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Interview: Kyle Gass from Tenacious D & Trainwreck . .............................................. 8 The Reverend Horton Heat........................................................................................... 10 Interview: Matisyahu..................................................................................................... 12 In The Pit........................................................................................................................ 14 Comic Con .................................................................................................................... 16 CD Reviews.................................................................................................................... 18 Interview: Circa Survive................................................................................................ 22 Interview: Swingin’ Utters............................................................................................. 24 Interview: Adema........................................................................................................... 26 Interview: NOVA............................................................................................................. 27 Interview: Dead To Me................................................................................................... 28 Norcal Metal Report...................................................................................................... 30 Your Music Olympicks Calendar Centerfold............................................................... 32 South Bay YMO Winners.............................................................................................. 34 YMO Band Interview: Prieta......................................................................................... 38 YMO Band Interview: A.P. Roots.................................................................................. 39 Sacamento YMO Calendar............................................................................................ 40 YMO Band Interview: Grey Atlas.................................................................................. 42 YMO Band Interview: Thea Skotia............................................................................... 43 YMO Band Interview: Fate Under Fire......................................................................... 44 Interview: FallRise......................................................................................................... 48 Outside Lands .............................................................................................................. 50 Outside Lands Interview: Dawes ................................................................................ 52 Outside Lands Interview: The Whigs........................................................................... 53 Monterey Bay Reggae Festival ................................................................................... 54 Interview: Jay Lane from Band of Brotherz and Primus .......................................... 56 California Concert Calendar......................................................................................... 61
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Andre Estournes, Jon Hermison, John Lewis, Darien Lomeli, Brandon Adler, Tanja M. Alvarez, Ben Baker, Marisa Lopez, Kevin Madness, Danielle Negrin, Numerous, Dave Pirtle, Mat Weir, Matt Young, Katy Horan Contributing Photographers
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Mattew Young, Andre Estournes __________________________________________________ ISSUE #81 August / September 2010 Copyright 2010 Lyon Entertainment Publishing. Your Music Magazine is a registered trademark owned by Mike Lyon. All rights reserved. No part of this publication can be reproduced in any manner or form without prior written consent of the publisher. Lyon Entertainment and the Your Music Magazine staff is not responsible for claims made by advertisers. Your Music Magazine is published monthly by Lyon Entertainment. 7 __________________________________________________
By Itay K. Trainwreck photos: Josh Reed
Trainwreck, fronted by Tenacious D’s Kyle Gass and “Lee of the D” have embarked on a 20-date tour across the country and back again. They’re busting ear fannies and melting faces officially in the name of Wreck ‘N’ Roll. Kyle Gass (aka Klip Calhoun) has described Trainwreck at various times as "Molly Hatchett meets Jethro Tull meets The Runaways," “Scoobie Doo meets CSI” and “a cornucopia of rock and a 5-headed hydra of pleasure”. The band’s classic/prog/Southern boogie yeehaw freakshow will head out on tour beginning at Dipiazza’s in Long Beach, CA. After a couple of weeks of rest from that brain-frying gig, they will cut a swath a mile wide from smoggy Southern California to the Eastern Seaboard. From there, it’s on to the Midwest, the Rocky Mountains and back to the West Coast. We had a chance to catch up with Kyle Gass during a break from tour... if you like The D, you’ll love... TRAINWRECK!! What was that I heard in the background? I was just writing some music in preparation. Some new genius, but I don’t know if I found it. It was all about a G chord... and it's going into an A minor seventh. That sequence is always genius. Right. So...Trainwreck! Yes, Trainwreck! We're going out on tour - the transcontinental something tour; I don’t know, I haven't quite got the name right... It's called the "Transcontinental Railroad Tour". I read the press release about it. Well then you have to inform me of what's in it. Well, it says here you're on some big tour... It started a couple weeks ago and it just turned into, how long is it, a month. It's crazy. This one could do me in for sure. If you want to see me then you might want to check this tour 8 out. Hopefully after this the word's going to
spread like wildfire. So, how did Trainwreck come about? I think it was because I wanted to play live more, and my buddy JR and I were like, "let's start a band!". I've always enjoyed JR’s singing... and dancing. We had some time on our hands... and it's just fun to start a band, you know? Where did you guys come up with the comedic concept? Well, I was thinking of back in JR’s wheel-house. I'd seen him do those kinds of characters before and we both just have an affinity for a bit of that hillbilly sensibility. We just kind of enjoy it. Just the fun - the shit-kicking fun of it all. It seems to lend itself to some kind of classic rock sound, which is nice. The Wreckoning is currently in stores... Are you working on anything new? We are. We're actually recording four new songs right now. They're fresh out of the oven. But we're getting the Trainwreck, The Wreckoning vinyl in. This...this is just a lot of excitement.
When you have it on vinyl it just seems like you want to keep it forever. It’s official. My living room is proof of that. Are there any plans for a new video? Yes. We're working on a really crazy one right now! A stop-motion video. There's a girl in Ohio that makes rag dolls. She made rag dolls of the band members. I think it's going to be epic. Not even any people in this one. Just puppets and dolls. Any plans for a new Tenacious D album? We were just in the studio for a couple days and we're going back in the next week or so to work on the third record. And I think we have about half an album’s worth. So we're going to make some more genius. Why? Because the people want it. And you've gotta give it to 'em.
I had the pleasure of seeing The D at Outside Lands in 2009... it was an epic performance. Oh, cool! M.I.A. tried to make it not happen... Well, we were filling in for the Beastie Boys. We were their replacement. Just doin' our best to fill some big shoes. Well, you can't fill the Beastie Boys' shoes... and M.I.A. was like, "Who are they? I'm not playing before them..." Is Jack jealous of Trainwreck because it's so cool? You know, I always wanted him to be. That was really my main objective. I think for just a few seconds he was. He's too strong. He’s very competitive. And all I can do is keep trying. If you were a mustache what type would you be and why? I think I would be…just really bushy…kind of like a Wilford Brimley mustache. It's just a bit unkempt, but sort of friendly... and interesting.
Confirmed California Tour Dates: 10/8 - Red Fox Tavern, Eureka, CA 10/9 - The New Parish, Oakland, CA 10/10 - Fishlips Bar Grill, Bakersfield, CA
Photos by Caroline Reid This was one of those “can’t miss” opportunities - a live filming of The Reverend Horton Heat’s soon-to-be released DVD at the legendary Fillmore in San Francisco. So what if we had been working in our Warped tour booth all day in the hot Sacramento sun... it was well worth the drive back to the city! THE SETLIST: Rockin’ Dog Loaded Gun The Devil’s Chasin’ Me Big Little Baby Bullet Bad Reputation Marijuana 400 Bucks Wiggle Stick Big Sky
One Time For Me It’s Martini Time Cowboy Love Now, Right Now Spend a Night in the Box The Girl in Blue I Can’t Surf Like a Rocket Galaxy 500 Callin’ in Twisted Revival Psychobilly Freakout
Baddest of the Bad Ain’t No Saguaros in Texas Drinkin’ and Smokin’ Cigarettes Indigo Friends Where in the Hell did you go With My Toothbrush? Bales of Cocaine Please Don’t Take the Baby to the Liquor Store Jimbo Song Big Red Rocket/Folsom Prison Blues
EARTHDANCE 2010 HEADLINING PERFORMER!!
I remember long ago, the time period of my life where I was just beginning to realize how important music was to me, there came along Matisyahu. The combination and fusion of styles was a refreshing experience and the lyrical message behind the music literally changed my life forever. This year Earthdance is proud to host Matisyahu as a headliner (along with Micheal Franti and Spearhead) for their epic annual 3 day festival. Earthdance is one of my favorite festivals of the year, a celebration of the unification of the people of Earth and a positive promotion of peace. Don’t miss Matisyahu on the main stage. You can find out more about Earthdance at: www. EarthdanceLive.com. Matisyahu is a great example of a hard working musician who has managed to remain humble and true to his roots no matter how much fame and spotlight he receives. It was my pleasure to steal 15 minutes of his time and take an observational look behind his music… From your first album “Live at Stubbs” to your latest album “Light,” how do you feel about your progression and where you’re going? It’s continuous. It’s continued since “Light” also. I’m playing with this band The Dub Trio, and the live show is a lot different than the record was. So, it’s always moving in some direction or another. With “Live at Stubbs” it was my first record and it was really about capturing the live energy and the fusion of the music that I make. With the latest record, it was more of a crafted studio record; it was more about crafting a song. The latest work that I’m doing is more about a feel, more about a vibe, less about the song and more about the vibe. One of the songs that really grabbed me on your “Live at Stubbs” album was your beatbox track. What inspired you to take the hip-hop culture into your art form and do what you do with it now? It’s hard to point at one thing ya’ know, this is just what a musician or an artist does naturally. We take the music, whatever we feel… whatever we hear, then we incorporate that into our own style. We take music and different styles, all the different things that I listen to and create a kind of fusion. For some people it’s one genre of music, but I’ve always been interested and attracted to different styles.
Interview by Numerous both professionally and artistically? I just want to be able to continue to do what I do and to keep growing. That’s the key, not to have to forsake anything or compromise creatively. To be able to have the freedom to create, try and grow as an artist. And then hopefully, the outside goes along with the inside as people come and grow with that, to bounce and grow off of. The important thing to me is to focus on coming from the inside out, ya’ know what I mean? It’s easy to get focused on how well I try to steer this song a little bit more this way, or direct my show a little bit more that way. It’ll be more attractive or make people feel like they’re having a better time. For me the struggle has always been trying to retain, go back and see where is it that I’m trying to go, and also trust that people will come with me, and if they don’t… then it’s not meant to be. Is there anything you’d like to say to the fans and the people that have been supporting you over the years? Yeah…thank you. I’m gonna keep making music and continue to try to grow and create meaningful music for people and myself. Hopefully people will be into what I’m doing this year.
Basically fuse them all together… Exactly, fuse them all together, kind of create your own mish-mash of all of them. It’s like anything, especially music, it can be great or it’s not. It’s a combination of how talented that person is, then the talent really lies in the ability to absorb, the ability to connect with the music. If you can absorb it, and reproduce it authentically, and make it yours. So this year you are going to be headlining Earthdance… I’m looking forward to it, I love Northern California, I love Micheal Franti and I look forward to being there. Over the next couple of years, where would you like to see your music go
Scorpions farewell tour 8/1/2010 Concord, CA
cinderella 8/1/2010 Concord, CA
queensryche 7/25/2010 San Francisco, CA
san diego comic con 2010
Talks about his upcoming role in LOST BOYS “The Thirst”
In a nutshell, it’s the return of the Frog Brothers, which is very exciting for all of us. And I don’t think it’s the full-throttle return of the Frog Brothers, but it’s a nice tease. It’ll whet people’s appetites and get them back in the game, that there’s a potential future for this franchise, which is nice. The film itself is the story of a new breed of vampires and it’s also a story of contempor-izing this franchise, because the thing that makes it interesting is that if you look at the original film from the ‘80’s, it really encapsulated the culture at that time. It brought together the essence of the music and fashion and everything that was happening and trendy in 1986. That’s kind of what made it what it was. And then you go to The Tribe, and even though it was opened to mixed reviews and a bit lackluster in certain departments, it did certainly put a stamp on the sign of the times of what was going on in the era. Suddenly, you were dealing with YouTube and Girls Gone Wild and this kind of content that was brought up throughout the film. This one kind of takes that to the next level - it’s again putting a capsule on where we’re at in the modern day. We’re making fun of the fact that there are these, I don’t want to say imitators, but films that have come out since, that have kind of used The Lost Boys as lore, if you will, and turned it into a “tween” fashion statement for the modern film society. We’re playing on and with that, and saying that, obviously, we understand that things have evolved, and Twilight is so popular, and True Blood, and they are sort of following the ground work that was laid out because of Joel Schumacher and Richard Donner in creating Lost Boys. So instead of being brash about it or turning a blind eye to it, we instead kind of embrace it and involve it in our storyline. We have this author, whose name is Gwen Lieber, who is supposedly the author of a series of romance vampire novels, The Eternity Kiss, and is formulated off the author of Twilight, and the whole idea is to acknowledge it and give it a tongue-in-cheek slap on the back. It’s also about The Frog Brothers, and Edgar frog is in a very different place than we saw him in previous films. He’s very disheartened; he’s broken down; he’s living in a trailer as he was last time, and he’s really isolated from the world. There’s no more contact with the Emersons, there’s no more contact with the outside world, or Sam - Sam is gone. His brother has been turned into a vampire as we saw at the end of the last film. And so now he’s just this lone 16 soldier living in the world, and he doesn’t
It’s safe to say that Corey Feldman is pretty well known in the Santa Cruz area, where YMM is based. One of the stars of the principal ‘80’s cult vampire hit The Lost Boys, Feldman reprised his role as Edgar Frog a few years back with The Lost Boys 2: The Tribe. With a third movie in the works, you can expect this Frog Brother to stick around for a while.
want to fight vampires anymore, because for all intents and purposes, he’s lost the battle. He’s a wounded soldier, and he’s like, “the game is up for me, because I’ve lost everybody who was near and dear to me due to this war.” And so he’s given up and moved away and doesn’t want to be recognized as a Frog Brother anymore. When this girl comes to him and he’s presented with this opportunity to go battle some more vampires, first of all he doesn’t even believe her or that she’s legit, but the thing that inspires him is the potential opportunity to kill the head vampire. That’s always the lure. I think one of the great lines in the film is when Edgar finally sits and meets with his brother who is a half-vampire and hiding out in the darkness, Edgar says, “This is the head vampire- this is our opportunity!” and Alan Frog says, “The head vampire - it’s a pyramid scheme. It always has been, and you’re never gonna get to the top.” That’s the question- is it right? Is it the right time to get back into business? Maybe, but maybe not. Maybe it’s never gonna end. Another thing that’s fun about this movie is that we finally pay homage to the lore where the head vampire in The Lost Boys’ mythology began, which is a nod to Neverland and Peter Pan and all that stuff. What we’ve done with this third film is taken the fans’ wishes and what they wanted, their hopes and dreams of what the sequel might be, and expanded on that.
By Itay K Photos by Brian Crabtree
TONS MORE PHOTOS FROM COMIC CON 2010 ONLINE AT: www.yourmusicmagazine.com
Kilimanjaro EP One
Independent Kilimanjaro’s EP One consists of 6 tracks of musical wanderings which can be heard individually or as one continual listen (there are no pauses between tracks). Consisting of As Tall as Lions members Julio Tavarez (bass), Saen Fitzgerald (guitar), Cliff Sarcona (drums) and adding Duncan Tootill on trumpet and keys, Kilimanjaro brings back the heart of jazz for modern audiences while showcasing how important band chemistry is in writing music. Every member is aware of the musical space they inhabit, adding their own personal splash of flavor to the track while leaving room for the other musicians to share the spotlight. Available for free download at their website kilimanjarocollective.com, their musical wanderings channel jazz greats such as Miles Davis, Dave Brubeck and Charlie Mingus along with more modern acts such as American Football, Explosions in the Sky, and, of course, As Tall As Lions. What’s impressive about their sound is not that it’s all completely improvised in the recording studio and onstage, but that it flows, moves, and vibrates like old-time jazz without getting lost in the effects and ambient sounds that they incorporate into every track. EP One brings back a musical tradition that has been forgotten in the past few decades: improvisation, allowing the music to take hold of the musicians and sweep the audience along in its wake. Jump in and enjoy the swim. - Andre Estournes
Sir Lucious Left Foot: The Son of Chico Dusty Def Jam This album is full of life. I’m not just referring to the opulence of guest stars, which include George Clinton, Janelle Monet, T.I., Vonnegutt, and Gucci Mane. It has a superb combination of entertainment and thoughtfulness that just makes you feel good. Sir Lucious Left Foot: The Son of Chico Dusty
sounds like a lesser artist’s greatest hits. The many rappers and producers that contribute to Sir Lucious give it a variance that make it sound like more of a collection than an album. The one thing that sews it up, that binds it, is Big Boi’s verse, giving focus to an otherwise schizophrenic convocation. As always, he’s so effortlessly smooth that his immense skill almost flies under the radar. Several of the tracks stand out because they have melodic hooks, like the moving “Be Still” which features Monet, and “Follow Us” with Vonnegutt, while others like “Shutterbug”, “Tangerine”, and “Shine Blockas” reference the off-beat southern hip-hop style Big is known for. On all of them he feels right at home. Also notable is “Daddy Fat Sacks”, which seems like a moniker invented to give Big Boi one more opportunity to introduce himself. As if that was needed. The quality of these songs make it easy to forget all the hype about how this album has been shelved for several years by Jive records and also how Big Boi was one half of the ultra-successful hip-hop duo Outkast. People have tried to make Antwan into a sympathetic character, the workhorse, the straightforward rapper in the shadow of the more flashy Andre, but if you ask me he’s got it easy because he has less expectation to live up too. Even if he did, this would exceed them. - Kevin Madness
Arcade Fire The Suburbs Merge In 2004, Arcade Fire released Funeral, a small release that rose to later become #6 on Rolling Stone’s best albums of the decade. In 2007, Neon Bible became the second installment in their discography, also winning the honor of being on Rolling Stone’s best albums of the decade at #75. Now, after three more years, numerous shows and festivals spanning over 19 countries, and meeting President Barack Obama, they have released one of the most anticipated albums of 2010: The Suburbs. Another ambitiously themed album that seems like it should be bland and full of nostalgia, Arcade Fire instead create a magical landscape filled with childhood expectations and life’s realities. What’s more is that the tracklisting would seem to be tedious and somewhat uninspired as it features twopart tracks and comes in at just about an hour, but instead creates a pacing for the album that is superb; every song is poignant, interesting, and driven. At some points the song stylings of early Bruce Springsteen can be heard, bringing a sort of heavy-reality (“Modern Man” and “City With No Children”), while at other times the band channels 1960’s acts like The Byrds and Simon and Garfunkel (“The Suburbs” and “Suburban War”). Once again Arcade Fire’s musicianship is undeniable; acoustic guitars, crooning vocals,
delicate melodies, and superb production spiral and swirl together to create a beautiful package of sound that pushes the listener through from start to finish on a journey of downtown crawls, opposing sides of the city, making music, childhood friends growing apart, learning to drive, and familial responsibility. Where Funeral seemed to be like the raw, bare bones and Neon Bible felt like the meat and skin, The Suburbs feels like the dress shirt, shoes, and slacks are on; the band is fully dressed and are now ready to step out and take on the world. - Andre Estournes
Dangermouse & Sparklehorse Dark Night of the Soul Capitol/EMI After almost a yearlong legal battle over rights, Dark Night of the Soul has finally seen daylight. Released independently and produced by the creators, DJ Dangermouse and Sparklehorse team up with greats such as The Flaming Lips, Julian Casablancas, Iggy Pop, Frank Black, Nina Persson, Vic Chesnutt, David Lynch and James Mercer. As expected from such a fantastic collaboration, each track presents subtleties and personalities that come together to create new imagery and add to the overall production. Kicking off with “Revenge,” the album works its way into the nooks and crannies of your ears and starts to dig in, rooting itself firmly and pleasantly. With a mix that has splashes of a wide range of sounds, DNOTS has an artistic quality that is undeniable. Every track creates a new side of the work as a whole, made even more ominous with the addition of David Lynch providing the imagery for the album [and vocals on “Star Eyes (I Can’t Catch It)” and the album’s title track] in the form of the artwork and a 100-page booklet of which only 5,000 copies were printed. The album sounds and plays out like the seedy and dreamlike sequences found in Lynchian releases. Sadly, however, just as every Lynch production has a grim underside, the album is not released without a twinge of sorrow, as Mark Linkous of Sparklehorse and Vic Chesnutt have passed on since the recording of Dark Night; Linkous’ suicide on March 6th, 2010 and Chesnutt’s musclerelaxant overdose in December of 2009 bring a new heaviness to the melancholy themes presented. Dedicated to Linkous and Chesnutt, the album title references a phase in spirituality where a person undergoes extreme dislocation that leads to loneliness and desolation, and the merging of Dangermouse, Sparklehorse, and David Lynch couldn’t have been more applicably named. Mixing together creepy stories of holidays under chandeliers, war survivors, and transformation, the tracks tingle and glitter with the clarity and desperation of man’s search for a meaningful life. Close your eyes and wander the eerie hallways on a journey of spirituality, loss, and
past decisions through sounds of static, warped synths, and haunting vocals. - Andre Estournes
The Gaslight Anthem
American Slang Side One Dummy They ascended from the quicksand of underground music with The ’59 Sound in 2008. It wasn’t their sound that brought them up, but the songs— every track was solid. On tour, they began selling out club shows and planted their flags at super-fests like Glastonbury and Bonnaroo. Though the album didn’t produce a proper hit, it propelled them from an opening act to a major American rock act. Then they did it again. American Slang is solid start to finish. Not a flop in the bunch. It’s not great though. For an album to be great, it must break ground. This walks beaten paths—albeit well, even swaggers, but it doesn’t adventure, it doesn’t explore. It basically sounds like Against Me! performing unreleased Van Morrison songs—yes the songs are that good, but I wish they weren’t. It’d give me a reason to hate this band. They’re approach is so conventional, it’s basically Dad-Rock—a sub-genre defined by it’s lack of edginess. This band has no shame and that’s surely one source of their power. They carry on, heart on sleeve, apparently without embarrassment. This was exemplified on the last record when they openly used lines from the Counting Crows for the chorus of their songs “High” and “Lonesome Sound.” Lead singer Brian Fallon admitted to being a fan of the band—something few selfrespecting men would admit. The same ideal is apparent on American Slang; they clearly don’t care that their topics are redundant or that the big choruses reek of radio rock familiarity. It’s not just despite those things that they succeed, it’s also because of them. Somehow, within the clichés, Fallon finds the spirit and emotion of American life and makes you feel it too. Questionable methods? Yes, but the results are undeniable. - Kevin Madness
Sympathy Ends Self Titled EP Independent Sympathy Ends is a band that has gotten around quite a bit since their inception in 2006, but not without adversity. They
have gone through several member changes including a guitarist, and more recently a new drummer and vocalist. Their third and latest offering definitively does not disappoint, and the member changes are very evident in their sound. Guitarists Johnny Neves and Alvin Rideau’s chops are top notch, with plenty of sweeps and chugs effortlessly transitioning between hardcore and death metal influences, though never coming off as “too much“. New drummer as of 2009, Trevor Smith has added a whole new dimension to their sound by integrating different time changes, without letting the band get out of the pocket. I’m most impressed with vocalist Paul Anderson, however, whose enormous range and versatility are on full display throughout the EP. His vocal timing- knowing when to switch between guttural growls and haunting clean vocals- are what grant this CD a quality many thrash metal/ hardcore groups don’t have; it’s catchy as hell without losing the hard edge. Sympathy Ends is a cohesive group of musicians able to shape an incredible range of sounds. The recording, mix, and mastering are clean and balanced as well. My only gripe is the lack of lyrics on the sleeve (2 songs are listed on their website). That being said, this is definitely a CD worth checking out if you’re ready to hear some of what metal is and should be evolving towards. - Todd Graham
We Are Hex Hail the Goer Independent Pounding drums, screeching guitars, heavy bass, and potent vocals twist, fold, and then explode upon themselves in We Are Hex’s second fulllength album, Hail the Goer. The opening track “Birthplace of the Mystics” is possibly the hardest part of the album, going down like the initial burn from a swig of whiskey, while the rest of the album blooms to be the warmness that comes after. The band has a unique flair that pulls the listener in while making them squirm in their own skin, forcing continued listening in the hopes of eventually feeling right again. As the album starts to settle down in the later tracks, the intricacies of each instrument begin to shine, becoming increasingly melodic and noteworthy. Their abandonment of traditional song-styles is rewarded by their intricate and cutting transitions that thrash the listener about throughout the album, while vocals from Jilly Weiss scream and soar like Brody Dalle of the Distillers and Joan Jett 20 of The Blackhearts. Coming in at just under
30 minutes, Hail the Goer ends in a fashion of puzzlement and curiosity as to what just transpired, leaving you to either move on in disambiguated wondering or to walk again the tangled halls and dark rooms that are erected with each track. As the band states on their website, it’s not for everyone, but for those who it’s for, it’s quite a ride. - Andre Estournes
The Complete Mother’s Best Recordings...Plus! Time Life This September, Time Life is releasing a 16-disc set featuring 143 performances by the late great Hank Williams. The Complete Mother’s Best Recordings...Plus! features 72 complete 15-minute shows that Williams recorded in 1951 for radio station WSM. Throughout these shows, Williams performs his own original songs, plays cover songs, and exchanges in playful conversation with his band The Drifting Cowboys and Mother’s Best spokesperson Louis Buck. Dubbed “The Lovesick Blues Boy”, Williams plays country music that reflects the time. Many of the songs are about Jesus and nature, rather then reflecting today’s more popular riffs on consumer culture and quick trends. The pace is often slow, allowing Williams to really let loose with his impressive vocal range. An exception is when he asks for the fiddle and then really lets us have it, releasing a maniacal fury of fiddlin’ to let us know he ain’t no slouch. Williams’ music isn’t the only thing you hear. In between songs, Louis Buck makes sales pitches for Mother’s Best flour, biscuits, and more. When he finishes these spiels, he asks Hank about his music and his life. This often leaps into discussion of life in the South pre-Civil Rights Movement. Being a Northern California kid that grew up in the tail end of the twentieth century, this comes as quite a culture shock! Perhaps the greatest thing about the CD is that it really takes you back into a world that hasn’t been experienced in over fifty years, when the times were simpler, country music was new, and flour companies still thrived on radio advertising. It may seem to move about at a snail’s pace, but that’s just proof that things have really sped up in the world. When you get the chance to relax, kick your feet up and listen to Hank. For more information on how to purchase this outstanding box set, go to www.HankWilliamsMothersBest.com. - Ben Baker
By Itay K.
Tight-pants, hook-bangs and neon shades stretched down Soquel Ave as far as the eye could see... what the hell? Was Warped Tour in town? They may not be household names yet, but Circa Survive know how to bring a house down. I got a chance to sit down with vocalist Anthony Green before their highly energetic set at The Rio Theater in Santa Cruz. What’s the significance of the title or your album Blue Sky Noise? Well, “blue sky” is a term used in law and business to mean research that is done in hopes for some sort of knowledge or venture, but it’s frivolous almost. And in blue-sky statistics they’ll talk about “oh, it’s just blue sky;” it’s useless information. And we just signed to a new label, so we were thinking of cool things we could do, cool things we could say, without being really direct. It’s really symbolic of a lot of things, but that’s sorta how we thought of it: frivolous research…congratulations, thanks for signing us, here’s Blue Sky Noise. Hahaha. But Atlantic’s really awesome, they loved the concept behind the title. It’s a really open-ended concept and it doesn’t have to mean that. One of the things I like about it is that it is open to interpretation and it’s got a lot of symbolism. Did you guys have some sort of clear vision going into the recording of this album, knowing it was going to be released on a major label? We had a vision. I don’t know how absolutely clear it was, but we knew what direction we wanted to head, we just didn’t know, necessarily, where
we were. So, when you don’t know exactly where you’re at it’s hard to tell where you’re going, so it took us a little while to really sink our teeth into different things and find “Okay, this is more what we want.” And we got there and it was like, “Okay, from here we go there.” Sort of like we discovered each little sign-post along the way. Was there any pressure along the way from the label as far as production value? No. I mean, we wanted the same thing as the label; we wanted a weird sounding record that was also something we’d be really proud of. We wanted it to be weird, but not just a bunch of fucking squeaks and squeals and noise and ambient shit. We wanted to write a real rock album, but also have it have some psychedelic blues and jazz aspects and they wanted that, too. We sat down with them and were like, “We don’t know if we can write singles, we don’t know that’s what we can offer your label, but what we can offer your label is a real heavy-hitting rock band that is really open to exploring different aspects of blues and classic rock and jazz.” We want to speak to people. I’ve found when you leave things up to interpretation and you utilize symbolism you’re not really alienating people. I
think we want to make music for everybody and they helped us with that. There wasn’t a step along the way where they were like, “Oh, this is more what you should do…” Everything they wanted from us we also wanted originally, so it’s good. That’s kind of different from what you hear about major labels... It’s sort of the antithesis of what you hear, but Atlantic is such a different label. They’re really trying to search the market right now and try new things. They’re like, “We’re not afraid to lose money ‘cause fucking everybody is losing money right now.” They’re selling more electronic music than anybody and they’re doing pretty well in terms of selling things on the Internet and that could be the wave of the future or it could be something between that and what’s classically been going on. We got really lucky because you really hear horror stories of major label bands, but they always wanted us to be versatile and become our own band. Do you feel the new album is a step in a new direction? Oh, for sure. But that’s something, as far as the vision, that we wanted to sound different. We wanted to find something more raw and, at the same time, really explore internally things that we could write about and the sounds that we could merge together to make something accessible that gets you thought the door, but can then take you out of your mind. I think that’s what’s important about the accessibility of the album; you want to get people to the door and not freak them out, but once they’re inside the door you kinda want to freak people out a little bit, and that’s a difficult thing to do. I think that if you go out trying to do something like that it’s almost like shooting yourself in the foot, but it sorta came to light as we were going. How have the fans responded? You know, most of the people I’ve talked to really like it, but for my own mental state, I’m not really paying attention to how it’s doing. We’re having great shows; people are singing along, and the feedback that I have been exposed to is mostly positive. I love it, so it’s almost impossible for me to imagine someone being like, “It fucking sucks” and if they did, I’d just say “You suck.” It’s really good and we like it. Do you guys usually plan or discuss your material, or do you just let it come naturally? We have to discuss it and you have to communicate about it, but most of the time what you communicate is just part of the step of where you get. We’re not the type of band to sit down and say “This is what we’re going to do” and we go right there. Usually, this is what we want and we end up with something greater than that. You have a solo album, and there’s talk of a follow-up, could you talk about that a little? I’ve been working on it since we finished Blue Sky Noise. I have eight songs recorded and for a week this December we’re gonna go where we recorded Avalon with a buddy of ours, the guys
from Good Old War, and the guy that produced their album. Just bring our own equipment, finish up some recording, and it should be out by the end of the summer next year. How is the writing different for you? Writing with Circa Survive is very much a collaborative effort. We all bring our best to the table, but there will be times when someone will come to me about lyrics or I’ll come to someone about drums or guitars. We really make it something that everybody has their hands in. When I’m writing my own stuff…the guys from Good Old War really help with the song structure and they’re more involved than with Avalon, but I’m not revising or anything. Writing isn’t that much different than with Blue Sky Noise. I would say that the first two Circa albums I just wrote the first things that came to my mind and Blue Sky Noise is a little more thematic. It reflects what was going on in my life, whereas some of the stuff on the first two albums were…you can’t help but reflect on what’s going on in your life, but maybe this song’s about three different things, maybe it’s a ball of things. Blue Sky Noise is more focused. And all the stuff for my solo shit is thematic. It’s about my wife or my family or what’s going on in my life. I would say that the solo stuff and Blue Sky Noise have a lot of similarities. Is there another big tour after this one? We’re doing a tour in the fall. I think it’s going to start mid-October, which is right when my baby’s supposed to be born, so that should be interesting/fucking terrible. Part of me feels like I’ve got to make a living and provide, but at the same time I need to provide intimacy and be there for my family. Right now my wife is pregnant, she’s home by herself…I just bought a house and she’s moving in there, I’ve hired people to help her, friends are helping her, the family’s helping her, but there’s a part of me that didn’t happen when I was just getting out of my parent’s house to go on tour. I miss her, I miss being around her, miss going out to dinner, watching movies. Especially when she’s pregnant and there’s things she can’t do. She’s a stubborn person. She was on a skateboard and I was like “What the fuck are you doing? Get the fuck off that thing. You serious?” My God. Fucking giantpumpkin-baby-belly, don’t get on a skateboard. And then 10 minutes later we’re walking and she trips. Like, “Noooo!” I mean, it’s starting to become a little difficult and what we do and what I get to do is a huge release and cathartic. It’s the most amazing feeling ever and I almost feel guilty about it when I’m not around to do other things. Now I’m going to be a dad? I gotta be present. So, this tour could be difficult emotionally, but I’m going to fly home every day I have off, even if it’s just for 12 hours, I don’t fucking care. And I’m really hoping, as soon as the baby’s old enough, after this year, I’m going to have them out on tour with us so I’ll be around all the time. Any final words for your fans? Yeah, print magazines are really important and integral to our culture and our music scene. Don’t stop buying magazines, don’t stop reading 23 magazines.
I remember my first show like it was not almost fifteen years ago. My good friend Wes and I journeyed out to Pomona, CA to see The Mighty Mighty Bostones and the Swingin’ Utters open our minds to madness and forever change our lives. Since that show, I kept looking for more Swingin’ Utters action and despite the occasional album release and few shows out of reach, there wasn’t too much to grab on to, until recently. Within the past three months I have had the privilege of seeing the band perform three times: in May at Punk Rock Bowling in Henderson, NV (see Issue #79), at Vans Warped Tour (see Issue #80), and in the never regretful Sacramento once-a-strip-club Blue Lamp, where I stepped outside with lead guitarist Darius Koski to discuss the band’s recent activities, including a new EP and an upcoming LP! During our talk, I welcomed Darius back to Sacto with a lovely mosaic of a loud Harley and a homeless punk trying to score a free ticket, then later playing guitar right behind us. I love this town.
swingin’ utters 7/13/2010 - Blue Lamp, Sac
Interview & Photos by Jon Hermison This year seems like one of the busiest years you guys have had in awhile. We’re doing lots of touring, we’re touring more than we’ve toured in over ten years. We’ve been doing long weekends for years, years, and years. Mostly West Coast stuff, but last year we did the East coast for a little bit. This year we’re going to Canada. We’re traveling the U.S. until October and then in November we’re heading to Europe. We’re just gonna keep on going and hopefully we don’t kill each other. So, you guys started the year off doing the big tours/festivals like Punk Rock Bowling, Vans Warped Tour and now you guys are on your own? Yeah, nothing crazy. We’re on our own for three weeks then we’re off for a couple weeks and back on again. It’s not a solid chunk of time. We used to do it straight through, but that was a long time ago. We’re not that hardcore any more. How did it feel to play on the big festival stages? Playing with bands you probably haven’t seen or played with in quite some time. VWT was weird. I don’t go to big festivals like that, so I haven’t been to one since 1998, which is the last time we played VWT. It used to be a punk rock tour, and it’s not anymore. Actually, the only part that was punk rock about it was the stage you guys played on. Exactly! We were on the Geritol stage. And that stage was awesome, there were a lot of great bands on that stage, and 90% of the bands on the other stages I’d never heard of before.
Yeah, the crowd that was in front of the Punk Rock Legends stage seemed to consist of the dads that brought their daughters to see All American Rejects. It’s a generation spanning thing; we’re that old. I guess generations are measured in twenty years, now people’s kids are seeing us, so that’s fine.
They’ll think it’s something new. So you guys have a new EP called Brand New Lungs. Is that leading up to a full length? Yeah, our full length is being mixed. There were some technical difficulties but it will be out in September. So when this full length hits, what number will that be for you guys? Man, I don’t even know. I actually have to think about this. Let’s see; one, two…(counting fingers), this will be our ninth or tenth full length, but probably our sixth that is all new material, instead of b-sides or stuff like that. It could’ve been more because we didn’t do anything for a long time. We all seem pretty excited so we’ll see what happens, we’re all dropping things and doing it. So all band side projects are on hiatus right now? Yeah, Filthy Thieving Bastards and The Revolts are not doing much right now; this is pretty much it.
How do you guys feel about adding Jack Dalrymple to the team? It’s fucking awesome! Honestly, I think we are way better now than we’ve ever been before. We’ve wanted him in the band forever, and I just kinda waited for One Man Army to be done because I knew he would say yes but I didn’t want to be the dude that took him away, so I waited for him to tell me it was over, then brought him over. Where does the nickname Jonny Peebucks come from? Oh wow, that’s an old story. So, Jonny Peebucks & The Swingin’ Utters started in the Summer of ‘88 in Santa Cruz (I didn’t join til ‘90). They played backyard parties and were just a cover band. Before the band started, Jonny just got wasted one night. He woke up, pissed himself, there was piss everywhere, and he reaches into his pocket and his money was all wet but he was hungry so he went to Taco Bell. He goes to the counter, pays with wet money, and the girl asks if he was swimming with his clothes on, ‘cause it’s a beach town, and he said “No, I peed my pants.” His friend was with him and blurted out “Peebucks” and it stuck. Pretty brilliant.
www.swinginutters.com • www.myspace.com/swinginutters
7/22/2010 - The Avalon, Santa Clara Interview & Photos by Matt Young What are some of the big shows you guys are looking forward to on your upcoming tour? Mark: Vegas! Dave: Yeah, Vegas. Vegas is always fun. Mark: The Hard Rock is always a cool place to play the sound system there is pretty dope. There’s always good music going on there. I’ve always enjoyed it. For me, it’s always about that hour, hour-and-a-half of playing music.
Adema is a comeback story still in the making. Formed in Bakersfield over a decade ago, they established themselves as their own band despite original singer Mark Chavez being the half-brother to Korn’s Jonathan Davis. After a while, internal attrition led to the loss of Chavez and one of the original guitarists, Mike Ransom. Years later, the band has sorted things out and are touring. Vocalist Mark Chavez, bassist Dave Deroo and guitarist Tim Fluckey sat down for an exclusive interview on the first night of the 2010 tour, and got surprisingly introspective.
You guys are working on some new material? Dave: We’ve actually all been writing individually - we have a lot of ideas, but we’re kind of just having fun being a band again. This is the first time this band has been together in five or six years. To us, it’s kind of a gift to ourselves and the fans. Tim, how do you feel about the way things are adjusting to the way they are now? Tim: I feel really good. And I’d like to say, too, that during those years that you brought up, those guys from Level being in the band - we should have changed the name of the band in retrospect. I guess it really wasn’t Adema, that’s what I’ve learned. What we have here - that’s Adema. Now, we were like, “let’s write some music and have some fun and see what happens,” so that’s the approach we’re kinda taking with this. Mark: Yeah, we’re home-grown. We’ve known each other for years and it’s simple for us. It’s a lesson we’ve learned: less talk, more rock. It’s like this: women want to talk about feelings. Men try to talk about feelings, and stuff is gonna get thick again! Naw, it’s just a learning process, and we laugh at the petty stuff. We went through that kind of adolescence where we were kids, and all we wanted was to play our instruments every day, and when you have that attitude that seems like when the success happened. We were writing tunes that were relatable, and it opened up the door for us to be able to keep making music. Once we lost sight of that and rested on our laurels, things started to not go so well- you stop enjoying your craft. Once that happens, it’s just a matter of time until you’re floating in the water. I was really impressed by the cover of Alice in Chains’ “Nutshell” that you guys did on the EP. You made it your own. Dave: Thank you. Tim: You know, one night we played a show in Seattle and Sean Kinney came out and said, “We hadn’t heard that version. You know, we’ve heard so many versions of our sh*t, and you guys picked the right f*ckin’ song, and nailed it - the song that says the most about us.” We were such big fans, and I didn’t know if he’d heard of us, and it was like, this is the best cover of it… That’s probably the most legitimized I’ve ever felt. And we did that cover because we had found out Layne Staley died, and we were at a festival
and we played it for like eight thousand people, and it was awesome as a tribute, an amazing thing. So that’s how we even came to doing that song on the next record. What can we expect from you in the next year? Mark: We’re gonna pound the streets for a bit and just do what we do, which is make music, and we want to write a record - that’s what I’m looking forward to the most because I’m just in the most positive place that I’ve been in years, and I’ve got a lot to say and a lot that I’ve learned, and I know I can speak for my brothers it’s the same with them. They’ve all gone through a lot of things and so we’re gonna talk about it- that’s what I do when I write records. It’s diary-esque. So it’ll be real live shit! Dave: (laughs) It’s really a great time to be in Adema. It’s kind of like being in a brand-new band, in a sense, as formulaic as it may sound. It’s really a rebirth for all of us. I was honestly apprehensive, because I didn’t think people would give a shit, like, do people want to hear it? But the response has been overwhelming. It brings them so much joy, it makes me feel alive. That’s the one thing; there’s no drug I can take, there’s nothing that can make me feel as good as I do when I’m on stage, when I get that reaction from the crowd. And you get addicted to that. When you don’t have that, where do you go from there? It’s taken me five years, and I’m still not over it. Mark: It just keeps coming back to this road. And I enjoy living. I’m alive, and that means I get to rock, and if I’m rocking, it’s all worth it.
7/22/2010 - The Avalon, Santa Clara Interview by Matt Young While San Francisco may be known for hipsters and indie rock these days, there are still some shining examples of hard rock to be found there, and NOVA is one of those bands. This five-piece absolutely brings the rock in every way possible. Featuring Nick Young and Aaron Goforth on guitars, Scott Proctor on bass, Rob Bujak on drums and Gabriel McGahee on vocals, these guys really set the bar high. I’m really stoked about tonight’s lineup who are you guys playing with? Gabe: Zed, Adema Rob: Left of Christ, and Solid State Logic. And you guys are playing with Adema! How stoked are you about that? Gabe: It’s gonna be a good show man! I hear you have some prospects of your own coming - you’re fresh on a label? Gabe: We just got signed to an indie label, Rogue Records America. They’re being really nice to us right now - it’s kinda cool having some help. How did you guys get together? Gabe: Man, that is a long, sordid story! Nick: That’s crazy… Rob: A bunch of randomness! Gabe: We just all played in different bands sort of in the Bay Area music scene, and we’d seen each other playing in bands, and we just picked different guys from different projects and started this. Actually - this guy (points to Rob), he’s from Connecticut, and he heard a demo I’d been working on like three years ago, and shipped all his drums out here; one-way ticket, and just decided to go for it. You guys are working on some new material? Gabe: Yes. Aaron: We have a new record coming out. Gabe: We’re going even further in that melodic direction - just focused on songwriting. Rob: Aaron is writing a lot of the songs now, because he’s brand new to the band. One of the things that makes you guys stand out is the vocal strength. What kind of vocal training did you have, or is this just a natural thing? Gabe: I grew up singing when I was really young, and I’ve had some pointers along the way, but nothing too formal.
I was first introduced to Dead to Me back in December when I was fortunate enough to check their set at the Rock to Roll Charity event at Slim’s. The whole night was packed, with Dead to Me sharing the stage with Nathan Maxwell, Wax, and NOFX. Their cause: to raise money for charity (see YMM Issue #74). Without any doubt, Dead to Me impressed everyone at the show that night, and I couldn’t wait for the opportunity to sit down with these guys on July 1st before their show at Thee Parkside in San Francisco.
dead to me
7/1/2010 - Thee Parkside, SF Interview & Photos by Brian Crabtree
The band has been really busy just finishing a tour in Europe and is about to be going back on another European tour, how many European tours have you guys been on? Chicken: We just finished one and another is going to be starting in September. Nathan: The first tour in Europe was with the Street Dogs. The second one with Millencolin, and this will be our first headlining tour in Europe. And how do the people take to you guys over in Europe? Chicken: It’s crazy, we get a really good response over there. Nathan: We are kind of like to Beatles over there. Chicken: Pretty much. Is the response different than here in the States? Chicken: It is so totally different that you can’t even compare. It’s like comparing apples and oranges. It is a totally different vibe over there. Nathan: Plus there’s the whole, “we are in Europe thing.” Chicken: And you can’t not have fun in Europe. The worst show there is arguably better than the best show in the States. Nathan: Well…at least comparable. Chicken: At least comparable, but the kids over there are… Nathan: Hospitable…and have a lot of respect. Are you saying that here in the States all the kids are a bunch of assholes? Chicken: No, I’m speaking more to the people putting on shows. Like the kids that go to shows, the punks, are all great. Nathan: But when it comes to playing a massive club or festivals… Chicken: It’s different: they feed you, they give you a place to sleep, things like laundry.
Have you ever played any of the large festivals in Europe like Low Lands Music Festival in the Netherlands? Nathan: No, but we did play this one festival in the Netherlands where little kids were playing with dogs and old people, and we were the only punk band playing. And there was this weird psychedelic dude from Austria playing. Chicken: Europe is random. Nathan: But it’s great, we smoked with some
old dudes and found some people from San Francisco; I see them all the time walking around the neighborhood now. How has the ride been after the release of your latest album, African Elephants? Nathan: Critically acclaimed. Chicken: It’s adored by the ten’s… Nathan: of kids. Chicken: It has been really fun, I have felt that after two records this album had a different direction and sound to it, intended or not, so it’s fun to get out and play it live. Nathan: New songs, different line up.
How do you feel Fat Wreck Chords is doing after the recent economic times? Chicken: I am sure they are like a lot of other record companies; they lost a lot of money. Nathan: But it seems they are staying the same; not really going up or down. Chicken: It’s just Fat. They still throw out bands that they like. That’s cool, and they’re stoked and we’re stoked.
Do you guys plan on getting back into the studio any time soon? Chicken: Starting early next year. Nathan: There is already a shit ton of songs ready to go. You just bottling them all up? Nathan: Or waiting for someone who wants to help put them all out. Get in touch. On that note, how has it been on Fat Wreck Chords? How are they treating you? Chicken: Nice kids over there. Good folks. Do they help to ship you overseas for those European tours? Chicken: Yes, they hook us up for sure. I like a lot of those kids over there. I wanted to work there for some time and I can honestly say that the kids that worked on my record or our band’s record are friends. Not a lot of bands get that connection.
I was only able to attend the first day of the Tidal Wave Festival this year. The bands were great, with Stone Vengenace, Giant Squid, and Desecrater shining brightest. I couldn’t help but notice something odd from some of the musicians milling about the crowd, though: a lack of proactive promotion. People walking around with armfuls of demo CDs but doing nothing with them, save for maybe handing them out to the occasional familiar face that passed them by. What’s the point in giving your music only to people who already know about you? I always thought the whole idea of passing out demos was to increase awareness and exposure. Plus, you never know just who you might end up giving a CD to. One band dared to buck that trend and slid a couple of discs my way, and I’m going to tell you all about them in this edition of the NorCal Metal Report.
By Dave Pirtle First things first, though. The month of August got off to a shitty start with the tragic death of Early Graves vocalist Makh Daniels. According to reports, the band was en route from a show in Portland, OR to Reno, NV as part of their tour with The Funeral Pyre when the driver of their van fell asleep at the wheel and veered off the road. Daniels was tossed from the van and died at the scene. The driver and guitarist Tyler Jensen were also injured. I had only met him a couple of times, but interviewed him for another publication prior to the release of We: The Guillotine, and found him to be a genuine, unique individual with an incredible passion for music and a strong dedication to bring it to the masses. He will be missed, and our thoughts are with his family and bandmates. On another note, I’m getting sick and tired of writing eulogies/memorials. 2010 has been a rough year. Let’s hope that Makh is up there laying a whooping on the Grim Reaper and that there are no more casualties for awhile. The aforementioned chance encounter at Tidal Wave happened to be with Oakland-based Invection. They have followed up their debut release Demented Perception with a new EP entitled Derealization, now available to be purchased through their webstore and select distros worldwide. Wasting little time between releases, they are readying their debut fulllength as we speak. Facet of Aberration will include ten tracks of classic/technical thrash, including some re-recorded tracks from their previous releases; two additional tracks will
photo credit: Bungee Brent Photography
mudface be recorded for possible future use. I would expect a release before year’s end but that all depends on how things pan out (including possible label interest), doesn’t it? Follow them on MySpace and/or Facebook or just watch this space for future updates from a band that is already showing a ton of promise after a relatively short period of time. Mudface has once again resolved their drummer issues with the recruitment of Pete Bostaph (of the Bay Area Bostaphs) to sit behind the kit. The band is now gearing up to pick up where they left off. That is, stomping
your face and bludgeoning your eardrums. Although this process did set the band back a bit, they hope to be in the studio recording their new album by December or January - about the same time that you can expect to see them out playing shows again. On a similar note, Kaos has announced Jesse Bellino as their new drummer. They’ve been spending the past couple of months in the studio working with him on the live set as well as putting together new material for the next Kaos album. Damn, I’m still digesting their The Pits of Existence release from earlier this year! Ah well, you can never have too much Kaos in your life - although some scientists and sociologists might beg to differ. Legendary vocalist Steve “Zetro” Souza has formed a surprising – although not entirely unexpected – new project: an AC/DC tribute band christened AC/DZ. Joining Souza here
is drummer Jon Allen (Sadus/ex-Testament), bassist Elena Repetto (Bomb & Scary/Mother Earth/Machine Called Man/Tramontane), and executive producer Walter Morgan. As if that wasn’t enough, they have enlisted Eric Peterson (Testament), Glen Alvelais (LD/50) and Tim Calvert (Forbidden) to guest on their forthcoming debut album. What the band is lacking is someone to fill the Angus Young role for live performances. As you know, the live show is the most important thing for a tribute act, and this one is planning to deliver the ultimate visual and aural experience. So, if you think you have what it takes to channel the spirit and energy of one of rock’s most entertaining musicians, send your bio and/or audition videos, web links, etc. to stevenzetrosouza@ gmail.com. Rezn will be hosting their own Halloween festival at The Avalon Nightclub in Santa Clara on October 31st. The all-ages, all-day event will feature a genre-crossing lineup that will also include Letters Make Words, Point of View, The Parade, Thunderhorse, Until We Sleep, Kenny Thomas & The Southern Baptists, Trick Mechanics, Billions Upon Us, Klank, and Zed, with a headliner to be announced shortly. Mark your calendars for what should be a huge event and a great alternative to trick-or-treating. Many of the bands mentioned here share one thing in common: they’ve taken the initiative to spread the word, be it directly or indirectly.
Sometimes folks will search for new music on their own, but you can’t rely on that. Get out there and promote! CD-Rs and paper sleeves are cheap nowadays, and a good investment. Need more opinionated advice? Just hit me up at email@example.com. Oh, you can send news and feedback there, too!!
Top 10 Playlist for period:
7/1/10 - 8/5/10
(NorCal Unleashed airs on 90.5 FM KSJS on Thursday nights at 11pm. Contact madman@ ksjs.org to submit your music for airplay)
1. Sympathy Ends - S/T 2. Early Graves - Goner 3. Decrepit Birth - Polarity 4. Crushdown - 2010 Demo 5. Psychosomatic - Another Disease 6. Fleshwrought - Dementia/Dyslexia 7. BLU - Only the Dead to Witness 8. Exodus - Exhibit B: The Human Condition 9. Invection - Derealization 10. Blind Illusion - Demon Master QUICK BITS: The Venting Machine has completed work on their new album, which will bear the title Six Of Cups and should be released by the end of the month . . . Metal Inc. has a new drummer (Tim Head), and a new EP, Media Bleed Out, which is available now . . . Anomalous is gearing up to release their debut fulllength Ohmnivalent . . . a deluxe edition of Son of Aurelius’ The Farthest Reaches is out now and features five previously unreleased tracks . . . Brain Drill’s San Francisco date on the Bloodletting North America Tour has been moved from San Francisco to the Blue Lagoon in Santa Cruz on August 30th . . . on a related note, and in case you didn’t know, Flesh Consumed is now part of the Unique Leader Records roster . . . expect a new album from 26 Miles Per Hour next month . . . 3Lunas are hard at work on new material, but recently took a break to support In This Moment at the world famous Whiskey A-Go-Go . . . The New Plague will come out of hiding to take part in the Sickness Metal Fest in Portland, OR next month . . . the new album from Hostility, Set In Stone, is available now . . . Nihlotep has added second guitarist Thanatos Apoptotic to their ranks, and are working on new material. 31
THURSDAY, SEPTEMBER 23RD TEX WASABI’S (Sacramento, CA) SIMPLE CREATION – SELF CENTERED - IN THE SILENCE
THURSDAY SEPTEMBER 2ND THE BOARDWALK (Orangevale, CA) FATE UNDER FIRE - GREY ATLAS – JACK KETCH -DEADSET - TBA
FRIDAY, SEPTEMBER 10TH OLD IRONSIDES (Sacramento, CA) THE COMMON MEN – THE NEW HUMANS + more!
THE TOP 6 BANDS MOVE ON TO THE FINALS!
Check www.yourmusicmagazine.com for complete details and lineups!
FRIDAy OcTOBeR 15Th
THURSDAY SEPTEMBER 16TH THE BOARDWALK (Orangevale, CA) TWITCH ANGRY - THEA SKOTIA EIGHTFOURSEVEN + more!
SATURDAY AUGUST 28TH OLD IRONSIDES (Sacramento, CA) A.P. ROOTS – KINGSUHMIDTOWN PRIETA
UPCOMING YMO SHOWS
TEX WASABI’S 2243 Arden Way, Sacramento, CA 95825 - (916) 927-8399
THE BOARDWALK 9426 Greenback Lane, Orangevale, CA 95662 - (916) 988-9247
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SAcRAMenTO yMO Starts Aug 28th
Citabria, Dimidium, Relapse, TrickMechanics, Devil’s Sunday Best photos by: Michael Pina
This was our third year conducting the Your Music Olympicks in the San Jose area and we are proud to announce the event is growing bigger every year. In each market that we hold a Your Music Olympicks event, Lyon Entertainment tries to use different venues with different styles and locations. This year we held the preliminary “Live Performance Event” at The Avalon in Santa Clara, Mountain Charley’s in Los Gatos, and The Venuez in Santa Clara. Please support these great local venues, as they provide an important service in the local music scene. The “Solo Events” were a big hit with fans and many of the local musicians participating. The “Vocal Solo Event” was held at Mountain Charley’s on July 1st. The Alt-Rock cover band Bigeye performed as back-up band while each participating vocalist sang a song for our panel of judges. The Gold Medal went to Todd from DIMIDIUM, the Silver Medal was won by
Cadent, Until We Sleep photos by: Brian Crabtree
Nichole from CADENT, and the Bronze went to Luke from BIGEYE. The Your Music Olympicks “Guitar Solo Event” was held at The Avalon July 8th, with Eric from BOMB AND SCARY winning the Gold, Leo from CITABRIA took the Silver Medal, and Jason from DOWNEFALL received the Bronze. The YMO “Drum Solo” and “Bass Solo Events” were July 15th at The Avalon. The Gold Medal drummer was Kevin from CITABRIA, Silver was Tim from DIMIDIUM, and Rich from CRUSHDOWN took the Bronze. The “Bass Solo” winners were Gold to Ryan from RELAPSE, Silver to Edgar from CITABRIA and Bronze to Matt from DIMIDIUM. The preliminaries for the “Live Performance Event” went
from June 6th to July 15th, and the top 6 vote earners moved on to The Finals Friday, July 30th at The Avalon. The finalists were: CITABRIA, DIMIDIUM, RELAPSE, UNTIL WE SLEEP, TRICKMECHANICS, DEVILS SUNDAY BEST, and the Editorâ€™s Choice was CADENT. This was one of the best local band shows of the year bringing out a record S.J. Finals crowd. All the bands put on top-notch performances for their appreciative fans and friends.
Please go to our web site:
www.yourmusicmagazine.com and check out videos, blogs, and photos from these Your Music Olympicks events!
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We have a pretty strict practice schedule but I am sure all of us would like to practice more. We practice at this great spot called The House of Hits that is a tiny drive away from downtown. A large number of other local performing artists practice there as well so we get to mingle and schmooze in addition to practicing. This has actually been insanely helpful since we get to really connect with the majority of Sacramento’s music-scene’s lifeblood. - Alex
Alex Ayers - Vox/Harp/Keys Mat Woods - Guitar /Backup Vox Ian Maclachlan - Bass Brian Breneman - Drums Skyler Henry - Guitar/Backup Vox I like the logo on your Myspace page/CD with the girl that kinda looks like a witch - it’s very early Sabbath looking. How much of an influence is Black Sabbath on the band? While we all respect Sabbath (Osbourne), I think it would be safe to say that Mat is the only true Sabbath aficionado. The “classic influences” question has long become a refrain of sorts for this band, but the answer remains the same: all the bands that we know/love/adore have a way of shining through in the writing process. At no point did we ever sit down and decide upon a genre or angle that would suit us. The current lineup is extremely organic in the creative process. So, short answer, the Black Sabbath influence goes as far as Mat’s subconscious (and the rest of the band’s filter) will allow. - Alex I am a big fan of your show flyers. They remind me of the old Filmore S.F. posters from the late 60’s early 70’s. Who is the artist, and how does he work with the band? Now here is a decision that we made. We have had the wonderful opportunity to work very closely with Bay Area artist Jon Radin. Like any true professional, Jon came to us with the question, “What do you want from me?” At the time we all somehow unanimously agreed that art nouveau made the most sense to us. I do not know where I read it, but someone once referred to Art Nouveau as sudden violent curves generated by the crack of a whip and my God if that is not a concept a band wants to be associated with, then I do not know what I am doing. Plus, the idea that we should graphically focus on women seemed to resonate with us. In no seedy sense though. Ha. Jon has been a wonder to work with. He has a creative mind and style that has developed a sort of Pavlovian response in us. I am glad you like his work. - Alex P.S. - A quick google search tells me that the quote came from Pan Magazine. Which just makes it all the more awesome.
What are the bands practice habits? Where does the band practice?
I read the lyrics to “The Lover”, is this your classic Romeo and Juliet song or something else entirely? Thanks for asking. I have never written a love song. I don’t know if I can shelve my cynicism long enough to really do something like that. In fact, I do not really even write about men/women issues. At the risk of whatever this may imply, it really is low on my list of priorities. Yet, almost all of our songs play the He and Her Game. By assigning a female gender to something or someone it is the shortest route I need to travel to tell the listener that that someone/something is apart from me; that the subject in question is NOT me. With The Lover, I was trying to actually write about a real relationship. It is not a Love Song, it is a Coping Song. The refrain says it all: you see something, you care for something, but you cannot bring yourself to do what needs to be done in order to show that love, so call upon some sort of daemon(semblance) to take your place and do your job. If it sounds disingenuous, then so be it. I don’t know how to genuinely kiss the ground but I sure as hell can genuinely fake it. - Alex P.S. - This battle with sincerity is being directly addressed in the current batch of songs we are working on. Maybe, one day, I too can be a real boy. What is the band currently working on? Songs, songs, songs, public image. Like I said earlier, Skyler has shaken the foundations of our band and we are having a great time, if I can mix metaphors, riding the waves coming off of it. I would like to think that Prieta is on the verge of something big. This time next year I would like to be able to say that Prieta is not a band, Prieta is an institution, without hearing a drum roll right afterwards. Also, biceps and beards, two things this band is always working on. - Alex How can people buy your music? Easiest way? Come out to a show, get piss drunk and spend a couple minutes trying to talk me down on our prices. You almost always walk away with something in your hands. Easier than easiest way? You can now find us on iTunes. - Alex How can a venue book the band? We can be reached at our myspace page myspace.com/prietaslays and very soon we will be unveiling our own website. Other than that, just give us a call. Hopefully, you should not have to contact us. We should be knocking your door down to play your venue.
Arden Park Roots interview with vocalist, Tyler, and lead guitarist, Nick
By: Jon Hermison Here we are catching up with Arden Park Roots. Last time we talked you guys were heading out on a Midwest tour and gearing up for your Sophomore release, how has everything been treating ya? Tyler: Man, a lot’s happened. The CD release party was awesome! We played at Harlow’s, where we typically play when we’re in town, and it was a huge night! Good feed back from the new release, “No Regrets in the Garden of Weeden”? Tyler: We’re getting such positive reviews. That’s pretty much our main focus for 2010: finding new ways of promotion and get it out there. Hit the road and start selling copies, like Too Short out the back of a truck. So you guys are obviously on Facebook and other networking sites. Tyler: Yeah, that is definitely our biggest online promotion, but more than anything we just try to meet people anywhere we go. You’ll find us in the crowd schmoozing and we don’t want anybody to think we’re a bunch of cocky A-holes. Returning to the band’s Sophomore release, where did you guys record? Tyler: Pus Cavern, Joe Johnston. The major difference from the first release was that on the first album we did what many bands did and just went in there and tried to pump out as many songs as we could in one day. On this album, we had more money and had time to go in there and let Joe do his thing. These engineers know what they’re doing, they’re artists too. Nick: He was definitely a part of the band - he helped create it just as much as each of us did. This time around for the YMO, you guys are able to participate in the whole thing, which was a bummer last time. Tyler: We’re excited man. Last time we just wanted to set up a relationship with the mag. We’re going to give this one our all, and avoid booking local shows for awhile, even venues don’t like when you play locally all the time! You can’t over saturate a market. It’s like if you eat a filet every night, you’re gonna eventually go “I do not want a filet, can I please get some T-Bell.” Yeah man, build up that anticipation for the local fans and round up those numbers. Tyler: That’s how you do it, five thousand dollars is a lot of money in any neighborhood. Put it towards the third album. Tyler & Nick: Exactly!!
By: Jon Hermison Ryan: Bass Mike: Vocals Gabe: Drums Casey: Guitar
How’s the summer been going for you guys? Any new tracks recorded? Gabe: We’ve been working on “Report on This”, our new single. It will be released on Reverb Nation, iTunes, Amazon.com, and other sites. And we’re working on a new album. So “Report on This” is coming soon? Gabe: It’s on Youtube.com right now, but we’ll be releasing it professionally… Mike: A real one! Gabe: And we have a couple other new songs that we will be releasing in a few months. Casey: Some really good songs that need to be recorded, and we just need to get in there and do it. Gabe: You could probably find ‘em on Youtube. Touché. Put it to the grindstone. Mike: We figured it would be better to share the music rather than keeping it to ourselves. That’s why we’re here right? Mike: I think it’d be good if people heard it. It’s good to prove to people you weren’t lying about being in a band. Mike: The walls of the studio are into it, so we figured if they’re into it, then why not? Only if they could speak, right? M i k e : Sometimes
they do. Casey: Oh, the stories they would tell. Exactly! Besides the YMO show on September 2nd at the Boardwalk, is there any more shows in the works? Gabe: A show downtown at Club Dream on September 24th. Alright, so you guys have an album in the works right now, a couple recently recorded tracks, and the band released a demo not too long ago, right? How’s the audience taking to the music? Ryan: Feedback is always good, we always get a positive response at shows and are constantly gaining fans online, but we’ve been riding on demo material for awhile and we need to start stepping it up. So, with the singles released through the course of the next several months we’ll be more out there. And as far as website promotion goes, you guys were solely on Myspace but now, as you mentioned, you guys stretched out to others including Reverb Nation, which is a big one. Gabe: We’re also doing HeadlinerFM, Flickr, Twitter, Facebook. We’re doing almost sixteen different sites, we’re pushing ourselves pretty hard and getting good recognition for it. Mike: As it turns out, the Internet, I think it’s gonna become something. It’s gonna be a big deal. If it takes off, we’re gonna be on that wave. Casey: There’s lots of possibilities. Hopefully it lives up to the “World Wide” part of it. Mike: Whatever that stands for, I don’t know the tech side of it, but it will probably be important in the year two thousands. Casey: It’s all about the Skypes. Like Marky Mark and the Internet are the top two. Mike: And Chuck Norris. Casey: He invented the internet didn’t he? Mike: Yeah, he roundhouse kicked Bill Gore. It’s like the Tech Hour with Grey Atlas. Yeah, Bill Nye left about ten minutes ago and now we have you guys. Sweet. So September 2nd at the Boardwalk for the Your Music Magazine Band Olympicks. It’s the second time this year so obviously there’s been a great response, and you guys are representing a good part of it. Thank you guys, keep us posted on that album. Mike: If you want to find us, use the Google.
YMM: Thea Skotia? In my day I’ve heard some interesting names, but I’ve got to say...where did your inspiration spur from? Keldon - It is ancient Greek for dark goddess and is the name for my stage guitar, a left-handed ebony black Epiphone SG. Many find this name a-typical, but inspiration in itself is beautiful, regardless of what inspires you. Brenton - Thea Skotia is a great name for us. We all have things in our life that are bad or dark, but we all use the bad in our life to write beautiful music. YMM: In 2010, do you as young, talented musicians believe that your ability to write music is determined by your age? I see many burnt out mid-30’s musicians pushing for the dream, but it never reaches fruition. I see you, young naïve high school attendees, climbing up the underground musical ladder with stride and confidence. Please explain yourselves. Keldon - It’s better to burn out than to fade away. If neither appeal to you, don’t spark at all. Age is a number; apart from the roller coaster of life, it doesn’t dictate where you sit. All we have is time to get better and better and to hone our musical skills, with the hope and dream that we will continue to progress as musicians. Ray - Even more dramatic and emotional art. As teenagers, we use music as our weapon against obstacles in life. Yes, in the future we will have more knowledge of things, but being in the moment helps us create. YMM: Every band has record label aspirations. Thea Skotia, please tell me what yours is. Keldon - I want a label that respects our selfexpression and exerts all flexibility to promote our compositions. Taking into consideration this band’s reach, setting the bar high is the only option. Brenton - We think of Summarian, numerous successful bands that we admire, eagerly accepted. Ray - The sky is the limit, our only demand is to hold onto our true selves while making music people respect. YMM: This time next year, where do you see yourselves? Ernie Ball stage is becoming a more vivid image in the minds of the members of this band. Ray - As young as we are, school comes first, then the rewards Vans Warped tour offers. Keldon - With a graduation cap on our dresser and a Warped pass on our hip. Brenton - If the band continues on the path that it has been going down, the sky is the limit.
By: Jon Hermison
Today we’re here with Fate Under Fire, who will playing the Band Olympicks show at the Boardwalk, September 2nd. First, lets introduce the band members. Jonathan: Drums, John: Guitar Rafael: Guitar, Alvey: Bass David: Keys, guitar and vocals How long has the troupe been this way, since the beginning, or has there been a few changes? David: Yeah, this line-up has only been around about a month or two. We’re playing older stuff right now that we’ve written with past members, and we’re starting to write new stuff together too. But, 2008 is when Fate Under Fire officially started. So with the group as it is now, have you guys started recording? David: Always recording! As you can see we’re in the “Saloon Studios” (pointing to a Saloon mirror sign) so we record all of our material in here. John: We just recorded a song recently that’s brand new. David: Yeah, we have a new song coming out called “Don’t Love You”, and if your on our email list, we’re giving it to them first, that’s one of the perks being on the list, and later giving out to everyone else. It’ll be solely a digital release until you put out an album? David: Yeah. How do you get on the email list? David: Well, if you want to email us directly, you can do it at fateunderfire@ gmail.com, or you can send us a message on face book or myspace.com It’s kind of one-by-one tracks you’re recording right now? David: well we have an EP that came out a year ago, that’s a four songer, and we have three other songs that we did, but that came out in May of ‘09? Alvey: Yeah, May of last year. We did a short two week tour to support that and came right back into recording more stuff. As for the Band Olympicks and the battle of the bands atmosphere, are
you guys familiar with that? Alvey: Well, David and I played the Sac State Battle of the Bands in February last year, so this will be the second one for us. It should be fun. Alvey: It’s cool because we’ve known of YMM for a long time, and it’s just awesome that this magazine is able to put together all of these different bands through out Northern California. Now that you guys have the line up you’ve been looking for, what’s next for FUF? Tour? David: The tour thing is something that if it comes along, cool, but right now we have a couple shows. We have September 2nd with you guys, and the morning right after that show we are playing at 6am on KCRA Ch. 3. No sleeping on that night? David: Not sure what’s gonna happen on that night. John: We’ll come back here and practice. David: Then we’re playing the Fountains in Roseville on September 8th. Then Playing another show at the Boardwalk on the 17th. And people can find you anywhere online? David: Yeah, face book, myspace….. John: Fateunderfire.bandcamp.com David: Yeah, that’s where you can download our EP for free. Alright FUF, we’ll find you at the Boardwalk September 2nd. Thank you.
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Interview by Jon Hermison I am here in Sacramento with FallRise, let’s start with your names and your position in the band. Daniel (Gor): Guitar Matt (Sandman): Guitar & vocals Shadow: Drums, Anthony: Bass Sammy: Vocals How long has FallRise been around? Matt: It has been underground and behind close doors for two and a half years, trying to find the right line-up. It’s been a long time. A lot of ups and downs and downs. Daniel: Finally we made the right choice with getting Sammy on vocals about two months ago. Sammy: It has to be longer than that. Daniel: Three months ago. Matt: It seems like forever. About three and a half months, two shows, and already played a battle of the bands? Matt: Two shows; one was a Battle of the Bands and we placed 2nd! That’s some hard work right there! Matt: I believe we even got the most votes in the first round. Sammy: This is true. Nice, so is there an album in the works right now? Matt: Just finished! We placed the order for the CD today. 500 copies coming your way. It’s an EP called “Beginning” and has seven tracks. As a matter of fact we are debuting the CD in Reno. Seven tracks for an EP...that’s not too shabby at all. Sammy: Especially for three and a 48 half months of work.
Exactly! You guys are almost there for a full length, just a few more tracks. Matt: Like a smack in the face! We’ll take that. A full length like a smack in the face. What are the plans for the next couple months after the premier? Matt: Exposure, just getting out there. Daniel: More shows coming up. Matt: We play the Boardwalk on September 11th - I think we’re playing with Step Child. Then a Halloween show at the Fire Escape with the other winners from the Battle of the Bands show. Nice! So one of the best things that comes out of those Battle of the Bands show is networking. Matt: Networking, and just getting the music in people’s hands and the name on peoples cars. Anthony: Besides our own. With bricks through the window? (All laughing) FALLRISE! Shadow: Gotta start somewhere. How would you describe your music? (Matt pointing to Anthony) Anthony: Post-Nu Metal! And that would be the N-U spelling? Matt: Yes, that’s trade marked through Anthony. Anthony: It’s not Post-Hardcore shit, it’s Post-Nu Metal. Sammy: I’m not even sure what Post-Nu Metal is man. Anthony: It’s us! Matt: We’re starting it right now, learn it! There you go, Wikipedia it! Sammy: Is there a better way to describe it so people know? Matt: Alternative metal, hard rock, nu metal. Shadow: We use double bass. Matt: Chunky guitars but with powerful Rob Halford, high-pitched vocals…. Sammy: Don’t even say that! You just want free tickets, throwing out names. Matt: Oh yea, ESP, PV. Shadow: Evans, Vader, Pearl. Taco Bell? Matt: Pepsi, Gatorade… Now that we just plugged the shit out of the interview, thanks a lot guys.
By Itay K Photos by Caroline Reid
Mixed feelings surrounded the lineup to this year’s Outside Lands Festival in Golden Gate Park. Sure, there was no true headliner - how do you top Radiohead, Pearl Jam, or Tenacious D? Lackluster headliners aside, Outside Lands proves to be a perfect place to discover new music. This year’s lineup featured everything from indie rock acts such as Wolfmother, Dawes and The Whigs, legends such as Further, Al Green and Levon Helm and newcomer heavyweights Janelle Monae, Phoenix and The Temper Trap. And that was only the music. This year, even the food vendors had their time to shine. Local restaurants and wineries are represented as well as tons of other local vendors - you won’t find any generic festival food here. Saturday headliners Further, featuring original Dead members Phil Lesh and Bob Weir were in great form. Their cover of “Time” put a huge smile on my face. But something seemed odd... it was like a strange twilight zone episode where suddenly I was reliving my high school days spent hanging out in the parking lot at Shoreline before Dead shows, plotting where on the lawn we were going to sit and perusing the various “vendors” for treats. Whoa... bad trip, man. That’s when I made my way to the opposite side of the park to watch the recently reunited Strokes explode on stage for a rabid crowd of thousands. Sunday’s lineup proved a bit more eclectic. Starting off the day late, we made our way to the Chase Freedom Lounge to catch exclusive sets by Dawes and Janelle Monae. Thank you Chase for the invite. Even though she arrived late to both her sets, Monae blew me away with her powerful voice and stripped-down R&B. All in all, Outside Lands proved once again to be one serious music festival - the way it should be. It’s become one of my favorite times of the year here in the lovely Bay Area. Maybe next year they can book a headliner I could actually care about.
TONS MORE PHOTOS FROM OUTSIDE LANDS ONLINE AT: www.yourmusicmagazine.com 50
Photo Legend starting opposite page
1. Kings of Leon 2. My Morning Jacket 3. Wolfmother 4. Gogol Bordello 5. Al Green 6. Social Distortion 7. Phoenix 8. Janelle Monae
Interview by Itay K. Last time I saw you there were maybe a few dozen people, but Outside Lands is quite the stage. How’s the past year been for you? Taylor: It’s been awesome. These festivals have done so much good for us; just getting to play in front of all these people that don’t know who we were, that are in a festival environment where people are here to find bands that they’ve never heard of before, we get to be that band some of these times. So that’s kind of the best thing ‘cause a lot of times you’re opening for someone…it’s a situation where you’re like “I’m here to see the band that I came for, this opening band Dawes I’m not too interested in,” whereas with festivals it’s like, “Half the reason why I’m here is to hear a new band.” It’s been great. We’ve been doing a lot more headlining shows and our next tour is all headlining; we’re playing some bigger rooms and we sold out the Bowery Ballroom in New York. Now we’re going to play at Webster, so it’s been a really awesome year of things that have been getting better and better. Everything that we could’ve possibly wanted has been more and more possible.
Photo Credit: Itay K.
Have you guys had a chance to write some new material? Any plans for a new record? Taylor: We’re going to record a new record in September. This tour has been three months long, so we haven’t had a chance to get too much writing and arranging done, and this is the last day of our three month run, so we’re going to go home on Monday and then start getting material together to start on September 1st. I’m
sure it’ll come out sometime in 2011 because we still have our fall tour pushing North Hills, so we’ve still got some time with this, but we’ll see. Where are you guys going on your tour this fall? Taylor: We’re going everywhere. It starts down in Texas, we go down through Birmingham, up around New York, and back through the mid-west, and then Seattle/ Portland, and then back through Northern California. Griffin: And Canada.
Are there any bands here that you’re excited to hear? Taylor: My Morning Jacket, The Strokes, Further, we just saw a little bit of Levon Helm which was awesome. Alex: I haven’t seen The Strokes since 10th grade. Taylor: I’ve never seen them. Alex: They were a big part of my childhood. What are some of your influences musically? Taylor: It’s always changed. I mean, with Dawes there’s definitely the obvious Bob Dylan and that sort of thing. I know for me, it’s always changing. Lately I’ve been responding a lot to Warren Zevon and then even some Grateful Dead and stuff. As a band, we’re constantly listening to a lot of Stacks and Motown and Leon Russell. I guess a lot of older players in some cases, but sometimes those are the only guys that will open it up, you know? My Morning Jacket is one of the few bands that will really go for it and take a fucking guitar solo; it doesn’t happen as much. So, I think that’s why a lot of our inspiration is from a little bit farther back, because that’s something that we really respond to. I’m of the opinion that musicianship was of a different standard a while ago and the people that might call themselves guitar players now wouldn’t even consider calling themselves a guitar player in 1970. Sometimes that punk quality, or sometimes that “we don’t give a shit” sort of thing is awesome, but for us we love hearing true musicianship, guys that really know their way around an instrument, and that’s something that I really am hoping is coming back. It seems like it might be. There’s Jack Whites, people that are really on the top of their game, but I do feel like it’s coming back in a broader sense across the board. What do you think of the whole integration of food, wine and music here at Outside Lands? Taylor: It’s cool because with a festival people are just curious to find new things. If you’re coming for the music you’re coming to find new music. They can go up to different food booths and say “I want to know what this is” rather than with most festivals it’s like “whatever they have, I’m buying so I can eat and go to the next band”. Here it’s like everyone’s open in a different way than they’d normally be. So that’s a very cool thing to see. When we heard about what a big role food and drink played at Outside Lands we were like, “wow, that’s different”. It’s something we haven’t seen before.
Interview by Itay K. Pretty great lineup this year, wouldn’t you say? The lineup’s incredible. We’re looking forward to playing our set (which they rocked the hell out of!) and getting to watch some rock ‘n’ roll. We haven’t done a whole lot of festivals this year, so we’re totally excited; they’re always a lot of fun. Your new album’s been out for a couple of months now, have you guys been writing since, or are you still going off of this material right now? We try to keep the ideas flowing; we try not to hold off and wait for…because we don’t have that much time off in general, so we try to let the ideas evolve and come around as they come. If we have a few extra minutes on a sound check or sitting back stage, we try to get some of the ideas we have floating around out into the open as well as we can, and hopefully that enables us to have some rough ideas to work with when we get home. So, yeah, I think since we recorded In the Dark there
Photo Credit: Caroline Reid
have been either a few left-over ideas that were never fully realized, but also some new stuff has been coming around on this last tour; some new riffs here and there, and Parker’s the singer and lyricist so he’s constantly working on lyrical ideas. We don’t have a whole new catalogue of songs, but we’re always allowing new songs to come up while we’re on the road. Do you think the touring influences some of the music you write? For sure. I think the experience of being on the road...I think you can’t help but be affected by living out of a suitcase, or visiting different states across the country and the world. Also, bands you play with, the people you
meet every night, all that has to have some kind of affect on you. But, also, the way we’re able to work on the tunes really is at a soundcheck or something like that, so there’s a lot of spontaneity when you’re getting ready for a show; Julian starts playing a drumbeat that sounds interesting, Parker and I are responding to those sorts of things and then, hopefully, we’re able to remember those ideas. If you only do it for 5 minutes one night on the tour and you come home and say “Do you remember that drumbeat you played back in Omaha? What was that?” no one really remembers. So, it’s kinda up to us to maintain and remember these different pieces. It’s getting easier now that we have digital capabilities. With an iPhone you can actually record memos to yourself; I see Parker doing that a lot or I’ll do that too if something comes up; you can get it down digitally on a computer or something like that, but a lot of times you try to associate where you were when that idea came up and hopefully regurgitate it later on when you have the facilities, like a rehearsal space where you can actually flush out the song. What’s the writing process like for the band? Any way a song comes we allow it to happen. We do jam. Parker will come to us with either a lyric or melody or guitar riff and I’ll bring a bass line in that I’ve been playing around with or a piano riff or guitar riff, and Julian will have drumbeats and sometimes the pieces come together. If I have a bass line, Julian might have a drumbeat that he’s already worked on that’ll fit, or I’ll play something and he’ll respond to it. Sometimes Parker will come in with a song that’s completely written as far as lyrics or guitar, and then it’s up to us to respond and add our pieces. The songs come from all over the place, there’s not one method that we use or stick to; we just let it happen how it happens. I think that leads to the most ideas to pull from when it comes to making an album. So you’re going on tour this fall with The Black Keys and Kings of Leon...sounds exciting! Yeah, we’re really excited about it. We’ve actually been on the road quite a bit. We just finished up a tour last week; essentially we’ve been on the road since February. We pretty much live on the road so it’s rare that we get to come home and just do nothing, so we’re excited to have a little bit of time at home, but it’s always nice to know that you have an exciting tour like that waiting for us. So, we’re pumped and we should be nice and well rested for that tour. Should get to play some big…they call them sheds, the big amphitheaters so that’ll be interesting since we’ll be on early, hopefully there will be some 53 bodies there, I don’t know, we’ll find out.
monterey bay reggae festival st st July 31 - August 1 2010 monterey county fairgrounds
Review by Danielle Negrin Photos by Wells Media (www.ToneWells.com)
I have been anticipating this festival since the day it ended last year. I have been to dozens of festivals and Monterey Reggae Festival definitely stood out. The line-up was eclectic and solid. Just to name a few, there were artists such as J-Boog, Dub-Wize, Third World, and even Edie Fitzroy. The staff was accommodating and worked extremely hard to put the whole production together. It was radically organized; everything ran smoothly. It was a beautiful weekend and I already miss it. I am not able to review every artist who performed, so I am going to concentrate on 3 artists that stood out to me. The first artist that truly impressed me was Gyption, one of the headliners on Friday night. He gave a very intimate performance and I saw his soul pouring out as he sang through the microphone. Constantly connecting with the crowd, Gyption gave a clean, solid performance. His physical expressions paralleled with the lyrics he sang which made his act eye-capturing. I heard an R&B influence in his songs, so he may want to consider incorporating some hip-hop to his music. I see great potential in Gyption to be as successful and legendary such as an artist like Barrington Levy. Speaking of Barrington Levy, we were honored to have him be on the line-up for this yearâ€™s festival. Barrington even flew in from Paris the night before to be there to perform. To me, this action shows great dedication to his career and proof of his love of reggae music. I consider Barrington more than just an artist; he is an idol. When he entered the stage the crowd went wild and everyone flocked to him. It was apparent that his music touched the audienceâ€™s souls because he brings back roots reggae music. Barrington Levy is a wellrenowned artist that sets a great example to all aspiring reggae artists. There was a surprise guest that arrived at the festival who was not on the official line up: Sister Carol! As a woman, I always 54 appreciate seeing women reggae artists
perform and she especially connected with the female attendees, which was special to me. Sister Carol surprisingly said some hysterical comments on stage about men that made the crowd roar. She has been an accomplished artist for many years and when she shared her words of wisdom I took them to heart. She put on a legitimate performance, but I preferred seeing her in a local Santa Cruz intimate bar earlier this year. I just felt that the energy level of her music was lower at the festival than I expected, although her performance never lets me down. I am so glad she was chosen as a special guest. Overall the festival was a success; the attendees got to explore a diversity of vendors lined up in a village, there were food, crafts, clothing, and even medicinal marijuana booths. One critique I have is that I wish there was more emphasis and awareness about the second stage. 90% of the festi-goers I talked
to werenâ€™t even aware of the other stage. The grass fields were full of smiling families, hoola-hoopers, and people dancing their asses off. I felt like the crowd was very much united together, near the stage, dancing in unison. People didnâ€™t stick to their cliques: the crowd was cohesive which is how true reggae festivals are supposed to be. Next year, here we come!
(opposite page from top) Sister Carol, Queen Makeda, Gyptian (this page from left) Barrington Levy, Rankin Scroo
band of brotherz
By Itay K
Deadbeats and Murderous Medleys an interview with drummer jay lane of Primus, Ratdog and Alphabet Soup Band of Brotherz is a 6 piece Underground Music Collective forged by members of ‘90s Bay Area Hip Hop/Jazz favorites Alphabet Soup, Les Claypool’s bands, and Bob Weir’s bands. I spoke with drummer Jay Lane about their upcoming tour... What’s the word on Band of Brotherz, how did that get started? Well, back in the Alphabet Soup days it was kind of like a rotating chair of whoever could make the gigs, but usually about half of the guys were hiphop guys and half were jazz guys. It wasn’t so much a hip-hop/jazz fusion so much as a hip-hop/ jazz battle; the jazz guys were fighting for it to be jazz and the hip-hop guys were fighting for it to be hip-hop, and I was somewhere in between. But, anyway, everyone went their separate ways, but the two vocalists (Zack and CB) I kept in touch with. I always wanted to do something with them ‘cause I really connected with those guys on the hip-hop thing. About 6 years ago I hooked up with Zach and he came over and played some songs he’d been working on on his computer and they were so good, so “next level” and futuristic…it had some world influences like Bollywood and reggae and stuff that, to me, hadn’t really been done yet, so I was excited and I always thought Zack was a really talented vocalist, he just hadn’t had a band behind him. So, I wanted to facilitate that as much as I could…it’s like an investment of mine also, I’m trying to invest in what I think is a worthy musical project. Of all the people that I’ve played drums behind…he was one of them that I would like to play behind many times in the future; it was fun because we’d do a lot of improv and it always felt really good. So, I wanted to do some things and then he started doing his thing and he had these songs with a few vocalists that he featured (CB and a couple of other guys) and we didn’t really have a band yet, so I put some stuff on a track-tape without the drums and played to that. So, the music was on a tape, I was on the drums, and we had four vocalists, and now we’re at a point where we have a few musicians in the band and we’re figuring out how to put on a decent show. So, we’ve been fortunate enough. And then with this Primus thing that happened, I told these guys that I’ve had this thing I’ve been working on and I don’t want to throw it away, even though I’ve kinda got to be Primus 24/7 now, and they were all pretty cool about it ‘cause everyone has something else going on, but I definitely have to put Primus first right now and squeeze Band of Brotherz in. I’m hoping that Band of Brotherz can get some legs at some point and even if I can’t play the drums on all the gigs, I’ve got a good buddy who’s a great drummer that could come help out; I think Zack’s got a really great message and a good vision and he seems to be able to get a crowd going. Very few lead vocalists that I’ve worked with, other than Les or Bob 56 56
Weir or people like that, have been able to grab a crowd; people want something they can pump their fist in the air to, something to believe in. What’s it like for you being back in Primus? It’s a bit different than Ratdog... It’s kinda like coming home. I didn’t really grow up listening to the Grateful Dead music, so that was more challenging. I played a lot of funk and stuff like that in the 80s, so when I was with Primus in 1988 it was really natural for the style I was already used to playing. It was hard learning the Grateful Dead stuff and adapting my style, but after 15 or 16 years of doing that I’d gotten pretty good at it and bonded with Bob Weir; he and I are pretty locked together. But when they started this Further thing, for whatever reason, still didn’t want me on the drums, so they got me on the gig, but on percussion (which I was more than happy to do), and I would have still been doing it now if I could’ve done both, but Les called me up with an offer I couldn’t refuse. I’m having a blast, but, honestly, when I wasn’t in Primus anymore and they got famous it was easy for me to sit back and say “Oh, I used to play in that band and I played them songs” but then when I sat down in the last few months and learned all of Herb Alexander’s drum parts it was actually very humbling. I went from thinking “Oh, yeah, I know all this shit, I’ll nail it” to “Holy shit, I don’t even know if I can do this.” So, it’s been a lot of hard work, and even now that I’m out here on the road, I’m still brushing up on a lot of stuff.
Band of Brotherz is...
Zachariah Mose: Vocals Jay Lane: Drums Dre Marshall: Guitar Chris Burger: Vocals Mic Blake: Vocals KingpinRowski: Vocals Happy Sanchez: Bass
CONCERT CALENDAR San Francisco
08/24 Bad Brains 08/26 Rondo Brothers 08/27 Necromantix 08/28 Emily Wells/Valerie Orth 09/2 Stereo Total The Fillmore 09/3 Lights Over Paris 08/17 Billy Idol 09/10 Dirt Nasty 08/19 Steel Pulse 09/11 AC/DShe 08/23 Decapitated 09/17 Hostility 08/28 Panteon Rococo 09/02 95.7 The Wolf presents Hip to 09/19 The Melvins 09/23 Jason Faulkner the Bay w/ The Band Perry 09/25 Blowoff 09/10 Michael Franti PTTP 09/26 Nevermore Pre-Party C.A.R.E. Forum 09/29 Kamelot 09/11 Michael Franti PTTP 09/30 Easy-Star All-Stars Rocking Heads After Party 10/01 Duckdown 09/12 Michael Franti PTTP
08/31 Slayer/Megadeth/ Testement zTestament
Seane Corn/Brazilian Dance Workshop/Acoustic Family Matinee 09/13 The Tallest Man on Earth
09/14 The Walkmen 09/15 Jaguares 09/16 Karmaloop.com presents Mike Posner - Up in the Air Tour 09/17 Serj Tankian: Imperfect
Harmonies World Tour w/ the F.C.C.
09/18 Mother Hips 09/22 Local Natives 09/23 UB40 09/24 JJ Grey and Mofro 09/25 Dirty Projectors 09/30 Matt and Kim 10/01 Railroad Earth
Shoreline Amphitheatre (Mountain View) 08/20 John Mayer 08/22 Rock the BellsTourSnoop Dogg/ A Tribe Called Quest/ Wu-Tang Clan 08/28 Dave Matthews Band 08/29 Kihncert Live- Lynryd
Skynyrd/Blue Oyster Cult/Greg Kihn
09/3 Bone Bash XI: ZZ Top/38 Special 09/4 Green Day/AFI 09/15 Brad Paisley H2O Tourw/ Darius Rucker and Justin Moore
09/18 Jonas Brothers Sleep Train Pavilion (Concord) 08/25 Dave Matthews Band 08/26 The Goo Goo Dolls 08/28 Celtic Woman 09/25 KBLX Soul Music Festival w/ Frankie Beverley and Gladys Knight
08/20 Ghostland Observatory 08/21 Espinoza Paz 08/23 Crowded House 08/24 Something Corporate 08/28 Melissa Etheridge 08/29 Slash 09/09 Trey Songz and Monica 09/10 Last Comic Standing 09/17 Ratatat 09/19 The Cult 09/24 George Lopez 09/30 Jimmy Eat World 10/01 Kaskade
09/09 Apocalyptica/Dir En Grey Evaline 09/12 Sleep 09/13 Sleep 09/09 The Airborne Toxic Event w/The Calder Quartet 09/22 Blue October 10/01 Kathleen Madigan
08/20 EPROM 08/23 Bad Brains 08/24 Hold Steady 08/27 Jackie Greene 08/28 Hieroglyphics feat. Del and the Funky Homo Sapien 09/02 Israel Vibration 09/03 The Fixx 09/04 The Holdup 09/11 Benny Benassi 09/18 Cash’d Out 09/25 Collie Buddz and New Kingston 09/29 Atmosphere 10/02 Easy-Star All-Stars
08/17 Rock Out to Knock Out RSD- 3 Up Front/Evo Love/Silent Treatment/Wet Umbrella/Mirros 08/21 Ambivalence 08/24 JOGGER 08/28 Le Vice 08/29 Tumbleweed 09/02 Mystic Roots Band 09/04 Extra Large 09/05 Cobra Skulls 09/07 The Mighty Diamonds 09/09 Necromantix 09/10 Big Sam’s Funky Nation 09/16 Sarah Jane 09/17 John Beaver’s B-day Bash 09/26 Tosh Marley Tribute 09/27 Tomorrow’s Bad Seeds 09/29 Beautiful Girls 10/02 6Blocc
The Crepe Place
08/22 Mountain Animal Hospital 08/23 Eastern Conference Champions 08/24 7 Come 11 08/25 The Horde and the Harem 08/26 Ben Sollee 08/27 Belle Monroe and Her Brewglass Boys 08/28 Dan P. and the Stitch Up 08/29 Chuck Meade 08/31 7 Come 11 09/01 The Growlers 09/02 Lower Dens 09/03 Elephant Revival 09/07 7 Come 11 09/09 Done Beginner 09/10 Sundowner 09/11 Min i Mansions 09/12 The Soft Hills 09/14 7 Come 11 09/17 Pillars and Tongues
09/18 Frequency Jones 09/20 The Jim Jones Review 09/21 Japandroids 09/24 Courduroy Jim 09/28 7 Come 11 09/29 The Water Tower Bucket Boys 10/01 Tater Famine
08/22 DJ Dirty Beatz 08/28 DJ Kikoman
09/23 YOUR MUSIC OLYMPICKS w/ Simple Creation/Self Centered/In The Silence/TBA 09/30 YOUR MUSIC OLYMPICKS “Vocal Solo Event” +TBA
The Avalon (Santa Clara) 08/22 Sabrina Signs 08/25 ILLADYNAMIX 08/27 Kung Fu Vampire 09/03 Best Kept Secret 09/05 Klub Ice 09/12 Exodus 09/14 The Dreaming 09/17 Goapele & Souls of Mischief 09/18 Brenton Wood Live 09/19 36 Crazyfists 09/20 Alient Ant Farm 09/23 Johnny Winter 09/26 Proper NONsense 10/01 Best Kept Secret 10/06 Vicious Rumors 10/15 English Beat 10/16 Armored Saint 10/23 Andree Nickatina 11/07 Misfits
Mountain Charley’s (Los Gatos)
08/19 The Devil’s Sunday Best 08/26 Them Rude Boyz Aloha Screwdriver 09/30 Vibrant EYEris/Cadent
08/20 Bleeding Through 08/21 Oleander 08/26 The Capitol G’z 08/27 Aroarah 08/28 Necromantix 09/02 YOUR MUSIC OLYMPICKS w/ Fate Under Fire/Grey Atlas/Jack Ketch 09/3 Trances 09/4 The Green Light District 09/8 Adharah 09/9 Dirt Nasty 09/10 The Dreaded Diamond 09/11 Stepchild 09/15 Devil Driver 09/16 YOUR MUSIC OLYMPICKS w/ Twitch Angry/eightfourseven/Thea Skotia/TBA 09/17 Fate Under Fire 09/18 Sherwood 09/22 The Melvins 09/23 All Names Taken 09/25 All-star Weekend 09/26 We Came as Romans 10/1 Despised Icon
08/28 YOUR MUSIC OLYMPICKS w/ A.P. Roots/ Kingsuhmidtown/Prieta 09/10 YOUR MUSIC OLYMPICKS w/ The Common Men/The New Humans/TBA
09/01 Slayer and Megadeath 09/17 Ladies of Soul 09/28 Muse w/ Passion Pit
08/19 Sell Your Secrets 08/20 Rise of Serapis 08/21 Mozart Season (Farewell Orangevale Show)
Monterey Blue Fin
08/20 Achachay 09/09 Z-Man/Projekt S.E.E.R./Sharkstyliens/ Element of Style/Myc Ripley
08/20 In This Moment 08/21 Alder’s Appetite 08/30 Pixikill 09/02 Art of Shock 09/03 Nedra 09/04 My Ruin 09/09 Arcanium 09/11 Evolove 09/16 Prowler/Art of Shock 09/17 The Dreaming 09/21 36 Crazyfists 09/22 Stars Go Dim 09/25 Gilby Clarke/Eye of All 09/26 Katatonia 09/30 Beach
08/27 Unwritten Law (Sunset Strip Music Festival Kick-off) 08/28 Sunset Strip Music Festival w/ Casxio, The Divine, Transfer, Vanaprasta, Blowing Up the Moon & Awolnation 08/30 Nightmare 09/02 Wang Chung 09/03 Bleeding Through 09/04 After Midnight Project 09/06 Steel Panther 09/09 Jay Electronica 09/10 The Business 09/11 Brian Bell 09/12 The Spazmatics 09/13 Steel Panther 09/17 The Addicts 09/18 Johnny Madcap and the Distractions 09/19 The Spazmatics 09/20 Steel Panther 09/24 Mack 10 09/26 The Spazmatics 09/27 Steel Panther 09/28 Nevermore 61
“Authentic Hawaiian Style Plate Lunch!” 1700 PORTOLA DR SANTA CRUZ (831) 479-3299 www.alohaislandgrille.com
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OPEN 7 DAYS 11-8pm
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Published on Jul 21, 2011
Lyon Entertainment Presents: Matisyahu, S.F. Outside Lands, Circa Survive, Swingin' Utters, Dead To Me, The Reverend Horton Heat, Band Of Br...