Rozz Magazine Edition Two

photo by mars

welcome back to those of you who have read our first issue, and welcome to those who are new to rozz! for those of you who don’t know us or what we do, we’re two concert photographers who find more cool music than we know what to do with. this is our way of sharing all of that with you!

we’ve had a great month talking to some very cool artists and seeing some very cool shows; some of which you’re just about to read about, and some of which you will see in next month’s edition. slope’s show with dagger threat and swell at merleyn in nijmegen (NL), as well as talking to portray were definitely a couple of highlights for us this month. as always, you can keep up with everything that’s going on with the magazine in between releases on instagram @rozzmagazine, and the first issue is always availale on our issuu page as well as in print.

We hope you enjoy this as much as we do, and if you know of an artist or a band or another creative (that could also be you!) who you think we should cover in a future issue of Rozz, feel free to send us an email at rozzmagazine@gmail.com. We’d love to hear from you!

All the best, Mars & Hugo

Hellooooo good people of the Rozz Magazine community!

photos by mars

Portray

and their favorite live shows they’ve seen so far

Portray is an alternative rock band from Nijmegen, Netherlands. This month, we got to sit and discuss their favorite or most influential live shows that they have seen so far.

The live show that has influenced Dave (vocalist) the most is one by Loki’s Delirium, a small band founded by his friends. While Heilung’s incredibly immersive performance is for sure a runner-up for him, Dave emphasizes the impact of Loki’s Delirium’s intimate show. Recalling a moment years ago in a tiny venue with only himself, a friend, and two other people in attendance, Dave describes how the band’s raw energy and passion for their music transcended the small audience size. “They went full out for all of the fucking whatever, handful of people in the crowd. So much so that at the end of the show, the singer just throws his guitar into the drum kit, breaks his glasses, and he walks off stage. He’s this guy I’ve made music for years with, we’ve been in lots of bands together but this was so inspirational to see this band that, no matter how small the audience is, they go all out.” This display of passion and dedication to their art form, regardless of audience size, served as a powerful inspiration, reshaping Dave’s perception of live music from then on.

For Bob, the guitarist of Portray, the live concert that has profoundly influenced him is the first time he saw King Gizzard and the Lizard Wizard at the 2016

Lowlands festival. Recalling the vibrant atmosphere of that show, he recounted the intimate setting of a small tent, which became a sanctuary from the rain outside, drawing a lively crowd eager to move along with the music. Amidst the packed space, Bob vividly remembers the exhilarating energy of the music, alongside the wild moshing and crowd surfing amidst the swirling chaos. As beer flew through the air, the mix of dancing in the rain and moshing inside the tent created an unforgettable atmosphere. King Gizzard and the Lizard Wizard’s seamless blend of their new album, Nonagon Infinity, with older tracks showcased their highly revered improvisational skills, transforming the concert into an extended jam session. “That kind of energy is something that has really imprinted on me, because it’s so unique and so vibrant. It’s something I strive for with my music: to connect with the audience and connect with your music and create something new every time.”, he told us. For Nele, the drummer of Portray, the most memorable live show he’s seen is Lambrini Girls’ performance at the Valkhof Festival in Nijmegen. Nele recounts the electrifying atmosphere of the show, characterized by an explosion of energy and aggression emanating from the all-female band. Witnessing the band fight fire with fire and challenge the male-dominated music industry with their powerful performance was a transforma-

tive experience for Nele. Lambrini Girls’ ability to take charge, get the crowd engaged, and challenge gender roles was something that resonated with him. Their music not only served as a platform for protest against the patriarchal structures of the industry but also infused the concert with a sense of empowerment and defiance for women and the queer community. Nele reflects on the optimism and energy he derived from witnessing Lambrini Girls’ bold statement, finding inspiration in their fearless assertion of space within the music industry. “The music industry is so male dominated and it’s really refreshing to see an all girl band kicking ass and making the whole crowd go wild…The whole band is a protest, and that’s just awesome”, he says. Their performance served as a poignant reminder that there is a place for women and the queer community in music, provided they are willing to seize it. Lambrini Girls’ concert stands out as a catalyst for Nele’s belief in the potential for change and empowerment within the music industry. For Jasper, the bassist of Portray, the most impactful concert experience was witnessing Oscar Jerome perform at the Paradiso in Amsterdam. Recalling the mesmerizing atmosphere of the event, Jasper describes being captivated from the moment Jerome took the stage. The performance, centered around his album “The Spoon,” which delves into themes of anger,

self-reflection, and emotional complexity, resonated deeply with Jasper, reflecting themes that Portray explores in their own music. Jasper was enthralled by Jerome’s genuine immersion in his music, finding his performance both aesthetically pleasing and emotionally compelling. Throughout the concert, Jasper remained fully hypnotized by the show, a rarity for him,as it’s often difficult to stay fully immersed through an entire hour or

longer set. However, with this one, Jasper was completely absorbed, recognizing the importance of fully embodying the music on stage to truly connect with the audience.

“I think that’s what I took from it, that if you really want to deliver something in music, you have to feel it to the purest extent on stage, it doesn’t matter how many times you’ve played it and those guys just killed it” This realization was further reinforced when Jasper had the

opportunity to chat with the musicians after the show, finding them to be humble people despite their success on larger stages. The concert served as a powerful reminder for Jasper of the transformative potential of deeply felt performances and the importance of authenticity in connecting with audiences.

photo by hugo

the Edition 2 Playlist

take a look at what we’ve been listening to here at rozz this month. from dd island’s psychedelic folk tunes to the brutality of dagger threat, we’ve really been jamming to some songs too good not to share.

mr. clarinet the birthday party

The birthday party is a australian gothic, post punk band from 1977, with their very known singer Nick Cave, its not something you’d expect but you can see where the darker roots in his music started

crooked mirror dagger threat

Peach trees - barerra

currently sitting at the top of barerra’s most popular songs, it isn’t hard to see why this song has captured so much of our attention. a fun blend between 70s influences and modern rock.

alien mask - chorduroy

a look at what the future of chorduroy has in store for us all. taking that san diego surf rock sound we all know and love with a psychedelic, garage-y sounding spin.

it’s brutal, it’s gritty, it’s everything we want from dagger threat. raw and emotional lyrics all topped off with an energy that could get a pit spinning in seconds.

motherfuckin’ hippie batmobile

From the classic dutch psychobilly band batmobile you have a track that could make even the stiffest mother fuckers move their hips.

bop pills - the cramps

the perfect curtain raiser to the cramps’ album “Stay stick!”. within the first few lines, you know exactly what they’re all about.

cherry tongue - dd island

a mix of folk, psychedelic, and indie that genuinely sounds like sitting outside on a slow summer morning. the perfect starter to dd island’s ep “Hungry”

backwash - gilla band

From ireland this four piece bring a cataclysmic soundscape of noise and techno drumbeats in a orderly chaos this band reminds me of a mix of enola gay,slow tai and swans

i dont wanna be like this Nautics

A bit of a detour from the sound that we usually know nautics for, the pandemic era proved to be a time where the band experimented with sounds and energies totally out of their ballpark.

biblical violence - hella

If you’ve never heard of “Hella”, prepare yourself for a sonic boom of instrumental guitar and drum, a band that is experimental, noise rock, and math rock but also hits classical and jazz, the level Spencer Seim and Zach Hill play is difficult to put in words.

gift horse - idles

A cathartic song with a explosive corus from an explosive band. with of course in the bridge that signature idles post punk sound. The song also featured on their new album “TANGK”.

ripples - folly group

An angular post punk track that you’ll find something new in every time you listen to it.

nothing left the high curbs

an upbeat song that perfectly channels that classic high curbs indie rock sound into something you wanna mosh with all your friends to! not much needs to be said here

sticky hulks thee oh sees

A psychedelic trip through space carried by melodic guitars, dark bass, and gentle vocals.

big sky the reverend horton heat

The classic psychobilly trio from texas the reverend horton heat will grow hair on your teeth, greased back, wearing a bolo tie, playing blackjack. their thundering guitars and high speed rhythms will for sure blow you away.

old friends - j mascis

dinosaur jr.’s j mascis has done it again with his new album “What Do we Do now”. a bright track with a beautifully colorful and absurd animated music video.

black cat bamboozle i monster & people soup

a mix of choir vocals with a robotic feel, intense instrumentals, and the musical prowess of both i monster and people soup. a strangely amazing track you’ll be singing for days.

bye bye - kim gordon

When you thought that the world wasn’t weird enough, Kim Gordon from Sonic Youth released a trap beat that’s better than any in the game, a dark heavy noisy guitar sampled in a beat with a list of thing you need to disappear, BYE BYE!

you speak my language morphine

A classic, Morphine consists of a saxophone, bass and drum, an unheard of combo that you didn’t know you needed; the song talks about the miscommunications the singer is having with people, with the tension going up and up.

crucible - pucker up!

with only a small handful of songs out, pucker up! is just getting warmed up to show us all they can do. this dynamic track is a sick preview of their sound and all they’ll show us in the future.

the moon is in the wrong place - shannon & the clams

A psychedelic boom like it came straight from the sixties. Catchy but not overdone, a perfect example of the band’s renowned sound.

wrong question - stuck

Strangely rhythmic with cartoonishly sinister vocals, Stuck’s “Wrong Question” will leave you seeing stars.

memo to the man zach hill

One of Zach Hill’s earlier work after Hella, a experimental noise harmony that will haunt your consciousness with its droning drum parts, this song makes you see and understand his roots that are further seen in “ Death Grips”

freak dreams - slope

slope gang 360 funk vision hits different! taking funky riffs and turning them into something you can two step to, slope has pioneering groovy hardcore for years now. the title track of their new album is a perfect testament to all they do.

found at sea wes chiller

wes chiller’s newest track will have you suddenly on the beach with a drink in your hand and the ocean breeze around you. or at least that’s how this track will have you feeling.

the louisville shuffle sarah & the safe word

a cabaret rock track that blends the softness of violins and piano with upbeat & spirited guitars and drums. feels a bit like a more grown up panic! at the disco

u l c e r spiritworld

one of many tracks that define stu folsom’s western nightmare. this album is definitely best listened to in its entirety, but u l c e r is definitely a stand out.

photo by @villegasvisuals

bethany home’s new album, latest single, and in’s + Out’s as a band

Hailing from Mesa, Arizona, Bethany Home has been jamming together for years. From their very first EP "Yearbook" to their latest single "Freddy Kreuger Vs. Jesus," and now onto their new album, their musical journey keeps on rolling. Chatting with them about their favorite bands, their upcoming album, and the band vibe as a whole just reinforces why they're known for breaking the mold, giving fans a backstage pass to their unique corner of the music scene.

Ever wondered who would win in a face-off between Freddy Krueger and Jesus? Well, Bethany Home has—sort of. Their take on the epic battle? A track appropriately titled “Freddy Krueger Vs. Jesus” that provides the perfect backtrack to losing track of time on a summer evening with your friends. As for who would actually win, “It’s impossible to tell”, says the band themselves. Soon enough, Bethany Home will unveil their debut album for the world to hear. Their latest album explores the tangled web of memories, emotions, and experiences that make us who we are. Originally conceived as a meditation on nostalgia, the album morphed into something deeper—a reflection on growth, change, and the messy business of letting go. For those times where we feel alone or

lost, Bethany Home is here to provide the soundtrack to your existential crisis, offering up a melodic blend of comfort, camaraderie, and the occasional existential dread.

The release of the album marks a big moment for the band, and it’s something that they have been looking forward to for a long time.

As for what else they consider “in” and “out” for this year, they seem to have a clear vision. “Ironic Garfield graphic tees are IN. Also we think that skanking to any genre of music is absolutely in. Why let the ska guys have all the fun? In fact, ska is IN as well. Despite my last statement, fedoras and checkered clothing is OUT. If ska is IN we need a whole new wardrobe change so ditch your cheap suits and grab some Garfield tees”, says vocalist and guitarist Jaden. As you can see, Bethany Home is not a band to be messed with; they know what they’re here to do and they’re going to skank their way to it. From solo writing sessions to impromptu jam sessions, the band's creative process is one that comes naturally. As for their influences, everything from misheard lyrics to random encounters with the absurdities of everyday life could light a spark that will eventually turn into a song or another creative project. One instance in particular that

the band cited was a misheard Remo Drive song lyric. “There’s a lyric in a song by Remo Drive called “I’m My Own Doctor” where they sing the line ‘carrying all my stress in the jaw’ and Daniel and I (Jaden) thought it was “stress in the jar” which makes no sense but we thought it was funny so we wrote a song with that name in mind”. It’s difficult to pin down influences for the band as a whole since each member comes from their own different musical background, but Bethany Home does collectively highlight Modern Baseball, Pinegrove, Slaughter Beach Dog, Practically People, and Elephant Jake in particular. As they gear up for the release of their latest album, Bethany Home is equal parts excited and grateful for the journey that lies ahead. With plans to keep pushing boundaries, challenging conventions, and connecting with audiences in new and unexpected ways, the band is ready to dive headfirst into whatever the future holds. So get ready, because Bethany Home is about to take you on a wild ride— one you won't soon forget. Until the release of the album, you can check out all of their other music on Spotify, Apple Music, or whatever streaming service you use as well as keep up with the band on Instagram @bethanyhomeband.

photo by adeline harper

kepi ghoulie’s full moon forever album review

Kepi Ghoulie, also known as Jeff Alexander, emerges as a true hidden gem in the vast realm of music. From the soulful “Life Sentence” to the country twang of “Kepi Goes Country” and the horror inspired rock n’ roll of “Reanimation Festival,” Kepi Ghoulie showcases a versatile repertoire that spans folk, country, and spooky rock n’ roll. One of his latest endeavors, the “Full Moon Forever” album, unveiled early last year, continues to resonate with us, putting a spin on songs we all know and love.

Kepi seamlessly intertwines rock n’ roll with subtle hints of pop-punk and indie rock, delivering an album that breathes new life into our cherished classics. Upon initial listening, this album really does not sound like a cover album. Much like his previous works, Kepi surprises us

with a diverse musical palette, where each track flows right into the next. “Full Moon Forever” is a feel-good record, offering a spectrum of emotions from slow, heartfelt tunes to fast-paced, dance-worthy songs. The album kicks off with a reimagining of David Bowie’s iconic “Heroes,” infusing the track with a refreshing, upbeat danceability while retaining the essence of the original. Kepi’s rendition carries a bit more of a punk-ish feel, adding a bit more of an energized quality to the track. On the third track, Kepi takes on the difficult task of covering The Jesus and Mary Chain’s “Happy When it Rains.” The band’s influence is monumental, and tackling their sound is no small feat.

Yet, Kepi Ghoulie puts his own spin on the track, preserving its integrity while crafting something that feels new. The result is a cover that pays homage to the original’s brilliance while showcasing Kepi’s distinctive sound.

Further into the album, Kepi Ghoulie captures the harmonica solo in Mazzy Star’s “Flowers in December.” A touching ode to love and longing, Kepi preserves the emotional core of the song while adorning it with his signature playful touch—the unmistakable essence of classic Kepi Ghoulie. This attention to detail highlights his reverence for the original material but also adds a distinct charm to the track.

Kepi Ghoulie’s “Full Moon Forever” album captures songe we know and love with a new fun spin. Kepi has proved himself as a versatile artist who continually surprises us with something unique. A refreshing take on beloved classics, “Full Moon Forever” is not just a cover album; it’s a fun, new reinterpretation of iconic tracks that captures the essence of Kepi’s unpredictable and eclectic style.This record pays homage to the classics while also solidifying Kepi’s status as a unique artist who continues to push musical boundaries.

Slope

Just a few weeks after the release of their newest record, Freak Dreams, Slope has hit the road to play their new music live in Germany and the Netherlands. On February 17, they took the stage at Merleyn in Nijmegen in front of a sold out crowd alongside Dagger Threat and Swell to put on a show that would get the whole crowd groovin’. While groove metal and punk funk are not groundbreaking concepts, Slope skillfully accentuates both the funk and punk aspects rather than solely focusing on the heavy elements, a departure from the typical approach of many funk punk pioneers from the 90s. Their heavy funk-infused sound offers a perfect blend of soulfully distorted guitar solos, charged lyrics, and bellowing basslines that’ll have you off of your feet and straight into the pit. Their newest album “Freak Dreams” epitomizes this fusion perfectly, opening with a captivating funk guitar riff that could stand alone as the foundation of a funk track; but instead is joined in on by dual vocalists Fabio and Simon, and then followed suit by the bass and drums.

As we mentioned earlier, Dagger Threat and Swell accompanied Slope at this particular show. Swell kicked off the night with their groovy hardcore energy, playing a mix of all they have released in the last few years. Unlike typical opening acts, Swell commanded a packed venue from the moment they stepped on stage. The room was buzzing with excitement, from the front row fans who knew every lyric and eagerly shared the mic with the vocalist, to the crowd at the back who were cap-

brings their 360 funk vision to merleyn (NL) alongside dagger threat and swell

tivated by the electrifying performance. Their set undoubtedly set the tone for the rest of the night, igniting a tangible energy that carried through the entire show. Just a bit after SWELL finished their set, self-proclaimed “Spin Kick Nu Metal” legends Dagger Threat kept everyone moving with absolutely brutal vocals, drums fast enough to send you into another dimension, and gritty guitar and bass to pull it all together. The band began their set with Cut the Cord, a song originally record-

ed and released last year featuring Lifecrusher. Dagger Threat’s set created the most vicious moshpit of the three sets, with an occasional random limb flying into everyone’s field of vision while watching the show. The intensity of the energy in the room only escalated as they delved into “Hollow,” another standout from the same EP, characterized by beastly vocals, an irresistible bass groove, and razor-sharp guitar riffs. With heartfelt gratitude to the crowd for their unwavering support, Dagger Threat brought

their electrifying set to a close, leaving the audience eagerly anticipating the main event of the evening

As midnight approached, the anticipation in the room reached a fever pitch as Slope began to set up for their highly anticipated performance. Within moments, a hush fell over the crowd as they launched into their set with the classic favorite, “Goodbye Mr. Dandy.” It didn’t take long at all for the crowd to get the pit moving again; by the time the vocals came in, half the room was already putting all of their energy into headbanging, two-stepping, windmills, and just about every other hardcore pit

move in the book. On their studio records, you can hear their energy easily, but on stage they truly have this indescribable chemistry. You can tell that performing comes naturally to them all, and on stage they truly do look like they’re all old friends having the best time putting on an unforgettable performance. Both vocalists command the stage with infectious energy, while the guitar solos weave their way into your memory and their funky basslines get your head moving. As the set went on, Slope played old favorites from Losin’ Grip and Street Heat, as well as their newest bangers from Freak Dreams. As the night wound down

and the crowd poured out of the venue with catchy rhythms stuck in their heads, it was clear that this show was not one to be missed. With their infectious energy and killer songs from their first album to their most recent, Slope have proved themselves as hardcore’s hidden-not-so-hidden gem, taking funk punk to the next level. You can check out Freak Dreams for yourself wherever you stream your music, and keep up with the band on their website www.slope-gang. com or on Instagram @slopegang.

Photos by Mars

photo by hugo

Wes Chiller, a surfer, firefighter, surf rocker, and seasoned traveler, epitomizes the surfer spirit of Southern California. With his latest single released late last year, he has undeniably been making a splash in the SoCal music scene.

“Found at Sea” is the first single off of his debut album, as well as surf film “Shine High Noon” to be released in the summer of this year. “Found at sea is a mentality, folks. It’s a seafaring take on the

adage ‘wherever you go, there you are’”, says Chiller. For him, whose hometown has been transformed by the surfing industry, the allure of coastal living is deeply ingrained. “Found At Sea” serves as a testament to this connection, evolving over the years through collaboration with Pink Skies. Together, they’ve crafted a musical journey that reflects the low tide experience of Venice Beach with a high vibe sound that resonates far

beyond its shores. “Found At Sea” serves as a reflection on life in coastal cities where the rhythms of the sea echo in the hearts of residents. Within the first few seconds of this song, you’ll be transported from wherever you are to a warm beach surrounded by surfers, sea-life, and fellow beach goers. The hot sand beneath your feet, the salty ocean breeze running through your hair, all soundtracked by surf rock guitar and Wes Chiller’s

photo by @stephnidyer

catchy ocean themed lyrics. An atmospheric track that still feels like something you could dance with your friends to on the beach, or even better, at Chiller’s annual festival, Dead Man’s Luau.

Described as “a unique concert environment that brings to life lucid shipwrecked scenes inspired by Chiller’s music”, Dead Man’s Luau serves as a night full of good music for a good cause. Last year, the event raised $2850 for Surfer’s Healing, which is a nonprofit organization that teaches children with autism to surf, as well as to support

victims of the Maui fires. Last year’s lineup boasted music from De Lux, a DJ set from Pink Skies, and of course Wes Chiller himself accompanied by his band, the Low Tide Barnacles. As of now, not much has been said about this year’s Dead Man’s Luau, but after its success over the last few years, this year’s festival is sure to be a splash.

Wes Chiller embodies the quintessential spirit of Southern California, weaving together his passions for surfing, music, and philanthropy. “Found at Sea,” serves as a love letter to coastal liv-

ing, capturing the essence of Venice Beach with its surf rock vibes and catchy lyrics. With an upcoming album and the release of the surf film “Shine High Noon” on the horizon, Chiller’s influence is set to grow. Meanwhile, his annual festival, Dead Man’s Luau, continues to make waves, combining great music with good causes. As we await the next chapter in Chiller’s journey, we can be sure that the stories of the Southern California coast will forever be preserved and cherished throughout his music.

this month in 1990: iconic album releases

February of 1990 brought us some iconic and unforgettable albums, from Monster Magnet’s original debut EP to The Breeder’s Pod. From goth to indie rock to metal, this year marked the releases of some important albums that would be loved and cherished for years to come, and here are some of our favorites.

January 1, 1990

Live Styles of the Sick and Shameless is the only live album included on this list, and it sure is one for the books. This album has a very organic sound, and the singer’s banter in between songs makes listening to this album almost as good as being at one of their shows in their heyday. The Meteors’ discography seems nearly endless, and while this live album mostly consists of some of their older songs that were later overshadowed by hits like “Psycho for Your Love”, it’s worth a front to back listen for any fans of rockabilly or any rockabilly subgenres.

Monster Magnet’s self-titled debut EP is a whirlwind of distortion and melody that the band is now well known for. The first three tracks, “Snake Dance”, “Tractor”, and “Nod Scene” from this EP would later go on to be re-recorded for other albums. This EP is not available on major streaming services, so the last three tracks have been lost in time by those who do not have a physical copy or have not yet bothered to look up this album on Youtube, but rest assured it is well worth it to do so. Monster Magnet served as a starting point for the band, from which they would go on and hone in on exactly what makes that Monster Magnet sound.

Primus is known for their intricate musicianship and Frizzle Fry is no exception. Les Claypool’s highly technical bass playing in combination with Tim Alexander’s clean, precise drumming style creates an odd, yet groovy feel for this album. Frizzle Fry takes serious and heavy topics like war, and presents them in a seemingly absurd yet digestible way. “Too Many Puppies”, for example, satirizes “dogs of war” to discuss how many soldiers are too young to fight and be killed in wars. The album also includes a couple of interludes, such as “Sathington Willoughby”, that are equally absurd as the rest of the album and tie it all together.

The Meteors - Live Styles Of The Sick and Shameless

Monster Magnet - Monster Magnet - February 1, 1990

Primus - Frizzle Fry - February 7, 1990

The Cramps - Stay Sick - February 12, 1990

Sex, drugs, and rock n’ roll all wrapped up in leather and zebra print; this album brought us “Bop Pills”, “The Creature from the Black Leather Lagoon”, and “Bikini Girls with Machine Guns”. While the third track gained quite some notoriety from the press, this album often gets buried in the plethora of other sonic swamps that the Cramps has dished out throughout their career. However, Stay Sick! really does go to show what the band is all about, and it’s difficult to find another album where all of the band members are consistently able to showcase the extent of their deviant musical madness as they do throughout the entirety of this album.

Death - Spiritual Healing - February 16, 1990

Spiritual Healing was an important album for Death in a few different ways. It was the last album that drummer Bill Andrews tracked for the band. It also marked the beginning of Death’s move away from supernatural horror and gore towards the real life horrors of addiction, murder, and scams. This album was released shortly after James Randi exposed Peter Popoff for lying about his healing abilities, which is reflected in the title track about a spiritual healer who kills a physically sick patient by encouraging them to turn to religion instead of to medical help to get better.

The Breeders - Pod - May 29, 1990

An intoxicatingly ethereal feeling album, The Breeders’ Pod has a lot to digest. This album takes listeners on a trip full of sex, trauma, childhood memories, loneliness, and more. This album as a whole has a superficial upbeat sound, but almost every song covers a dark or delicate theme. Kim Deal has discussed how Pod’s opening track, “Glorious”, is about an adult reminiscing over childhood memories of being molested by her aunt. Other songs, such as “Hellbound” or “When I was a Painter” display themes of addiction, love, and loss all served alongside a bright indie rock sound.

Dead Moon - Defiance - June 30, 1990

Portland’s own Dead Moon have made quite a niche for themselves throughout the years, combining hard rock, proto-punk, and a bit of garage to form a very distinct and dramatic sound. Dead Moon’s unique sound and energy is something that they have carried with them for the entirety of their career, and they’ve managed to make each of their albums still feel new and intriguing. Defiance furthers what we know them for, opening the album with a wildly stark take on Kokomo Arnold’s “Cow Milk Blues”, originally released in 1934. On the slower tracks like “Dagger Moon”, we get more of a bluesy undertone with the singer’s emotional vocals followed by a slow and meticulous guitar solo.

Apple was the first and only full-length studio album released by Mother Love Bone. Not long before the album’s release date, the band’s vocalist Andrew Wood, fatally overdosed, unfortunately bringing about the end of Mother Love Bone. Apple will forever be associated with a story of tragedy, rather than one of greatness, but it has been critically acclaimed many times over the last few decades. This album bridged the gap between 80s hair metal and 90s grunge, and while we don’t want to play favorites here, it arguably could have been as influential as Nevermind or Superunknown had the band not come to such an abrupt end.

Pantera truly sent the 90s metal scene for a loop with their fifth studio album, Cowboys from Hell. With songs like “Cemetery Gates” and “Domination” becoming iconic hallmarks of the band, this album marked the turning point from their previous glam metal persona in favor of a bit of a heavier sound. It was at this point where Pantera became one of the first bands to coin the groove metal subgenre, and while it may not be the heaviest of all of their work, it stands in stark contrast to their previous releases and collaborations, such as their tour with Bon Jovi a few years prior.

Jane’s Addiction disbanded in 1991, but they did not go out without a bang. Ritual de lo Habitual is the fifth and final studio album they released together. In the first month, it sold over half a million copies, and has gone platinum twice in the United States. This album has two very distinct halves, both released together as one album. The first half of the album is a bit less heavy than what we’re used to hearing from the band, but still maintain that classic Jane’s Addiction sound. The songs on the second half of the album are longer and have a different mood than the first half of the album, as they are written in memory of the singer’s deceased girlfriend, Xiola Blue.

Last but not least on our list is Fields of the Nephilim’s Elizium. This album creates a dark and melancholic atmosphere of sound where each song flows smoothly into the next, highlighting the album as not only a collection of songs, but as one complete body of work. Elizium is full of references to poetry and literature, one of the most notable being an excerpt from Aleister Crowley’s poem, At Sea, being read in “At the Gates of Silent Memory”. Lead vocalist Carl McCoy’s beautifully sinister voice in combination with such a masterfully written poem became a highlight of the band’s discography after the release of the album. While this album may not have ranked as highly as some of the other band’s work, it is one that won’t be forgotten after you hear it for the first time.

Fields of the Nephilim - Elizium - September 24, 1990

Jane’s Addiction - Ritual de lo Habitual - August 21, 1990

Pantera - Cowboys from Hell - July 24, 1990

Mother Love Bone - Apple - July 19, 1990

nautics : Live shows, favorite songs + influences

In the bustling streets of New York City, amidst the cacophony of urban life, there exists a beacon of sonic adventure known as Nautics. For over nine years, this rock band has been crafting melodies that echo the pulse of the city itself, capturing the essence of its energy and diversity. With their roots firmly planted in the concrete jungle, Nautics has carved a path through the music scene, leaving behind a trail of electrifying performances and infectious tunes.

Composed of four talented musicians – Kenzo (vocals and guitar), Levitt (drums), Kitt (guitar), and Van (bassist) – From the groovy beats of Levitt’s drums to the soaring riffs of Van’s bass, each member brings their own flair to the table, resulting in a dynamic fusion of styles that defies easy categorization.

Last year saw the release of four singles from Nautics, each offering a glimpse into the band’s multifaceted sound. When asked about their collective favorite, the band members each had their own take. Levitt praised “Granted” for its clean drum sound and energetic live performance, while Kitt applauded “Shotgun” as a standout track, blending elements of indie and rock seamlessly. Kenzo expressed his fondness for “Sunday,” highlighting its transformation into a cohesive piece of art, while Van also credited “Shotgun” for its evolution from a humble idea into an anthem through the band’s collaboration. Diving deeper into their discography, you can find gems like “Don’t Wanna Be Like This,” a

departure from their usual sound that emerged during the pandemic era. Despite its divergence, the band members view it as a testament to their creative exploration during uncertain times, showcasing their ability to defy expectations and experiment with the unknown.

But it’s on the stage where Nautics truly comes alive, igniting crowds with their electrifying live performances. Described in three words as “wild, crazy, tame” by Levitt and summed up simply as “We Love Playing” by Kenzo, their shows truly highlight their way of connecting deeply with each other and the audience through music. Reflecting on their journey, the band credits their longevity to a shared love for creating music together. With each member contributing their own ideas and expertise, Nautics continues to evolve and grow, fueled by the camaraderie and mutual respect that binds them together

As they look to the future, Nautics remains committed to exploring new sounds and ways to create. With upcoming shows like their performance at Arlene’s on March 22nd, they invite everyone to join them, promising an experience that is as exhilarating as it is unforgettable. Influenced by a myriad of sources, both musical and non-musical, Nautics draws inspiration from the world around them. From the photography of Richard Avedon to the eclectic sounds of Blur and The Specials, their creative palette is quite broad, continuing to showcase their innovative group mindset. In a music scene as diverse as New York City’s, Nautics stands as a true gem, charting their own course amidst the currents of popular culture. With their genuine love for what they do Nautics promises to keep rocking and rolling, delivering memorable experiences for fans at every turn.

photos by @clairesthetics

photos by mars

photo by James Minchin (2003)

deftones’ koi no yokan album and

what makes it unique

Over the years, Deftones’ album White Pony has been critically acclaimed time and time again as their best album, but if you look past their older works, you’ll find one album that serves as one whole piece of art rather than a collection of good songs. Which is, of course, none other than Koi No Yokan. While not everyone may agree that it is their best album, it can be agreed upon that this album is unique compared to the rest of their discography and does not get enough credit for it. In terms of production, flow between tracks, and some of the experimental instrumentals in this album, it really stands out amongst some of their other works. Like the title suggests, this album is love at first listen. Beginning the sonic adventure with a headbanger of a riff, “Swerve City”. The guitar and drums aren’t overly complicated, yet they blend together to form a riff that sticks. Beneath that, Sergio Vega’s smooth melodic bass playing gets a chance to really shine here. In fact, the song was so loved by some that it even got its own beer named after it by the Belching Beaver Pub 980 in Vista, California. Now, you wouldn’t name a beer after just any song, would you?

A few songs later, Deftones showed us all they got within six minutes and fifty three seconds with the track “Rosemary”. Not only is this song instrumentally quite interesting, but also lyrically and conceptually complex. The song centers around themes of relationships, attachment, and longing. The band

managed to capture what deep romantic desire sounds like, playing a lot with dynamics throughout the track. It begins with a lone atmospheric sounding guitar, followed by the slow introduction of vocals. After the first verse, the ethereal sounding guitar we heard at the beginning becomes heavier and heavier, supported by a booming drum track. As the song goes on, the band continues to play with these dynamics in a way that captures a deep, dark romantic desire that lives within the deepest darkest corners of your mind. On a more technical note, a major change within production also came with this album: the use of the Fractal Audio Systems Axe-Fx preamp and effects processor. This allowed the band to incorporate the sound of several different outboard amps as well as effects pedals. The band was able to more easily record different ideas or experiments and go back to fully flesh them out later. According to Sergio Vega, this made their recording process more organic. Much of Deftones discography can be put into one of two categories, both of which have become a sort of trademark of their sound. One of which is a lighter, more ethereal sound that can be heard on many songs on Around the Fur, such as My Own Summer. The other is this more ethereal, atmospheric sound that can be found on much of White Pony. This album, however, doesn’t really fall into either category; rather it takes parts of each and blends them together into a sound that feels new and original

even though it’s really just combining bits of what we already know. While it’s quite far from it still, this is most likely the farthest the band will wander into prog-metal territory. While it might be unfair to say that Koi No Yokan is definitively the best Deftones album, it is for sure one that stands out amongst the rest of their discography. From their sonic experiments throughout production, to the way that they kept that hallmark Deftones sound but did something entirely new with it, it is worth an uninterrupted listen front to back.

photo by mars

SpiritWorld’s DEATHWEST

ERN will drag you out to the wild west, all the way down to the deepest parts of hell, and back again. This second studio album is frontman Stu Folsom’s thrashy metalcore take on the hillbilly country life that he grew up around.

Folsom grew up listening to country music and surrounded by hillbillies, so there’s no question where much of the influence behind this album came from. Western horror cinema like the Evil Dead and Return of the Living Dead also contributed to bridging the gap between the western aesthetic and the heaviness of the album. While it may sound gimmicky or superficial, the way in which this was done was well thought out, and Folsom was able to mesh his influences with the sound that Spiritworld is recognized for, without taking the music in an entirely new direction. On stage, the band boasts cowboy hats and Western attire to match the DEATHWESTERN aesthetic. Even the album art itself is a shining tribute to old hand painted western movie posters. Along with the release of this album, Folsom also released Godlessness, a collection of short stories meant to be set in the same universe as Spiritworld’s debut album, Pagan Rhythms. These stories are inspired by the western pulp of Louis L'Amour, the novels of Cormac McCarthy, and the twisted horror of Clive Barker, truly showcasing just how broad Folsom’s creative repertoire is.

The album’s opening track, “Mojave Bloodlust” sets the scene for the rest of the album, with an acoustic guitar, the sound of vultures circling overhead, and sinister vocals asking “Are you anti-Christ? Or are you for Christ? Those are your only options”. After this short introduction, the album quickly tears you away from your peaceful Western

sunset and drags you miles through the relentless desert sun to present you with the title track of the album, a heavy mix between hardcore punk and death metal that packs a punch. Overall, the sound of the album is not something totally new or groundbreaking to SpiritWorld, but the influence of Western life and media adds a fresh feel to it.

As of when this article was being written, the fifth track on the album titled “U L C E R” is the band’s most popular song. The song’s lyrics reflect the suffering of living in a hopeless world with no heaven to turn to.

“I’ve seen the flames of Hell I’ve heard the howls, heard the howls of the Damned, We’re born to suffer, nowhere to turn”

Later in the album, Folsom brings on hardcore band Integrity’s vocalist, Dwid Hellion to join him for the track Moonlit Torture, an homage to gore and horror, with an undertone

of cowboy duels out in the wild west.

While DEATHWESTERN most definitely pays homage to its Western cowboy roots, it doesn’t stick quite as much to the original script as, for example, Ice Nine Kills does with their horror movie and literature inspired albums. For some, this may feel like a dealbreaker, and others may enjoy the easter eggs of Western life and media here and there without feeling like they’re listening to something gimmicky. Outside of country culture, this album most definitely owes some credit to Slayer, Integrity, and Power Trip. Overall, Folsom’s hillbilly nightmare of a creation is great for punk and metal fans who don’t mind getting down with cowboys and vultures every now and then. Definitely an odd one, but can’t say that we won’t keep “Purified in Violence” on our playlists either.

photo by hugo

photo by Hugo

photos by hugo

contact info (the boring stuff)

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next month bad nerves, mooon, and more .