I want When I get part of you Ringfinger, promise carved in stone Deeper than the sea Ringfinger, sever flesh and bone And offer it to me Ringfinger, a promise carved in stone Deeper than the sea Ringfinger, Devil’s flesh and bone Do something for me

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“Deeper Than The Sea” by Shari Kantor, 2012. Acrylic on canvas, glow-in-the-dark. Copyright Shari E. Kantor, 2012. All rights reserved.

February 2013

Tastes too good Featured poet to be bitter Steve Brightman

There isn’t much widely known about Steve Brightman, so get ready for a surprise. Brightman has poetry chaps to his credit, does frequent readings and has been featured in anthologies. His poems have been featured in Pudding House, Origami Condom, A Trunk of Delirium and he was included in the Ohio Bicentennial Anthology titled “I Have My Own Song For It: Modern Poems about Ohio.”

FYI, PNC is a baseball stadium. Apparently, Steve has a religious connection with the Pittsburgh Pirates, possibly praying for them to play more productively. You don’t need to know about Brightman’s life or if he has been published. You should know about his work.

By no means feel guilty about your ignorance nor should you feel regret. What you should know before reading further is that none of Brightman’s poems appear to be about baseball. Second, how much Brightman draws on his personal experience is unknown. His narrators go through more than a few breakups, though they never blame the other person. Unpleasant life experiences or not, Brightman’s philosophy is, at times, straight out of “Moby Dick,” in reverse:

Big Fish in a Big Pond The belly of the whale isn’t big enough to hold us all and even if it were, the whale has better things to do than swim in deep blue circles waiting for us to decide.

We all have a destiny inside that belly. Not inside a shark, which would chomp and destroy us, but within a whale that would swallow us intact. Inside, we wait to be digested. Life adds up to how long it will take us to decide to be food, and whether

By Victor Schwartzman Target Audience Poetry Editor

the belly will wait. While there is some comfort in knowing the belly is not big enough to hold all of us, there is less comfort in knowing the belly could care less.

To it we are not so much miniscule fish in a big pond as we are potential food it is not even hungry for.

Many poets are optimistic. There’s all that stuff about pretty blue skies and flowers.

Brightman doesn’t write about nice crap, but he does cushion the sharper edges.

Fast Last Breath To be human is to say goodbye.

Everything in this world is a beautiful reminder: the cathedral, the cancer, the crow, the crocus upon crocus, upon blooming crocus in the sunny early days of April.

So, too, was the day last year when you didn’t recognize the sag of your own face in the rigid mirror.

And the photograph, the fire bell, the fast last breath and the look of surprise, the left turn into traffic, the left behind, the leftovers on a chipped plate in an otherwise empty refrigerator that hums too loudly as you close the door behind you.

Whoa. What starts out as global shrinks very quickly to the specific. Everything be-

Poet Steve Brightman comes a memory—in particular, one’s life with one’s partner. The reader is set up in the first stanza, and then the second goes from the global to the specific, where one’s partner not realizing s/he is unhappy, but the narrator does. And, over the course of a year, the narrator is unable to make it good enough. Underneath some funny wordplay in unfunny circumstances lies a powerful sorrow--the basis for the narrator’s sad reflections about how memories are rooted in the other person splitting, and the presumed destruction of those happy memories.

Steve Brightman’s poems are short, the lines are short, the words, if not short, are simple, with few flourishes and no pandering. Colour is inserted as needed, with fine results. The poems featured in this review have been taken from “Sometimes, Illinois” (NightBallet Press). Only forty copies were produced in the first printing, all assembled by hand by NightBallet’s Dianne Borsenik. Probably one of the few places on earth where you can read these poems is right here:

Need to Stay

He never told the story the same way twice.

Sometimes it was in Illinois, sometimes it was in Ohio.

Sometimes he was on a bike, sometimes he was walking in front of her house.

I thought he was going daft.

Memories ain’t the movies, I know now. Words cheapen, Words corrode the details.

Reflective monologues kill.

The quiet skips of the heart need to stay clean, need to stay tucked away in case she leaves before you do.

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Our narrator is not a happy guy. In the past, he listened to some fellow tell the “same” story over and over, regularly changing details so it was never the “same.” The narrator thought the person “daft,” which is a kinder, gentler characterization than “raving loon.”

But then something happens to the narrator, and his gentler approach to life evaporates. “Now” telling someone stories from your life is pointless.

Why? Because the very act of trying to relive or remember is the problem.

Ain’t that the truth. Everyone’s life is littered with mistakes, some of which hurt other people. The ones where you acted like a total jerk, where you were offensive and where you destroyed something good, those mistakes linger because they are never resolved. If you let the snake out of the closet, it will bite.

Brightman's writing ability And why is that a problem? Because, provides his charm in one interpretation, if your current sweetie is about to split, you want to in a mix of colourful, spot preserve your version of the truth. on metaphors on topics we Especially when you are not the one initiating the split and want your part- know too well, producing new ner to stay. “Need to Stay” is the title, insights on old issues. not “Memories are Unreliable.” All those memories of the good times, the quiet skips of the heart, must be kept hidden, unheard. Why? So that if you’re dumped, you’ll have your side ready? This poem is not a ray of sunshine for the love stricken.

On the outside, Brightman’s poems look easy going, even simple. Below the surface often lies bad news.

Brightman’s narrator has not learned the secret of making people happy (nod a lot and don’t lend money). All of those rejections lead to that awful monster lurking in everyone’s closet: regret. And regret is a monster because once you start, you always look back and never forward.

Under Luggage and Picture Frames Long live the shadows when you let them.

Long live the dueled ghosts of regret in darkened closets.

They coil like adders under luggage and linens.

Make your peace with them before you unearth them.

You will not corral them once they see the light of day.

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Long Gone from Illinois There were no buffalo head nickels in his desk after he’d died.

I didn’t really expect to find any.

Somewhere in my grieving head, I’d known that the buffalo were long gone from Illinois by the time he’d left for the Pacific to fight the Japs.

He liked to tell the story about the fist fight he’d gotten into.

He spent time in the brig for punching an officer, who was out of uniform with a bunch of other men playing volleyball.

He used to say that every day he spent in the brig made him wish he’d punched that loud-mouthed lieutenant even harder.

He’d say to take two things from his story: ‘Give em hell’ and ‘Get your money’s worth.’

He never talked about his time in Guam, though.

He didn’t have to.

If we touched him while he was sleeping, he woke up swinging.

February 2013

Here a fellow who seems cheerful enough on the surface, has something seething underneath. Army service during a war can be a profound, positive experience—veterans have many funny stories of life on the base, but rarely any about combat.

The narrator describes a man, an older close relative, possibly his father, who had few illusions about a life in which much time ties to a soldier’s duty.

With no “buffalo nickels” in his drawer nor daydreams, he believed in living fully—getting your money’s worth and standing up for yourself, and when standing up wasn’t good enough, he believed in giving them hell. Perhaps the nightmares drove the narrator to embrace a fully awake state.

Brightman writes less about specific problems as he does about the people with the problems. No writing about break-ups, but he does write about those involved.

Statements are often reactions to problems in these poems.

A major Brightman issue is, obviously, regret. The man in the last poem had severe regrets from Guam. He did not get help. In this last poem, Brightman looks at what stops us when the problem is right there in front of us and we can solve it. The poem succinctly lists the helpful rationalizations, even the bailing-out of suicide.

We let the problem continue when we feel that twitch and are afraid to act.

Waiting for the Twitch The angle of retreat is always there.

It sits there, a dishonest Buddha, beckoning us through cloud weak skies.

The angle of retreat is always there.

Our internal geometries put our jugular to the blade, waiting for the twitch.

The angle of retreat is always there.

Phantom dragon need not leave its lair when the enemy fears itself more.

Book review by Ellen Eldridge

James Moore’s “Your Band is A Virus” stands out in an over-saturated market of self-help books to teach musicians how to stand out in their over-saturated market. Literally, starting with the table of contents page, every single page in this 192-page book contains valuable information and specific techniques for promoting a band.

Specific information exists in this book that makes it valuable. Several books or websites offer vague and confusing information that leaves independent artists with more questions, but “Your Band is A Virus” lets musicians--and anyone in business who can apply the information through critical thinking--know exactly what steps to take and which foot to start off with.

Those musicians or artists who don’t know the difference between marketing and promotion, or the importance of having both a website and social media pages, can find the information in easy-tounderstand language that clears up the confusion.

The music business isn’t as simple as Musicians can read this book and focus on what they need to focus on: staying in tune, solo“get a guitar, learn to shred, record an ing over chord changes and creating that one album and win millions of fans.” line that will shake the souls of the band’s fans, because chapters on everything, from builing a website to builing a brand, and from press public relations expert if not a manager, and someone releases to music video promotion, teach musicians what they need to either know personally or hire to book shows and so on. someone to handle for them.

To avoid getting overwhelmed by what it really takes to succeed in music business, buy this book. For less The fact is that the music business isn’t as simple as than the price of a decent pizza and less time than it “get a guitar, learn to shred, record an album and win millions of fans.” The amount of talent, time and energy takes to record an album, musicians get really get a just to master the insturment becomes overwhelming boot wedged in the door to the music business. with needing to keep the lights on. Those musicians Doing “it” on your own means who can play in the dark might using the available resources to have a bit more time to focus learn what to do yourself and on promotion, but more likely how to know the right person bands that want success will to trust when it comes to your have to invest in the help of a business.

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Book Review: ‘Black Sabbath: Pioneers of Heavy Metal (An Unauthorized Rockography)’

by Lucas McPherson

This book by Brian Aberback is a comprehensive look at the career of Black Sabbath from its inception. Many people may not know that before they went by Black Sabbath they were called Earth and played lots of blues-based rock. It wasn’t until later that they started exploring darker arenas and creating sinister sounds rife with suspense. In fact, as Aberback reveals on page 34, “The band soon changed its name to Black Sabbath after seeing a movie poster…from the 1963 movie ‘Black Sabbath’ starring Boris Karloff.” Plus, there’s a timeline and a listing of all the band members given at the back of the book to help you sort out over forty years of changes which the band successfully endured.

The years with singers Ozzy Osbourne, Ronnie James Dio, Ian Gillan and Rob Halford are looked at, as well as all the years with Tony Iommi (guitarist), etc.

Even some of Osbourne’s well-known antics are brought up, like his infamously biting the head off of a bat. What many people may not know is that he thought the bat was a plastic toy—not a real one. Plus, he “received a round of painful rabies shots afterward” (p. 73). With such a well-known band whose influence is worldwide and is seen in many other hard rock and

heavy metal bands (like Metallica), it’s only fitting that they became Rock and Roll Hall of Famers, too.

Aberback, an aficionado of hard rock and heavy metal, makes his experience as a freelance music writer apparent throughout this book. He does a good job of focusing on the almost larger-than-life personas of many of the band members while at the same time making them relatable. He also includes many years of data in a decidedly non-scatter-shot approach.

Through this book, it’s easy to get a feel for the band as its own entity while giving nods to the personalities who all made it stay alive throughout the years. My only rather trivial objection is that I would have liked for it to have been longer than 112 pages.

Interview with author Black Sabbath biographer Brian Aberback

By Lucas McPherson

Brian Aberback is a freelance music writer who spent 15 years writing for The Record newspaper, various magazines and websites.

He’s most passionate about the hard rock and heavy metal genres. His first book with Enslow Publishers, “Black Sabbath: Pioneers of Heavy Metal (An Unauthorized Rockography),” was published in 2012.

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February 2013

Author Brain Aberback

Do you remember how old you were when you heard your first Black Sabbath song?

I was 10 or 11 What song was it?

“Iron Man” What stood out about it---to etch it in your memory? Was it the great melody? The lyrics? Or a combination of both?

It’s funny, I actually heard the beginning of the song in the context of professional wrestling.

I was a wrestling fanatic and would watch Georgia Championship Wrestling on the Turner Network every Saturday night. When The Road Warriors came on the scene they entered the ring to this awesome, evil sounding intro. I later found out that it was the beginning chord sequence to Iron Man and bought “Paranoid” on cassette. What stood out for me about “Iron Man,” and all the songs on “Paranoid,” was the combination of the heaviest and most memorable riffs I’d ever heard and the interesting lyrics that covered everything from war to fairies who danced in their boots.

Who’s your favorite Black Sabbath frontman (singer)? And why?

Without question Ozzy Osbourne is the voice of black Sabbath. He sang on all the classic albums. And while I also consider “Heaven” and “Hell” and “Mob Rules” to be excellent records, and Dio one of the best metal singers in history, Ozzy’s distinct style and showmanship will always make him the quintessential Sabbath singer.

Do you think of Tony Iommi as the frontman, too---though a guitarist?

In the Ozzy era I thought of Ozzy and Iommi having a relationship similar to David Lee Roth and Eddie Van Halen. I don’t know if Iommi’s classic riffs would be heard around the world if not for having a singer like Ozzy. Likewise, Ozzy may not have become so well-known if not for having such a powerful band behind him. It works the same way with Roth and Van Halen.

Definitely in the mid to late 1980s, I felt Iommi was the focal point of the band. He was the lone original member and often stood in the middle of the stage, with the singer to one side. Visually, it was obvious that the guitarist was the front man.

Do you plan on writing another “rockography” anytime soon? If so, then on which band next?

I hope so. There are so many great bands to choose from. I would love to do a book on Iron Maiden or Rush.

Where can Target Audience Magazine readers go to pick up a copy of your “Black Sabbath: Pioneers of Heavy Metal?”

The book is available on the Internet anywhere books are sold (Amazon, Barnes&Noble, etc.) and through a link on my website, www. brianaberback.com.

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“The Land of Smaerd’ – A Mystically Oriented Children’s Book Review by Gia Lee

This unique and mystically driven children’s picture book works well for adults who value the power of the imagination. Smaerd is dreams spelled backwards, which should be taken as a clue for readers who choose to pick up a copy as to what awaits between the covers.

The Land of Smaerd is where the dreams reside. A wonderfully creative team of two visionary authors, Andrea von Botefuhr and Angela Russell, and one stellar illustrator, Bryn Barnard, brought this children’s book to life, with a rhyming story that flows unhindered with strict rules of regulated rhythmic word choice.

In this conjured-up, dream-like state, concepts--like honoring your personal journey in a dreamturned-into-reality way--are organically fused into the story line.

“The Land of Smeard” received the Silver Moonbeam International Children’s Book Award. Copies can be ordered directly at thelandofsmaerd.com and you can check out the blog at land-of-smaerd.blogspot.com.

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February 2013

Travis T. Warren From Melonhead to frontman Travis T. Warren followed his dreams so closely he stepped into the shoes of his idol, Shannon Hoon, when he took over as vocalist for the reformation of Blind Melon in 2006. But this isn’t a story about Blind Melon as much as it is an ironic anecdote that took shape like a metaphor for how things could have turned out for Hoon.

Neil Young warned us about the needle and the damage done and the Grateful Dead reminded us how it’s so easy to slip; drug addiction plagues the music business so much that the cliché hurts reputations in parents’ eyes and the allure kills children seeking something to connect to.

Before I even knew what drugs were my heroes were dying 13from

them, so I felt personally drawn to Travis T. Warren’s solo project Beneath These Borrowed Skies. Its message immediately stood up like a recovering addict standing up for his 30-day sober chip; the message that more than just having the proceeds go to charity, Warren’s release wouldn’t have been possible without his recovery—in more ways than one.

When the Well Runs Dry

The well from which creative artists—songwriters—drink runs dry when those artists decide to sober up, and I say that with tongue firmly planted in cheek because so often the drugs that fueled passionate yet rambling glimpses of one’s subconscious give way to allow emotionally-driven, cathartic expressions of who that person truly was, underneath it all.

Warren realized his father’s influence on his music career once Warren was in his twenties. “He showed me to play slide guitar, huge influence. I naturally gravitated toward guitar. Most kids were making summer plans; I would sit on the edge of the bed playing guitar – that was all I wanted to do. I was all about Stevie Ray Vaughn and Jimmy Page,” Warren said. Hi sfather’s love of folk artists like Neil Young tempered his own love of Metallica and AC/DC so that by the time the ‘90s rolled around, Warren needed an inspirational kick to cement his own musical ideas.

Smells Like Teen Spirit

Warren described hearing Nirvana’s “Smells Like Teen Spirit” at age 11 or 12.

At that time, the Internet was still in its infancy and sites like YouTube were decades away; the radio was all kids had to introduce them to music in the early ‘90s. “Holy shit, this is different,” Warren said about hearing Nirvana’s hit single. The teenage years help solidify each person’s individuality, and those of us who experienced the intense music of bands like Nirvana and Alice in Chains dug fingernails into the pulpy matter of self-exploration. “I don’t like calling it the grunge scene, but we had a lot of great bands in the early ‘90s.

Nine Inch Nails, Blind Melon. I bought Blind Melon’s tape and fell in love with it. I played it on my Walkman nonstop,” said Warren.

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February 2013

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h

Blind Melon Hiatus

“I really joined Blind Melon at the worst time; it was ironic because of the pain and circumstances “I think you need to understand what it’s [addiction] surrounding Shannon Hoon. I really hit my botabout. No one starts out meaning to risk everything,” tom around the time I joined. The guys didn’t allow alcohol or drugs on the bus; they were protective.”

Warren said as he reflected on the role he thinks Warren said. parents play in addiction as well as how each perI had lost my voice and I should have taken a few son perceives the world. “A lot of musicians sort days off to let my voice heal, but I didn’t and the of romanticize about it,” he said. “A lot of my idols doctor told me my throat looked like barbecue died young, so growing up I thought that was what chicken and I had to stop smoking cigarettes. This you’re supposed to do: live fast, die young.” was at a time when coffee and cigs were all I had Understanding the nature of addiction and what it left. really means is at the heart of recovery and finding I did quit smoking but I had lost my voice for 6 oneself. Warren admits his best friend from childmonths. hood still struggles with addiction; his friend hasn’t yet been able to break away from the people, places and things that repeat the cycle. “My best friend that I grew up with still hasn’t figured it out. He’s doing the same things and that’s the reality,” Warren said.

The Nature of Addiction

Who Cares? MusiCares

“In 2007 I hit my bottom and I was fortunate enough that MusiCares really helped me out. They basically paid for me to be in rehab,” Warren said. Established in 1989 by The Recording Academy, MusiCares provides a safety net of critical assistance for music people in times of need. Justin Daniels founded Clarity Way and used music therapy to reach and help musicians recover from addiction. His wife, Blind Melon founding member Christopher Thorn’s sister, Robin Daniels, helped designed the studio.

According to Warren, after Shannon Hoon died, Blind Melon put out Nico, donating much of the proceeds to MusiCares. “Fast forward 10 years, actually 12 years, and they were helping me out, which was kind of ironic but they really saved my life. Same with Clarity Way; they are the people funding this album,” Warren said. The fact that Clarity Way helped him didn’t involve his own treatment and recovery from addiction, but the lady running Clarity Way let Warren record his solo album there. Warren actually attended treatment in May 2007, while still in Los Angeles. The band (Blind Melon) stayed at Clarity Way while preparing to tour, before the rehab opened for business.

“No One Starts Out Wanting to be A Junkie”

The debut solo project Beneath These Borrowed Skies exposes the inner, and intensely personal, battle Warren went through recovering from drug addiction and learning to feel again. “When you have a substance abuse problem for so long and you just stop you get highly emotional,” Warren said.

He knows that music can build a man up as well as tear him down; music can heal and music can seal the coffin for those who become too lost in its culture that they distance themselves from those who can pull them back up before the music drowns them out. “I wouldn’t be here without music there’s no doubt about it. It’s my diary; my songs are my life. It’s a way of getting it out. It saved my life even while growing up. Even before drugs music was my therapy. It’s kept me sane and gave me hope. It’s in my blood,” Warren said.

The opening track, “From the Depths,” shines a bold light into a dark tunnel, announcing with ferocity, “This is who we are. This is what we’ve become” in an attempt to “awaken the tired.”

If you’re a musician tired of the endless cycle and lack of inspiration that addiction brings, please seek help from a treatment facility. If you’re thankfully recovered, consider giving back by donating a portion of your proceeds to MusiCares.

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February 2013

Hatebreed – Divinity of Purpose Tomahawk - “Oddfellows”

by Jerel Johson

I’ve listened to Hatebreed over the past 11 years.

I can remember when this band released its major label debut, Perseverance, in 2002. The group’s brutal but infectious brand of hardcore grooves made the Connecticut outfit a cut above the rest.

Hatebreed’s newest release, The Divinity of Purpose, offers the positive-tinged hardcore that fans expect from vocalist Jamey Jasta and crew. The brutal opener, “Put It To The Torch,” stampedes like a hundred bulls on a grassy plain.

The call and respond anthem “Own Your World” is a heavy barrage of crunching riffs from guitarists Wayne Lozinak and Frank Novinec. The middle breakdown on this track sounds like machine gun fire ripping through flesh. This record clocks in at a mere 38 minutes, but it more than makes its point in that time.

Jamey told the press that the new record is no-frills and he is certainly a man of his word. Tracks like “Beyond the Fight Ends You” are by the numbers hardcore with some Slayer riffage for good measure.

Hatebreed is a band that adheres strongly to the “if it ain’t broke don’t fix it” approach. There are no experimental songs and the longest track does not reach the four-minute mark. Some may take this reluctance to progress as a detriment that limits the potential of this band. Those detractors may have a point, but the flip side of that coin is that this band will never disappoint its fans.

With six albums under its belt, Hatebreed knows what its fans like and delivers it in spades. This is a band that makes it a mission to make mosh-pit ready music, and on The Divinity of Purpose,

by Dan del Ben

Guitarist Duane Denison played in many bands since Jesus Lizard broke up, but he formed Tomahawk, the band that sounds like the most logical extension to Jesus Lizard.

Comprised of members of Mr Bungle, Melvins, and Helmet, “Oddfellows” is the first release in nearly six years, so the first surprising thing about it is that it exists at all. Next, is how much of a straightforward rock album it is.

Anonymous was punk-infused Native American music that polarized fans, of whom I was one. Oddfellows shows a return to form in rock roots, while staying unique and varied.

The biggest surprise: vocals. Vocalist Mike Patton has spent the past few years touring with Faith No More reunion shows.

Revisiting the old material seems to have really inspired him.

Clean vocals with minimal effects if any, and he really belts them out at times. Reminiscent of Faith No More’s King For a Day, Fool For a Lifetime, which, oddly enough, recalls Jesus Lizard at points. High falsettos and low baritones without screaming or growling, characterize the vocals.

Jazz bassist Trevor Dunn, who also played in Mr Bungle and Melvins, brings a new dynamic to Tomahawk. “Oddfellows” splits into flat-out rockers and slower, moodier tracks. Dunn adds a bit of a jazz element to some songs, playing an upright bass on a few tunes.

The rockabilly-influenced “Typhoon” closes the album.

Denison recently finished a stint playing with the Legendary Shack Shakers, and “Typhoon” could have been taken from a session with them.

“Oddfellows” comes across as a fantastic effort that long term fans should enjoy. It took me a few listens to warm up, but I really love this album.

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Lydia Salnikova - Valentine Circle

by Danielle Boise

Voivod - Target Earth

by David Feltman

For an album that wasn’t going to exist, Target Earth boisterously announces a new era for Canada’s Voivod. While it is sad to see an album without founding guitarist Denis “Piggy” D’Amour, especially in light of tragic death, it’s also nice to know that the band isn’t going to break up as was previously suggested. Daniel “Chewy” Mongrain picks up Piggy’s torch on the new album and his jazzy dissonance and metal heft marks him as an appropriate successor.

Target Earth aims for the earlier era Voivod, the faster, thrashier Voivod. But that’s something you should be able to discern just by looking at the album art. The songs’ pacing is often hectic and chaotic, which underscores the technical virtuosity that propels the album. Like the best King Crimson, an anarchic wall The whole album has a yearning feel to it, with each of sound lays an unsubtle foundation for complex song strucsong leading into the next; as if the entire album is one tures. puzzle piece locked into perfection. Salnikova uses her Moments in tracks like “Kulskap O Kom” maintains a thrash-like classical training as a pianist and adds her own spin to edge, complete with shredding solos, while building and exthe singer songwriter realm with more than reflective panding the framework to epic proportions. The songwriting is contemplation. It’s as if would take Jonatha Brookes dense, like Amazon jungle dense. Layer upon layer is plied and meets Jann Arden, spliced with the soulfulness of Carly Simon and that’s what you get from the former member piled like a metal JENGA tower ever threatening to collapse but always managing to defy gravity and hold the center. of the Bering Strait.

Riffs on tracks like “Mechanical Mind” throb and pulse when not hurdling at full speed. Denis “Snake” Bélanger nasal growls It could be the because of the piano, but when listening to the album all I could see was “The Fabulous Baker fall somewhere between Ozzy and Mastodon’s Brent Hinds and add a welcome dose of ferocity. Snake’s vocals prove to be the Boys” in my mind. It has a grandeur to it, filled with wisdom ripped from age that Salnikova isn’t old enough to leash that firmly grounds the album, keeping the ever-bucking have, but has managed to grasp. So take a bottle of wine, tempos in check.

Target Earth is a great addition to the band’s discography both dim the lights and just listen to the soulfulness of this for long time fans and newcomers. Most of the 10 tracks clock in gifted artist as she reaches the realms of fascination. between six and seven minutes, offering a substantial serving of new material. If you’ve never checked out the band before, this For more information on Lydia Salnikova or Valentine would be a perfect time to correct that mistake.

Circle, visit www.lydiasalnikova.com.

Lydia Salnikova is following up her 2010 debut solo album, Hallway with the release of her second album, Valentine Circle which is slated to be released right before Valentine’s Day on February 8, 2013. With an almost smoky quality, Salnikova draws the listener in as the crescendos of an eloquent voice crashing over the modishness of the piano – one key stroke at a time. Adult Contemporary never sounded so good. Not one of the eleven tracks on the album is disappointing, but specifically checkout “Complete,” “A Lot of Love” and “Together,” those tracks will draw you in.

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February 2013

­­­­­­­­­­­­­­voivod an Interview

by David Feltman Like any old salt metal band, Voivod has experienced lineup changes, misfortunes, drug problems and implosions in its 30-year tenure. Voivod had planned to disband after original guitarist Denis “Piggy” D’Amour died of cancer in 2005. However, a reunion with bassist Jean-Yves “Blacky” Theriault and the work of new guitarist Daniel “Chewy” Mongrain sparked the release of a new album, Target Earth.

Mongrain, a session musician, jazz guitar teacher and co-founder of the metal band Martyr, is a longtime Voivod fan and a perfect fit for the band. His adventurous playing technique and penchant for progressive stylings in the vein of Rush and King Crimson lend Voivod some interesting new avenues while keeping the band’s sound intact.

Mongrain gave us an inside look at what it means to be a professional musician: from composing to coaching with Cirque de Soleil… oh, and playing with an internationally famous metal band.

Gorguts, Capharnaum and now Voivod were all already established when you came in to work with them. How do you prepare yourself when coming into an existing band?

Well, I played in more than 70 bands in my life, all kinds of music: reggae, country, pop, rock, metal, hip-hop, musicals, etc., in many different contexts with many different people.

That’s pretty much how I survived for a while, paying my rent and my jazz music studies at University. And it was always a great learning experience on a musical and human level.

So it’s not a new thing to me to deal with new people and new music.

But when you take part of a composition and become an official member of an original project, you have to assimilate the language, the ingredients of the music, the aesthetic, the philosophy of the band. I think you need to really love music for what it is. Of course I come from metal, but I’ve always been pretty open-minded and curious about music at large. It’s like speaking different languages to me. It’s a passion for me, and it’s never a forced thing.

It has to be natural because if not, it won’t work. It’s like an actor preparing for a dramatic role and then acting in a comedy. You really need to take it seriously and be passionate about what you do and the music you play and respect the context of it

and the people you play with.

With Voivod, it is very special because I knew the philosophy, elements, repertoire, and aesthetic already, it was pretty natural to play the songs. We got along pretty fast.

They made me feel welcome right at the first jam, so writing stuff with the band after four years of touring was pretty natural.

Tragedies and other complications have caused the band to disband or come near collapse on more than one occasion. In fact, Infini was thought to have been the final album. What kept Voivod going? Do you feel this iteration of the band will keep pushing forward?

I think Voivod is still here because they felt it was the right thing to do and because they wanted to do it.

Playing Piggy’s music live is the best tribute there is in my opinion. I’m very honored to be part of it. Voivod has been my favorite band since I was 11 years old. It’s pretty unreal still for me to play in this band. And the band is doing good, the shows are good, the fans are really happy to see this band onstage, and we have great comments and response about the new stuff.

I’ll be here as long as they want me to be part of it, as long as possible. Here and now is good, and that’s all that matters.

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sician, I can be influenced equally by, a band, or any music in any form, as well as, let’s say, a painting, a drawer’s noise or a conflict with a friend. Every emotion can be translated into music or any form of art.

The cover of the new album looks a lot like the art on Voivod’s earliest albums. I know the cover art is drummer Michel “Away” Langevin’s arena, but do you know if that was intentional?

There are elements from the early albums, like the colors…I think it was kind of intended since January is gonna be the 30th anniversary of the band. Also, it fits with the return of Blacky and his killer bass sound, as well as the intricate progressive side of the music on the album and also the lyrics. The music on the album also took elements from pretty much every previous album, as well as added a new touch.

“Blacky” Thériault came back around the time you joined the band, what was it like to work with him?

I knew Blacky five years prior to that and we became good friends, so it went really well. We wrote pretty much all of the musical ideas and riffs of the new album together, then Away and Snake (vocalist Denis Belanger) would bring their creative genius to mold the songs and we would arrange the whole thing all together. It was the greatest creative journey!

Some of your riffs on this album surprised me. I think you’ve hit on a really fascinating intersection between jazz and metal. What kind of influences are you bringing to the band? What should metal heads be listening to that we’re not?

Thanks, I appreciate it. I don’t know, I don’t think that much when I write. I just try to be as spontaneous as I can, following my instinct and my ears. I don’t think influences are really a conscious thing when it comes to writing. Maybe afterwards you can tell, but we’re all unique human beings with different backgrounds, musical or not. I think, as a mu-

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Since I’m teaching music full-time in college and I play in many projects as well as being a freelance musician, I don’t listen to a lot of music as a hobby these days. But I hear, transcribe, play lots of pieces from different kinds of music.

Last band I listened to by interest is a band called Virus from Norway, I think they are very unique.

What was it like working on the Dracula musical (“Entre L’Amour et La Mort”)?

It was great. Never thought I would do something like that in my career. I played with some of the best pop singers in Montreal, 85 representations in a year, which is a lot here in Quebec. I was going to university full time at the time. It was pretty intense.

It happened just after I left Cryptopsy. I had to wear a costume and had features during the show, improvising solos every night. It was an awesome experience. Plus it helped pay for my studies and my rent for a year. What is better for a musician than making a living out of playing music?

Thanks to my friend Bruno Pelletier who hired me on that gig. We had lots of fun. A great singer and performer, that guy. He used to sing in the Musical Notre-Dame-De-Paris in the 90’s, which had phenomenal success.

You’ve worked on a lot of interesting projects. Is there anything you’ve got coming that we should look out for?

Well right now I started to write new music with good friends Martin Carbonneau (ex-Martyr guitarist), Michel Bélanger and Denis Labrosse, working on an original side project, more progressive and less metal than my last original project (Martyr).

I’ve been hired recently as the guitar coach for the Cirque du Soleil for the next Michael Jackson tribute show, which will be a residency show in Vegas. I’m coaching the person who will play guitar at the show. It’s pretty exciting, I always liked Michael Jackson’s songs-- and I know a lot of metal heads who like them also, but don’t dare say it. Ha ha! There is some great guitar work there. I still play with local pop artists in Montreal, some TV shows and studio gigs here and there. Life is good.

February 2013

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Shari Kantor

promotes her vividly cheerful brand of abstract art, which ranges between $90.00 to $7200.00, via her online gallery at http://www.spkcreative.com/, word-of-mouth, networking, social media and by providing her services as a color and home decorating consultant.

She has expanded her brand internationally by creating a product line of accessories, clothing, home goods and stationery at http://www.zazzle.com/spkcreative. Shari recently created a growing fabric and wallpaper line based on her paintings at http://www.spoonflower. com/profiles/spkcreative.

“Nightly Erotic” by Shari Kantor, 2008.

Acrylic and watercolor on canvas; 28”H x 22”W. US$540.00. Copyright Shari E. Kantor, 2008-2013. All rights reserved.

“At Last” by Shari Kantor, 2010. Acrylic, glass and velvet on canvas; 16”H x 12”W. Not For Sale. Copyright Shari E. Kantor, 2010-2013. All rights reserved.

Shari is greatly stimulated by the natural world, music and popular culture with little influence from trends in the art world, nor her fellow abstract artists. She views her art as an extension of herself, painting and creating new product when the mood and inspiration strikes.

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February 2013

Shari’s acrylic and watercolor work displays bold strokes of intense bursts of color using different painting techniques. She occasionally incorporates other materials into her works.

“Animal” by Shari Kantor, 2012. Acrylic on canvas; 11”H x 14”W. US$360.00. Copyright Shari E. Kantor, 2012-2013. All rights reserved.

“I Need A Beat” by Shari Kantor, 2008.

Acrylic on canvas; 5”H x 7”W. US$172.00.

Copyright Shari E. Kantor, 2008-2013. All rights reserved.

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“I love you so much, you have no idea – it’s ridiculous.”

– Emilie Autumn

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February 2013

Emilie Autumn at Tabernacle Atlanta 1-19-13

Review and photos by Danielle Boise When I asked fans what it is that draws them to Emilie Autumn, they overwhelming stated that it’s her uniqueness that pulls them in. There is no one else like Autumn and that, along with her dedication to not only her craft but also her involvement with everything from the songs to the costumes, creates a personal experience for the fans.

With a show consisting of being part Cabaret circa the Victorian era and part Burlesque, but completely and utterly inimitable inside another world, Autumn takes us on a trip to the Asylum with Fight Like a Girl.

Autumn, along with her entourage, The Bloody Crumpets, entertained the crowd of “Plague Rats” by performing Autumn’s third studio album, Fight Like a Girl, in its entirety, at the conclusion of which she returned to the stage and said, “this song is so much older than the days of Enchantment. This is one of the oldest songs I’ve ever wrote; back when I was fourteen years old. Life does in fact imitate art. In the context of the song, it may sound sad, but it gave me a great story to tell. I regret nothing.”

“Plague Rats, without you all of this would never exist anywhere outside the disease corner of my brain. Look around at all of you weird, unique beautiful people.

You’re amazing! Thank you. You are all out of your bloody minds.

Thank you.” - Emilie Autumn

Autumn went into the encore performance of “Mad Girl” before wrapping the evening up on a much more upbeat not with a crowd sing-along, “Thank God I’m Pretty.”

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