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Contents Vandala April 2015 8 REVIEWS Pokey LaFarge "Something In The Water" (Country Blues/Early Jazz) Cancer Bats "Searching For Zero" (Rock/Metal/Hardcore) Crypt Sermon "Out of the Garden" (Doom Metal/Heavy Metal) A Forest of Stars "Out of the Garden" (Black Metal/Progressive) Ironsword "None But The Brave" (Epic Heavy Power Metal)

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16 LIVE MUSIC & PHOTOS Marilyn Manson Live Hell Not Hallelujah The Gang of Four at Lee's Palace Opening The Third Eye With Swans Harry Manx - Winter Garden Theatre GS Photography Highlights Steve Marriner - Keeping the Blues Alive SATE At The Dakota Tavern Doom Dominates the Downtown: Witch Mountain, Yob and Enslaved Satan's Satyrs and Electric Wizard Want Your Skulls

30 INTERVIEWS 42 Cavity Search: Words With Masked Intruder's Blue

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They're about to hit the road with Strung Out, which includes a cross Canada run. I gave Blue a call in an undisclosed location to discuss the tour, the fans and, of course, prison.

62 Staying Awake with Yob Mike Scheidt is a cosmic dude and he has some pretty fascinating views about the nature of reality as well as what doom metal means in a larger context. In an in depth interview we get to see Scheidy at his absolute finest.

I

50 COVER STORY - The Pixies Wave of Pixilation: Conversations with The Pixies David Lovering and Joey Santiago With an east coast run about to kick off in Memphis ye-

on May 1st, we spoke with drummer and guitarist, and founding members, David Lovering and Joey Santiago about the Pixies past, present and future.


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Conversations with The Pixies David Lovering and Joey Santiago

Front Cover Design By Erin Torrance

Front Photo Credit Jay Blakesberg


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Pokey LaFarge "Something In The Water"(Country Blues/Early Jazz) www.pokeylafarge.net - 4.5/5 Dragons By Dustin Griffin St. Louis, Missouri native Pokey LaFarge is a American music revivalist in the truest sense of the word. His unique brand of country swing and Americana, a danceable concoction of jumpy beats and croony strings sound like the product of a past era. He has the look, and the voice, of someone born 40 years too late. But it's only to this generation's great benefit that he was. For as good as he is in the studio, he is truly electrifying on stage. With performances filled with the kind of energy, spontaneity and crowd involving charisma you just don't see enough of these days. `Something In The Water' is Pokey's sixth full length studio release. It follows his amazing self titled 2013 release on Jack White's Third Man Records, as well as a bevy of 7's, EP's and contributions to everything from tributes to Eddy Arnold and Bob Willis, to soundtracks to 'The Lone Ranger' and HBO's *Boardwalk Empire.' All of which combined to bring his music and message to a wider audience than ever before. Musically, 'Water' is right in line with what Pokey's been doing all along. 1Wanna Be Your Man' and 'All Night Long' feature some warbling, old school trumpeting against a 40's dancehall boogie. The darker edge in songs like 'Underground' and 'The Spark' give the album a nice tonal change up. First wave country lament 'Cairo, Illinois' (which first appeared in a more stripped down form on 2008's "Beat, More and Shake") taps into Hank Williams, Sr. in a much purer way than many other imitators are able to. While 'Actin' A Fool', the brilliantly titled 'Knocking The Dust Off The Rush Belt Tonight' and the title track are all pure, barnstorming heel kickers, with the latter featuring some of Pokey's funniest lyrical wordplay. And while I'm not as big a fan of Pokey's slower balladry, 'Far Away' and 'When Did You Leave Heaven' are nice additions for those of you who are. By this point, you've either heard of Pokey LaFarge, or have heard his music without knowing it was him you were hearing. With every year that passes, his tireless commitment to his craft and his endless touring and recording schedule have found him dancing on the edge blade of success for so long that it would be a surprise to no one to find him a household name before the year is out. With a flawless backing band of multitalented instrumentalists in The South City Three, a large repertoire of classic sounding singles and a sound and swagger that will invoke nostalgia even if you were born many years after country swing's classic wave, you'd do well to check out Pokey's Rounder Records debut 'Something In The Water.' And then go back and check out the rest of his catalogue while you're at it. 8 VandalaMagazine.Corn - April 2015


0101-NATION RUN TOUR 2015 MAY 28 MAY 29 MAY 30 MAY 31 JUNE 2 JUNE 3 JUNE 5 JUNE 6 JUNE 9 JUNE 10 JUNE 12 JUNE 13 JUNE 14 JUNE 16 JUNE 18 JUNE 19 JUNE 22 JUNE 23 JUNE 25 JUNE 27 JUNE 28 JUNE 30 JULY 1 JULY 2 JULY 5 JULY 7 JULY 8 JULY 19 JULY 21 JULY 23 JULY 26 JULY 28 JULY 30 AUG 1

VANCOUVER, BC PORTLAND, OR EUGENE, OR NAPA VALLEY, CA SANTA CRUZ, CA SAN DIEGO, CA SAN ANTONIO, TX OKLAHOMA CITY, OK BIRMINGHAM, AL NEW ORLEANS, LA N. MYRTLE BEACH, SC GA ATLANTA, MANCHESTER, TN RICHMOND, VA SILVER SPRING, MD DOVER, DE TORONTO, ON MONTREAL, QUE MA BOSTON, NEW YORK, NY BUFFALO, NY CLEVELAND, OH OH CINCINNATI, MI DETROIT, WINNIPEG, MB EDMONTON, AB AB CALGARY, INDIANAPOLIS, IN MINNEAPOLIS, MN IL CHICAGO, NE OMAHA, FORT COLLINS. CO NV RENO, LOS ANGELES, CA

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ev ews, Cancer Bats"Searching For Zeron(Rock/Metal/Flardcore) www.cancerbats.com- 4.5/5 Dragons By Alex Slakva What separates Cancer Bats from their contemporaries is that most of their yesteryear contemporaries have either fallen off, sold out or simply lose their edge. At the end of the day all three of the majority of cases all stagnate back to the same singular career point: the band's relevance is kept afloat by a nostalgic fan base that only really remembers their seminal work. "Searching For Zero" is the anomaly in this trend, where an artistic change of direction towards the experimental actually exceeds established gimmicky expectations and even raises standard for the band is capable of.

What makes Searching For Zero's palette particularly savoury one, is the new emphasis on hitting a particular real sweet spot within their sound, which somehow marries Cancer Bats' southern approach to metal & hardcore to Zeppelin/Sabbath era rock via catchy riffage. True Zero heads in the right direction by taking a step back with a slightly altered approach, considering just what it takes to make a song sound heavier than all of the Gods of Olympus descending wrath combined. The band takes the volume down from 11 and replaces it with killer tension and songwriting sonically familiar to Alice in Chains' "Dirt". Where "Dirt" had mainly clean vocals yet was still able to deliver such a badass and rage-fueled result, True Zero hits the same wonderful beats, giving it that anger and desperation and then extravagantly polishes it of with Cormie's infinitely unsatisfied vocals. True Zero, Arsenic In The Year Of The Snake Beelzebub, Devil's Blood, Cursed With a Conscience are all representative examples of this, and really manage to sell the listeners with Liam Cormie's sleazy grandiose rock approach to vocals. His gusto really brings the album to a larger than life-life, which makes you completely forget you were probably excepting "Searching For Zero" to be even more heavy than 2012's Dead Set On Living. There are more emotions than rage and fear to bind an audience into comradely servitude and "Cursed With A Conscience" is proof of that. The band takes the slow ominous desperation found on "Lucifer's Rocking Chair" and adds a much welcomed and inescapable mob mentality. That isn't to say that Searching For Zero has been completely defanged and decelerated. My personal favourite is All Hail, a trash metal whirlwind clocking in at 1:27, which not only juxtaposes the majority of this album but is also homage to the late Dave Brokie of Gwar) a la choruses of "All Hail Oderus". The other head banging classic track is "No More Bullshit", assures the guarantee neck snapping head banging, just to keep the status quo. The track which stands out is Satellites, mostly because it is the most normal and 10 vandaiamagazine.com - April 2015


conventional pop punk track, with (gasp!) clean vocals, which still makes for a great track to party to, but is a bit out of step between the aforementioned head bangers, and the sultry rock ballads such as Beelzebub and True Zero. Ultimately Searching For Zero's most valuable asset isn't a single track, but the crisp production and raw energy, which will draw you in and raise your domestic-listening energy levels to match your concert attending energy levels (and not many records are capable of that). This album is a perfect blend of chaotic metal musicianship that has put Cancer Bats within the same respect categories such as Every Time I Die and Converge, but doesn't really intend to bank all of its potential appeal on it as much as they have in past releases. The theatrical transition into catchy, yet progressive and fluid southern rock territory really does Searching For Zero favours and it is understandable why it took so long to write this album. If you still doubting the validly of the previous statement go listen to "Dusted" and then come back to read it again. ...w•

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Crypt Sermon "Out of the Garden" (Doom Metal/Heavy Metal) www.darkdescentrecords.com - 4.5/5 Dragons Jesus, Mary and Joseph! Who expected the best doom metal record of the 2010's come from Philly of all places? I don't know about you guys, but I could give little more than a dry fart for most of the calculated occult dreck that gets passed for "rock" these days. What I DO care about are rock-hard riffs and flame-forged songs. Singer Brooks Wilson has one of the best metal voices I've heard in an American band since... well, whatever Harry Conklin last released. Steven Jansson crams his solos full of notes to the point of bursting, but it's never showboating or gaudy. Lyrics get biblical. By that I mean they're based on the bible, as opposed to being about epic things (although that's true too). I'm still trying to figure out what "Glaciers of Leather" are, but whatever. Sounds like these cats smoked up an ounce of stardust wrapped in the pages of Revelations before penning these tunes. Best tracks? You tell me; they're all glorious.

A Forest of Stars "Out of the Garden" (Black Metal/Progressive) www.aforestofstars.co.0 k- 4/5 Dragons I have no idea where the popular opinion if there is one) on this band rests, and I don't care. It's kinda-sorta black metal with violins, flutes, occasional relaxed femme-vox with psych-rock diddles from the guitars alongside keyboards straight outta Arthur Brown. So there's a lot going on when the drummer goes apeshit on his kit and the vocals dive in, a-screamin' and a-shoutin'. Just when you think you're about to drown they bust out the bongos and all of a sudden you're sitting in on a world-music jam sesh with windchimes chattering in the background. Lyrics are violent; a darker, more pagan approach to T.S. Eliot, drifting between snarky modern colloquialism and the eldritch, grandiose realm of nature. The music is much the same, meandering through tempos and motifs with little regard for traditional black metal stratification. Fenriz might not approve, but I sure do. Check out the video for "Drawing Down The Rain." You'll know if it's your bag soon enough. 12 VandalaMagazine.Com - April 2015


Ironsword "None But The Brave" (Epic Heavy Power Metal) www.facebook.com/IronswordOfficial - 4/5 Dragons Sometimes you just gotta crush your enemies, see them driven before you and hear the lamentation of their women. It's been seven years since we last heard from these Portuguese barbarians and the heavy metal community hasn't been the same without 'em. If you didn't like their last albums, you're gonna hate this one. It's a battlefield feast, chock full of Mark Shelton worship with the action potential of early Manowar. But where Manowar rides on the wings of Valkyries with all the pomp and pageantry of Wagner, Ironsword strides across gore-stained sands and reddened cobblestones with a length of well-used steel in hand. Tann's singing drifts between an earthen rumble that'll raise your blood past boiling and a nasally clean chant, ancient wizard style. "Vengeance Will Be Mine" is the catchiest chorus I've heard all year. This album is the anti-grog. This album is simple. It's about great men, greater deed, and high adventure. It burns with life. It loves, it slays, it is content.

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FIWAIELIairelujah. Marilyn Manson SouffilWanagan Events Centro Marilyn Manson and the Spooky Kids were initially formed in 1989. It took six years before they landed their first big taste of success, both with their fantastic cover of The Eurythmatics' 'Sweet Dreams' and as opening act on the infamous Nine Inch Nails `Self Destruct' tour. But it wasn't until '96 and the release of 'Antichrist Superstar' that Marilyn Manson (they dropped the Spooky Kids moniker in the early 90's) became a household name. The scourge of parents and religious groups around the world who as good as branded the man the earthly personification of Satan himself. This wasn't helped by the even more infamous Manson tour 'Dead To The World', which included a seemingly endless barrage of controversy in legal battles, city bans, right wing picketing at every stop, and other backstage drug and sex fuelled debauchery. 18 years and seven albums later, Marilyn Manson as a shock artist has lost a great deal of his bite. He's a little more well behaved these days, spends less time in court defending his actions and his albums, while never veering too far from their original course, are preaching to a far more desensitized America than the one that found his demon baiting in 'Superstar' so disturbing. And as Manson and his band took the stage this past March 28th, at the South Okanagan Events Centre in Penticton, British Columbia, there was a nervous energy in the building. The nervousness of a fan base that wants mid to late 90's Marilyn with a fresh twist. A fan base hoping the 46 year old entertainer hasn't allowed age to curb his candour and bite. Manson entered the stage in clouds of thick smoke to a spooky haunted house refrain and immediately launched into his latest hit from his latest album, 'Deep Six.' The stage was dressed in faux Catholic decorations with Manson as high priest adorning many of them. As the show progressed through the band's albums, the stage makeup changed, featuring different setups for different eras. The most common being the double pronged cross that is the band's latest logo. A representation of spiritual warfare within. The lighting was energetic and well timed to give the music maximum effect. As for the performance itself. It's true that this is a more subdued MM. And while he's still a talented performer and obviously still enjoys himself up there, his stage presence feels much less spontaneous, his movements more deliberate than even the last time he came through Canada. That's not to say he was above splaying himself on the stage or throwing himself against a monitor speaker. And the half dozen times he left the stage to join the front row in a hearty sing-along was to nothing but the utter delight of the fans who had camped there all evening in hopes that he would do just that. The setlist contained no surprises. A greatest hits checklist filled out with a few choice cuts from his latest, very well received album 'The Pale Emperor.' If all you know of Manson is what you've heard on the radio, then you weren't disappointed with the song selection. It would've been nice to hear a few more songs from 'Superstar' or 'Holy Wood' though. But that's a subjective opinion. Every one, at every show has their own dream setlist that very few people ever get to hear. 16 VandalaMagazine-Com - April 2015


Manson's been doing this for over 25 years now. He's been doing this as a bonafide rock star for 20. His crowds and venues may not be as big he wouldn't even have considered playing a place like Penticton in his heyday), and his shock may not be as shocking, but he still knows how to rock a house. His singing is still sharp, his band sounds great (although they were playing to a backing track for some of the songs, which is cheesy and unfortunate) and the songs still transfer well in a live setting. If you go to a Marilyn Manson show in 2015, you won't be getting what you've be getting even ten years ago, but go prepared to be entertained. At the end of the day, that's all that really matters anyway. (More photos are on the next page}

Marilyn Manson is currently on tour across the world, Details can be found at: www.marilynmanson.com www.facebook-com/MarilynManson twitter.com/marilynmanson

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The Gang of Four at Lee's Pala( Article & Photos By Gideon Greenbaum-hinder The air was electric as the hour approached, people born in the 40's through to the 90's all riled by the same thrill of anticipation. Yes, it is a new line up again, with one soul remaining from the original 1977 line up. However, this band has had many reincarnations and dedicated fans are used to it by now. Guitarist Andy Gill was shredding his funky solo's as always, John "Gaoler" Steffy did quite a lot of crawling on the floor and of course the rhythm section tore the roof off that place with in your face bass. The new guys were clearly giving it their all on stage and delivered an amazing show. The Gang of Four also has excellent taste, always bringing a well-deserved indie band on their tours. In fact, that is how I discovered Hollerado. This time their opener was a high energy post punk pop band called Public Access Television from NYC. Unfortunately this is something less and less common to see established bands doing these days and something wonderful to see when it does happen. For those who may not be aware the Gang of Four are THE post punk band. Hailing from Leeds, England they blend the original punk sound with funk, rock and of course a little bit of dub. Not to over sell them, but they have had lasting influence on bands from R.E.M. to Primus to Green Day to The Red Hot Chili Peppers. The Gang Of Four did for post-punk what The Pixies did for grunge. As is the case with most classic British bands they have a penchant for raw anti-establishment lyrics with a political focus on fascist conservatism. In fact, the bands name was taken from a Chinese group of radicals who bore the same name up until 1976, they were brought down a month after Mau's death. Many see the removal of this group, not Mau Zedong's death, as the marked end of Mau's cultural revolution. The highlight of the show for me was their first real single, released in 781 'Damaged Goods'. Not only because it is my favorite song, but it seemed to be everyone else's as well, the whole crowd surged forward and in a frenzy and a mosh pit was formed. I know it seems like I only go to Lee's Palace, but they have had some amazing shows booked as of late. I promise I do frequent other venues as well. The band just released their ninth album in February 2015, aptly titled, What Happens Next. So whether you are a die hard veteran or a fresh young fan, listen to their new album before diving into their extensive discography and be sure to catch their crazy live show. Gang of Four Online www.gangoffouricoauk www.facebook.comfgangoffourofficial www.twitter.comigangof4official www.soundcloud.com/gangoffour www.instagram.com/gangoffourofficial 22 VandalaMagazine-Com - April 2015


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There are some shows that stick with you, down through the sands of time, westward with the wagons... damn I'm rambling already. The point is, even when you see a couple of hundred bands a year you're still, every once in a while, gunny see something so unique and powerful that it marks you for life. That's what Swans did for me Monday night at the Union Transfer in Philadelphia. Overpowering and wonderfully intense, Michael Gira led his legendary crew in an all out sonic assault that opened the third eye. Sure, I had seen two of my all time favorite bands, Yob and Enslaved the night before, and at the same venue too, but Swans was something totally different. Starting with a meditative drum intro which was then complimented by pulverizing synths the band finally came on all together to create an incredible and trippy jam that enveloped the room and seemed to grow organically. Gira's vocals remain strong, but they have an otherworldly quality to them. In some ways the magic of this band reminds me of groups like Hawkwind. See, Swans rely just as much on the raw vibe they put out as their music itself. The mind melting volume that defined the show was impressive for a band of this style. It kept things shocking and led to a sensory overload, even if the stage presence of several band members was lacking. I feel that the bands other guitarist, Norman Westberg seemed to phone it in, yet the way he just stood there, staring out at the audience actually added a strange quality all of its own. It was satisfying though to watch Gira give his all during the set and capture the imagination. The music pulsed in and out, sometimes every instrument was definable and other times it was a mere drone. You get lost in this band and they have no intention of pulling you out. As the live ritual comes to an end you feel as if you have been dragged out of a lake. People are changed forever after seeing Swans because they are turned on to a much more poignant and occasionally terrifying version of reality. Incredibly tight and not afraid to improvise Swans are one of those bands who have shaped all of underground music. Watching them I started to realize where a lot of my favorite bands got ideas for their own live performances. Let these rituals wash over you and impress you, for Swans are almighty and have the wherewithal and creative ballsiness to keep going for another twenty years. www.facebook.com/SwansOfficial and www.younggodrecords.com 24 VandalaMagazine.Com - April 2015


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Harry Manx - Winter Garden Theatre Article & Photos By Gideon Greenbaum-hinder Harry Manx is an icon. His music is unique to say the least. He has seamlessly combined the delta blues style and the epic Raga's of India's Rajasthan. His story is a truly inspiring saga, as he said on stage "I spent 10 years playing on the street, so this seems pretty good right now." Starting off as a blues slide player, the man reinvented the blues during a dangerous dry period for modern blues. And yet, until recently his audience has not been nearly as wide as is deserved. His fans remain a mix of cultish blues sycophants and refined elderly audiophiles. It was my first visit to the gorgeous Winter Garden Theatre, a suitably mystical venue to showcase the music of Mr. Manx. The hall is strewn with a mix of real and fake ivy hanging from the ceiling, a tribute to its once derelict past. There are only a handful of modern blues musicians who have contributed to music on the same level as Harry Manx. This music is more than genre splicing, more than fusion. Manx has combined two musical passions into one. Manx recognized the many subtle technical similarities between Indian raga's and old blues scales. It may be the first form of music to combine world music (Indian) with psychedelic tones and straight blues tunes. Harry Manx makes music that no other modern man has ever successfully attempted, except maybe George Harrison. Manx is from the Isle of Man but grew up in Ontario and studied for over 12 years in Rajasthan India. The similarities between Delta blues music and Indian Raga's are remarkable. For one, both styles are easy enough to learn while utterly impossible to master. Indian music specifically demands perfectionism from its pupils, some still consider themselves students after 20 plus years of tutelage. Both styles also have a heavy emphasis on story telling through melody. Harry Manx's versatility knows no bounds. From playing the Voodoo Chile on the banjo yet somehow making that banjo give out the timbre of a sitar or playing the blues on his 20 stringed Mohan Veena. Harry brought out Steve Marriner, a prolific harp player, to back him up on about half his tunes. I spoke to Steve after the show and he informed me of the shocking fact that although Marriner and Manx have played hundreds of shows together, the two of them have actually never rehearsed together. Their chemistry on stage was palpable. Manx is toweringly confidant and dry witted on stage, my favorite tune was probably his opener, 'oh death' or it might have been his raga style cover of 'crazy love' on the banjo. So if you believe that there is more to the blues than old dusty recordings, make sure you add Harry Manx to your roster. www.harrymanx.com More photos on the Next Page 26 VandalaMagazine.Com - April 2015


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@( _Aweriâ&#x20AC;&#x17E; -aigeg Steve Marriner Keeping the Blues/Alive Article & Photos By Gideon Greenbaum-Shinder The blues are the foundation upon which a huge amount of modern music is built and it has always been the case that the best rock n roll has been derived from the blues. Some people know this, but most people subconsciously realize it. That is the reason why bands like The White Stripes and The Black Keys struck such a chord, so to speak. Bands have been reinventing the blues for the entire history of, well, rock n roll a type of music originally derived from jump blues in the late 40's. Some of the more well known classic bands who did this outright are The Rolling Stones, Led Zepplin, George Thorogood and of course Elvis Presley and I don't dare to go into the depth of influence these artists had. There are many hopeless romantics who cling to the edifice of glorified historical documentation. That is, some fans of blues music only listen to the good old stuff, most of which could be classified as antiquity. The history of music does, of course, have huge value to every music aficionado. The issue is that it is simply too easy to define greatness in hindsight and yet when history is forgotten it causes modern music to stagnate. It seems like as paradox, however the answer is simple, take up residency in the present and support current music with an informed ear. There are current artists who have the potential to make their bold ambitions a reality through hard work. And it is too easy to praise those who have already been validated by the test of time. It is of far more consequence to support current blues music, which is the point of this diatribe. Steve Marriner is one of Canada's fastest growing blues backers. He is a prolific harmonica player. He has accompanied such greats as Bob Margolin, Colin James and Harry Manx. Of course, he is also a powerful vocalist, a talented guitarist and an accomplished bassist. Marriner is also the front man of multiple Juno award winning band blues band, Monkey Junk. An Ottawa musician, Steve has been involved with the Canadian blues scene since his early teens. Marriner made the trip out to The Dakota to help launch Toronto's newest blues rock band Sate. This was basically an impromptu set, these two guys had not planned a set and had basically never played together before. In fact they're multiple times where I saw Steve leaning over to explain the sort of emphasis and rhythm that the drums should have. Needless to say the set was tight, Marriner laid down plucky pulsing guitar and as always blistering harp solo's. Paul Reddick, one of the more accomplished harmonica players in Canada, was invited up about two thirds of the way into the set, or as Marriner colorfully put it 'Paul bring your misery sticks up here ... this, is my dad from another lad.' My favorite part of the set was when Reddick and Marriner battled harmonica solo's back and forth. The set consisted of mostly of paired down covers. There was a little Mississippi blues, some muddy waters tunes and of course a few of monkey junk's original songs. Those who bring something lasting and classic with them are the ones we remember. Keeping the blues current keeps music grounded, because not only is it part of the special sauce that makes modern music special but it is also an open book from which we can glean musical treasures. Treasures that music fanatics want in current music. So if you like current blues music, pay attention when this guy is in town. Whether he is playing a solo show or backing someone up I have yet to be let down. www.monkeyjunkband.con 30 VandalaMagazine.Com - April 2015


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lye @overageg SATE AtiThe Dakota Tavern Article & Photos By Gideon Greenbaum-hinder Throbbing keys, screaming guitar solos, dirty funk bass and snug rock drumming. The vocals are some sort of funk rock power roaring. This band is the full package. The night ended with me covered in sweat, beer and rock n roll. This was the maiden show of Toronto's newest gem, Sate. The two sets were intimate, dirty and invigorating. The Dakota tavern is known mainly in the bluegrass, country and roots music scene, but much like our site's philosophy they are fully and simply about good music. I have never had anything but an amazing musical experience there, even when I just happen by. The crowd was an eclectic mix. Ian Blurton was spinning vinyl and Steve Marriner, of the multiple Juno award winning band Monkey Junk, came in from Ottawa to play the second set, while Sate played the first and third, the place was chockfull, not bad for a Thursday night. The song 'Revolution' was a highlight, their vocalist did a full, head high kick after spending a full five minutes on top of the monitors. She also spent the preamble to the song whipping the crowd into a frenzy with a passionate monologue. She also heckled an audience member who hadn't smiled yet, until he smiled. It was beautiful. Sate, like the Dakota, has a very simple goal, to satisfy earholes'. Their sound is difficult to describe, as it appears to be have been funneled in from so many musical genres. Their sonic signature is akin to the band that would result if the Dead Weather and Tina Turner found Stevie Ray Vaughn's secret stash of songs. Sate brings dirty break-neck blues rock with occasional punk-metal tones and a r & b based rhythm section. If I may take off my reviewing hat and pull my photographer stalking over my head, Sate is so photogenic that my work was more play than anything. This band is proof of the power of passion. Their live show is both beautiful and scary like watching the birth of something new These guys are sincerely worth checking out and one of the tightest freshman bands I have encountered. www.stateofsate.com 32 VandalaMagazine.Com - April 2015


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April 09 New York, NY, Hammerstein Ballroom April 28 San Francisco, CA, Warfield Theatre April 10 Philadelphia,PA, Electti Factory ,: April 30 Las Vegas, NV, House Of Blues April 11 Worcester, MA, Pallaigm,1111, May 01 Los Angeles, CA, Greek Theatre April 13 Quebec City, QC, Capitole Theatre May 02 Phoenix, AZ, Marquee Theatre April 14 Toronto, Phoenix Concert Theatre Mayo El Paso, TX, Tricky Falls April 16. Buffalo, NY, Town Ballroom May 05 Dallas, TX, Bomb Factory April 17 - Cleveland OH, Agora Theatre May 06 Houston, TX, Warehouse Live AprilATCliicako,____„, Concorde Music Hall May 08 Orlando, FL, House Of Blues April 19 Des rvIejnes, 11 Air Ballroom May 09 Fort Lauderdale, FL, Revolution April' 21' Denve-r, CO n Theatre agagagjah....._ May 1111 Nashmic, 111"T a athon Music Work April 22 Salt Lake City, LIT In the Venue May 12 Louisville, KY, Expo Five April 24 Spokane, WA, Knitting Factory mos — May 13 Charlotte, NC, Filmore April 25 Vancouver, BC, Orpheum Theatre May 14 Silver Springs, MD, Filmore April 26 Portland, OR, Crystal Ballroom

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Doom DoTiMtes the Downtown: Witch Mountain, Yob and Enslaved Article By Matt Bacon God damn, I got about 6 hours of sleep last night and need to start getting my shit together again. Wow, yesterday at the Union Transfer in Philadelphia was... something else to say the least. And as I purify my mind with yet another Yob record and prepare myself to go out and see Swans in just a few minutes, I figure I might as well take the time to reflect upon the otherworldly live rituals which I witnessed yesterday night in one of Philadelphia's finest venues with some of the worlds best esoteric and heavy acts. Witch Mountain were the first band up. Now, I'd seen their old lineup three times last year, and I was curious as to what their new members would bring to the table. Suffice to say, as I walked in, the only words out of my mouth were "Holy f*cking shit" Kayla Dixon owns the songs and truly separates herself from the Ma era of the band. I'm still trying to gather my thoughts, but the fact of the matter is that with this performance Witch Mountain came into their own. With the incredible stage presence of Dixon and the tasty bass licks brought in by Quentin Brown are wonderful additions to the sonic magic produced by the long-time duo of Nathan Carson and Rob Wrong. Those who catch the band on this tour will be seeing musical masters embracing a bold new age in their careers, prepared for a version of Witch Mountain that will conquer higher peaks than ever before. The next band I saw were Yob, who played what is quite frankly one of the best sets I have ever seen. I cried for most of the set, stunned at the emotional outpouring that came from the oversized cabinets. The way that the band transcended words was incredible. Seeing Yob live is an experience that will shatter you and then put you back together. The progression as you find yourself spinning through exquisitely crafted sonic landscapes is jaw dropping and proves with stunning finality that this is one of the best bands of the twenty first century. With a setlist that carried the listener on a musical journey, it was hard to deny the greatness of this band. It was emotionally draining, crushing riffs pouring out on top of each other as soaring vocals reigned over top of it all. Everyone was headbanging or simply meditating in the quiet reverie of a band who have nothing to lose. Finally it was time for Enslaved, and I was a little surprised that there seemed to be fewer people in the venue for them than there had been for Yob. But the thing is, after the sort of catharsis that Yob provide, it's hard to really watch another band. That being said, Enslaved brought their extremely distinct brand of Pink Floyd-esque black metal, and they brought it hard. Culminating in a stunning conclusion with members of Baroness and Yob on stage jamming along with Enslaved the entire set was magical. These guys have a wonderful aesthetic combining heavy metal bombast with artsy black metal esoterica. The end result was a fun, but highly intellectualized experience that left everyone feeling enlightened. You can tell that Enslaved are 36 VandalaMagazine-Com - April 2015


trot 451-1.5fat)(1), professionals, they dominate the stage and hold nothing back, granting the listener the peace and salvation to guide us through our oftentimes harsh and miserable lives. At the end of the night I helped Witch Mountain pack up their merch and guided them back to my house. We crashed at about 2:30 in the morning and I was left reflecting upon what I had seen. A band I had known for a long time have become an incredible force, Yob changed my life, and Enslaved lived up to the hype. Seeing three bands who all have records that regularly hit top 10 lists around the world in one night is a blessing and a curse. Feeling a bit overwhelmed I embraced the triumph of what I had seen and commenced to scale the wall of sleepiness. Witch Mountain - www.witchmountain.net Yob - www.yobislove.com Enslaved - www.enslaved.no

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

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Satan's Satyrs and Electric Wizinarwant your skulls Article By Matt Bacon

It's always cool when you get to see a few old time friends at a show, especially when they play in one of the bands. Last night was one of those nights where it felt like everybody who was anybody in the scene decided to show up and check out Electric Wizard and their monster of a supporting act, the almighty Satan's Satyrs. Sure there were only two bands on the bill, but left feeling satisfied and saturated. The fact of the matter is, this tour has the honor of featuring two of the best live bands in heavy music today. Satan's Satyrs are, and will remain one of my favorite live bands of all time. This was my third time seeing them, and watching them throw all sorts of poses as they rock out across stages across the world has given me a deeper understanding of rock and roll. Clay has the class of an old school rock 'n' roll frontman, a totally different persona to that you see in private company. He has a southern charm that guides the audience through an exciting set filled with powerful guitar solos and manic drumming. Satan's Satyrs are keeping old fashioned rock and roll relevant by not buying into ideas of what 'revival' should be and instead keeping it pure, driving fans into oblivion with an all out sonic assault that is impossible to forget. It's strange to see them opening for Electric Wizard though. At some point in the half hour before Electric Wizard came on the room became packed and heavy with the scents of incense and hash. It was clear that we were about to see a true ritual take 38 VandalaMagazine.Com - April 2015


place. A heady occult vibe started to infect the air, the crowd was pregnant with anticipation. The band come on with no flourishes and immediately dove into a groovy pentatonic line that turned into a heavy-as-balls riff - drugged out doom metal for the masses. Watching Electric Wizard you are taken to a strange landscape, filled with satisfying twists and turns that hit you straight in the gut. It's a hard to describe experience, but one that satisfies all the senses. As naked women dance and are sacrificed on the projection going on behind the band you start to realize the crushing power of this band. See, Electric Wizard have been through it all, and the years of drugs and murder have made them a harder, more terrifying band. There is a sense of authenticity that lends flavor to songs like Time To Die, and when the band left the stage in a storm of distortion I was left scooping up my jaw from the floor. These are the songs of drudgerous experience that guide listeners on their journey to hell. Electric Wizard infect you with a sense of drugged out terror that few other bands can emulate. Gloriously heavy and fiercely bombastic they provided one of the most intense and overwhelming sets I have ever seen. On their first night of their American conquest _his was proud to report "I've got three ounces of weed already!" This is a band who will crush your f*cking skull. Do whatever you can to get to a show on this tour and prepare your body for total annihilation. Electric Wizard www.electricfuckinwizard.com www.ihateeletricwizard.com Satan's Satyrs www.facebook.com/satanssatyrs

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Interiview. Masked Intruder Masked Intruder are a band of convicts from Wisconsin. They're known for their poppy, catchy hooks and sunny songs of love, life and crime in and out of the Big House, as well as for their color coordination. Each member, Blue, Red, Yellow and Green, has matching shoes, instruments and ski masks. And while their true identity may never be known, even by them, they've gathered an impressive following for a band so recently released from incarceration. They're about to hit the road with Strung Out, which includes a cross Canada run. I gave Blue a call in an undisclosed location to discuss the tour, the fans and, of course, prison. Are you surprised you've been able to maintain your anonymity as long as you have? Blue: I don't know about surprised. I feel fortunate. It's an important part of, you know, not going back to prison. The ski mask helps. I would highly recommend it to anyone trying to stay out of prison, wear a ski mask. Or some other kind of mask. Slipknot had those other ones. They were kind of stupid looking though. Yeah, they were. Has anyone ever tried to pull your masks off while on stage On stage? No. We have had somebody go for the mask before at a festival and we had to put `em down, you know. You can't just let that sort of thing happen. No, of course, of course. Your music could best be described as outlaw pop punk. Do you think you've found a niche in the punk rock music scene? Do you ever plan on singing about anything else besides love and crime? Blue: You know, you gotta write what you know. I do think we've found a niche in the scene. It's a fun thing that we've got going. I mean it'd be really weird if we changed things up and were like 'alright, check it out, we're just gonna write about our snacks now.' You know granola, or whatever. It wouldn't really make any sense. No.

Plus, you know, love and crime are two of the main topics for music anyway. I feel like 80% of songs are love songs, you know? TouchĂŠ. And legend has it the band formed in prison? Yes we did. I mean we didn't have all the instruments and everything that we do now. It could be very difficult to get like a blue guitar in prison. A lot of times to get stuff in prison, someone's gotta smuggle it in a sort of cavity. It would be difficult to fit like a guitar up there, you know. -

But yeah we were able to get it together. And luckily Red, he was instrumental in helping us get things inside the prison yard. But in prison, there's not a lot of pop punk bands. So Red has an enormous cavity is what you're trying to say. Good for smuggling. Blue: Well, that's not exactly...I wouldn't say...don't quote me on that. Ok I won't. How did the other inmates respond to your particularly sugary songs of love and debauchery? Blue: I think that a lot of dudes, a lot of tough guys, they enjoy love songs. But they 44 VandalaMagazine-Com - April 2015


'Interview.â&#x20AC;˘ Words With Blue don't want people to know it, so they would just secretly enjoy our music. Maybe. Or maybe not. Nov that I think of it, maybe they weren't big fans. Because there's a lot of pillow fights that go on in prison. Of course. Blue. Yeah and sometimes if you don't like a dude, he might put some quarters in there, in the pillow case. And if it hits you on the head, it's gonna hurt. So there was a lot of quarters in pillow cases for us. Prison was basically like high school. A lot of hazing. And a lot of the dudes in there are just mean jock type dudes. So we're happy to be out. We're not trying go back. To prison or to high school. Good call on both. On a more serious note, you're hitting the road with Strung Out. Making a few Canadian stops. Is this your first tour of Canada? Blue: It's not our first tour of Canada, but it is just our second time in western Canada. We've mostly spent time in Toronto and Montreal. We did get to go to Vancouver one time before and had a lovely time, so we're really looking forward to it. We love Canada. You guys are sandwiched between La Armada, which is a very heavy screamo type band and Strung Out, which is a very melodic, but also heavy punk band. How do you plan to win over the crowd with your more poppy doo-wop inspired hooks? Blue: Well our show has a fun, inviting element to it. So we basically get out there and get people involved. A good time is a good time. We put on a pretty fun show and the people that go out to see Strung Out, they appreciate that. tell you what else, Strung Out is a pretty melodic band, and the people that are into that and the Fat Wreck type bands, even if they listen to hardcore or whatever, are probably into the more poppy stuff too. And maybe the dudes will want to buy a record. And maybe the gals will want to hold hands, or make out with us. That would be good too. Ok cool. let everybody know that that's what you're looking for. Have you seen an influx of kids coming to the shows in candy colored ski masks lately? Blue: We do get kids coming to the shows in ski masks. Not a ton of them. It depends on the city. Some places more than others, people like to dress up and come to the show. Which is fine with us. If people want to look like weirdos out there, that's awesome. Do you see many Masked Intruder tattoos? Blue. Oh yeah. There's actually a whole movement of Masked Intruder tattoos out there. So we always try to retweet or reinstagram or whatever, when we see them. So it's awesome to see people doing that. And actual good looking tattoos too, not just the prison ones. Mmaskedintruderl & #maskedintruder) You know, There's a horror themed pop punk band from Calgary called The Browns that also wear ski masks when they play, but theirs are all black. They release records about every fifteen years or so. Were you aware of these guys and do you think there will be a fight at your Calgary stop? A battle of the masks so to speak? Blue: Yeah I don't know. I have to be honest, when we started we were not aware of them, but we became aware. Once you're in a band with ski masks, everyone has to tell you about every other band that's ever been that wears ski masks of course. So The Browns is one and there was a band even longer ago than that called The Rip Offs. April 2015 - VandalaMagazine.Corn 45


Interiview. Masked Intruder But The Browns have some cool stuff so hopefully they don't come with too much animosity towards us, but you know, if they come looking for a fight, they won't like what they get. You could also go the other way and collaborate. Do a massive ski mask album. Blue: Yeah. Or maybe just collaborate on a bank robbery. I don't know if they go in for that sort of stuff. I've been to a few of their shows and they're not very well behaved, so I'm sure they'd be into it. You guys have received a lot of love right off the bat with this band, which goes beyond 'oh look, guys in colorful ski masks.' People love your songs, they love the hooks. Were you surprised at the positive reaction so quickly? Blue: Absolutely. We had no idea what to expect and we try to take advantage of the opportunity every chance we get. But I think you hit it right on the nose. At the end of the day it comes down to people liking the songs and everything. And we didn't know we were doing that. We were just doing what we were doing and we were just happy and surprised that people responded. If your true identities are ever revealed will that be the end of Masked Intruder? Blue: I don't know. That's kind of a difficult question. I mean our true identities are Intruders. I am Intruder Blue. I mean if anyone ever had a look under the ski mask I'd be interested to know what identity is revealed, because I haven't personally seen it. Maybe it would just be another blue ski mask Blue: Yeah it could be blue ski masks all the way down to the skull for all I know. Like that game Mortal Kombat, when Scorpion took off his mask, that was just like a skeleton head down there. And then he could shoot fire out of his mouth. So, potentially, if someone de-masked us, it could be the end of the world. It could be a fire breathing skeleton horde. I think that would be kind of cool. Maybe on your last show, you could do that and see what happens. Blue: That's an interesting idea. Thank you.

••••9•041 • 0 0 Is • •.. 0 0* • • • I

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Masked Intruder Online Facebook www.facebook.connimaskedintruder Bandcamp www.maskedintruder.bandcamp.com

• • • •

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Twitter @rnaskedintruder For Tour Dates www.fatwreck.com/tour/single_artist/106

46 VandalaMagazine.Com - April 2015


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MUM

Conversations with The Pixies David Lovering and Joey Santiago 0


@over Interiview Part 1. Wame of F2ioilatiom Undoubtedly one of the most influential bands of the 90's, The Pixies have been making waves and headliners the last ten years with renewed activity, including a new album rindie Cindy') and a continuous, and sold out, touring schedule all over the world. With an east coast run about to kick off in Memphis on May 1st, we spoke with drummer and guitarist, and founding members, David Lovering and Joey Santiago about the Pixies past, present and future.

Part 1 - Interview With David Lovering

David Lovering is the drummer in the Pixies. When the albums 'Surfer Rosa' and 'Doolittle' are mentioned in terms of their influence, Lovering's drumming the drum sound the band and producer Steve Albini achieved is often mentioned as a highlight. As well as drumming, Lovering is also an accomplished magician, as witnessed in the 2006 documentary about the band's reunion sloudQUIETIoud: A Film About The Pixies.' I wanted to talk about Doolittle a bit first of all. It just had its 25th anniversary. At this point it has transcended all expectation and become not only a truly timeless record, but one of the most influential albums of the 90's at least. Does it ever stop amazing you how much this record means to people? David: Yeah, it's crazy how much Doolittle has given and become. It was new to me when they told me it was the 25th. I thought 'whoa, another one?' (laughs) I mean to be honest with you, it was just like any other album at the time. We did an album and 52 VandalaMagazine.Com - April 2015


Cover Interview? David Loverin were very happy with it and that was it. It's funny though, when Rolling Stone first reviewed it, I can't remember what they gave it, but it was a poor rating and around the time of the reunion in 2004, they re-reviewed it and gave it five stars (laughs). I know it was a long time ago, but do you have a particularly fond memory in regards to the making of that album? David: : Well a particularly fond memory of that time was at Thanksgiving and Gil, our producer, cooked us all a turkey. It was our first time as a band away from home like that. It was in a studio in Connecticut, so everything was new and exciting and all the memories I have of those days are quite fond. I saw you guys a few years ago play Doolittle in its entirety in Vancouver when Kim (Deal) was still in the band and it sounded amazing. Better than the record even. How much pressure is there on you guys as a band to be able to not only replicate the songs on the recordings, but give them that extra something special in a live venue? David: Well with the Doolittle tour, what happened with that was it finally gave us the chance to play the exact same thing over and over and over again. We've got a lot in our catalogue and there's a lot to pick from, but with that tour, it was interesting playing that album because we wanted to replicate the album. And as a result of playing it every night, we got really good at it. Are The Pixies a live band first and a studio band second, or vise-versa? David: Definitely a live band first. Well, when we're playing really well Ed say a live band (laughs). A live show is where all the energy is, the studio is a whole different beast. Have your pre-show warm up rituals changed much in the last 30 years? David: (Thinks)...No, I think it's remained pretty much the same. The only thing that's changed in the last six or seven years is now there's these large military drum sticks that have a rubber ball on the end. So you can play them on anything and you're not going to make any noise or disturb anyone. And because of the weight of the sticks it's kind of a workout. So those have made warm ups more beneficial than anything I've done in the past. This might be rhetorical question, but does the feeling of being on stage ever change? David: Well I don't take any of it for granted. But, our first show I remember was really nerve wracking. And our second show was in London and that was a really eye opening experience because that was the first time we saw the audience's reaction to us as a band. Since then, I mean I'm the drummer, I've got a bit of separation between myself and the audience. So the nerves aren't there anymore and I just love playing live. That's what I love to do more than anything else. I don't like recording. Indie Cindy' was a really good recording experience, but it was the first good recording experience I've had in a really, really long time. Fast forwarding a little bit. I know you've talked about this endlessly so I won't spend too much time on it, but can you just tell us how close the Pixies came to ending again when Kim left? David: Yeah, there was some talk about it that evening. At first there was just shock. We didn't know what to do and that was it. But the three of us, over the course of the night just banded together and talking about carrying on. But there was shock for April 2015 - VandalaMagazine.COrn 53


@over Interiview. Waive of F2imilation awhile. We didn't know what to do. Has that caused you, Joey and Charles to become closer, both as band mates and friends? David: I think we have. Definitely. We're just coming off a long tour and heading out on another and it's just been very enjoyable and very comfortable. I want to talk about Indie Cindy a bit as well. During the recording process, did you feel the same electricity for the material as you had with previous records, or was there more trepidation this time around? David: There wasn't trepidation as far as it being something we wanted to do. But where there was, was that these would be the songs that would follow something we had done a long time ago. So we knew we had to like the songs. And some of them were even written in the studio. But yeah of course we were scared. We weren't sure what most people would think about it. But we still felt and feel we're a vital band and are going to continue on doing this. Are there many songs left over from those sessions that are waiting to see the light of day? Yeah. Indie Cindy' is made up of about five years of ideas that were floating around. And in fact, just two weeks ago we were going over some other new songs. But there's a few things that we just brushed on while doing the 'Indie Cindy' stuff. Any plans for a new album? davit; We're taking it a step at a time. We're doing something right now that we haven't done since we were a smaller band. And we're working on new songs, but we may play one or two a night of those newer songs that no one's heard. And this is what we used to do when we were doing tome On Pilgrim' and 'Surfer Rosa.' Just playing a lot and trying to iron out songs. And this is a good way to do that. It'll be a good exercise for us to see what will happen next. I wanted to ask quickly about your other passion. I know from the documentary that you're a magician. With The Pixies being more active these last few years, have you been able to keep up with that? David: It's been a little tough. I haven't been able to do a stage show. I still have a stage show, but between being a Pixie and a father of two, I've haven't had time. Luckily The Pixies have been busy enough to be able to afford me a career. But I still do magic backstage, or in restaurants or bars. I like that kind of magic anyway. Intimate magic is much more powerful. And more fun. Absence makes the heart grow fonder. And while the Pixies were absent the heart grew very fond the world over for the band. Do you ever worry that with being more 54 VandalaMagazine-Com - April 2015


Cover Interview. Joe Santia o active and releasing records and touring and all that, that it might dilute the legacy or mystery of the band at all? David: It's interesting. From what we've been doing so far, and the kind of offers we've been getting and the kind of shows, we can judge where it's going. And we can still attract an audience. We're not going to push it, obviously. We would like to have some decorum over what we do. But, I just think we have good songs. And we have more good songs to follow. Musicians have to sacrifice a lot to be a band. And the bigger the band, the more they sacrifice. With all the sacrifices you've had to make over the years for this band, what do you hope the legacy of the band will be after you've played your last show? David: Oh wow. You know, I just always attribute everything to good songs. If the songs are good, the band will live on. And everything isn't timeless, but hopefully people can appreciate it for what it is.

Part 2 - Interview With Joey Santiago Joey Santiago is the lead guitarist in the Pixies. His inventive, unorthodox guitar parts in the Pixies catalogue have made him a highly influential guitarist on a great many musicians. As well as being a multi-instrumentalist, he's also contributed scores to a number of films and television shows. We talked to Joey about the band's history and legacy from his Bay Area home in California. It's amazing to think that initially The Pixies were only around for six years. All those records you released and all the shows you did and that legacy you created, was in such a short span of time. Do you personally view The Pixies as two distinct periods of activity or does it all mesh together? Joey: It pretty much meshes together as one. I mean 'Bossanova' and 4Trompe Le Monde' were put together in the studio. We never met up in a rehearsal space prior to ;. Photo credit: Andy Kellen recording, so it was kind of piecemealed together. So maybe those are the two different eras of The Pixies. But, God, we had an album out every year. Were the songs on the original Purple Tape and 'Come On Pilgrim' easier or harder to flesh out than the ones on your later albums? April 2015 VandalaMagazine.Corn SS


•=7.


Pixies Live at the Orpheum Theatre, Boston, MA - January 18, 2014 Photo credit: Dana Yavin


Cover Interiview. Wave of Pixilation Joey: Well, that's what we were rehearsing in the studio, and we crafted it. We took a rock and made a sculpture out of it. The Purple Tape, I don't even have the cassette anymore. I was working at a place and they gave me the company pickup truck and somebody stole it, with the tapes inside. And I was pissed. You know the company just wanted their truck back, but I wanted the tapes. Doolittle gets a lot of the love among fans, but 'Surfer Rosa' is actually the record that music critics and some of your peers cite as their favorite. At what point did you feel like your were hitting your stride as a band? Joey: 'Surfer Rosa', because that's when we stated going into the studio with time to

explore. I mean 'Come On Pilgrim', with that we did something like eighteen songs in three days or something? And with 'Surfer Rosa' we'd go until 2am some nights. But that's when we really hit it. It was a huge introduction to us for more of the masses. And by that point had you already achieved complete creative control from the record label? Joey: Oh yeah. No one was ever in there. It was always just us and the producer. No

one ever came by and suggested anything, or anything like that. Other than the producer. Gil was like the fifth Pixie in those days. There have been so many bands and artists and filmmakers who have cited the Pixies as a major influence. The one everyone likes to use is the Kurt Cobain quote. Is there pressure on yourself as a guitarist and the band as a whole to live up to the praise? Joey: We're not really that precious about it But yeah there's pressure on every album for different reasons. But it's never really about the audience though. We just want to do our best. So whatever pressure we feel, is about us. I mean there are some rabid fans out there, but we are the biggest fans of the Pixies, ourselves. So in that we way we try to meet our own expectations. `Doolittle' is such a big record. In ideas, sounds, themes. And stuff people just didn't write about that much. Biblical stuff, obscure art house movies and whores and all kind of things. Do the things that Charles writes about have an influence on your guitar parts? Or is your writing done before the lyrics? Joey: Sometimes before, sometimes after. The lyrics are always changing in Charles' mind. Sometimes he'll just have the melody. Or the chord structure, the sound. I guess in a way we kind of approach it like a surf band. And that's what surf bands did, concentrate on the music first. And that's what Charles and I were into when we were taking summer classes at the university, we'd listen to a lot of surf music. And we thought it was funny, where the title describes the music. So there's a mystery there, was it the music that came first, or the title? Which is a good jumping off point. You could do worse than to listen to a bunch of Dick Dale or Ventures records and use that as inspiration to go make a record. Joey: Yeah. And it's more universal. There's no language barrier with that music. Charles has admitted that the recording processes for 'Bossanova' and 'Trompe Le Monde' were very indulgent on his part. That he kind of pushed the rest of the band away in a sense and became more self focused than he should have been. Did you feel that? Were those records difficult on your part? Joey:Yeah, I never knew he thought about it that way, but I guess there was that kind 58 VandalaMagazine.Com - April 2015


cover Interiview. Joey Santiago of bratty way about it. But he's an artist. We all are. Everyone's trying to solve their own piece of the puzzle in there. It goes without saying that both Charles and Kim have been the focal point of attention in the band's history. While you and David, although as integral to the band's sound as anyone else, are given the roles of the quiet observers. Some people would see this as a blessing. Not having to deal with as much attention, some would feel left out or hurt by it, where do your feelings lie as far as that's concerned? Joey: I was never hurt by it. I didn't really do interviews much back then. I did a few maybe, but got sick of it. I didn't see the point. And I just didn't like myself in print. So I didn't care at all. You know, the music's good so f*ck it. I'm lucky to be part of it. I don't crave attention. Speaking of attention, this was ten years ago now, but was it difficult to do the documentary CloudQUIETIoud')? To let somebody into your inner circle for so long? Joey! Yeah it was definitely weird. But they pretty much captured the real us. I read somewhere that Thom York of Radiohead) said 'finally, an honest documentary of what a band is.' It's a lot of waiting around. There's not much chatter. I mean is there acrimony in every band? Are there long periods of silence? Probably, yeah. Joey: Yeah. So you guys reunited in 2004. And almost ten years later, EP 1 is released. At what point did you guys say, 'it's time. Let's do it.' Joey: I always wanted to do it. And to release the pressure of releasing something, I said 'well, why don't we just do an EP?' And there won't be as much pressure, because, at least subconsciously, you can't compare an EP to what we've done before, to an album. Was that comparison at the front of your minds when you started recording? I mean anything you do will inevitably be compared to 'Surfer Rosa' or 'Doolittle', even though it isn't 1989 anymore. Joey: We didn't really think of it like that. I mean we could either do a sequel to one of those records, or grow. And we grew. We might revert back to a past sound at times, but it won't be on purpose. Does Indie Cindy as a whole feel like a true Pixies record to you? Does it feel like something you could have released in the 80's or 90's? Joey! We could've done anything after 'Doolittle.' Or after â&#x20AC;&#x2DC;Trompe Le Monde'. So it's a natural progression. We kept growing up and growing up. I mean you can either embrace the past or move on I asked David this question when I spoke to him about the band, but do you ever worry that with being more active and releasing records and touring and all that, that it might dilute the legacy or mystery of the band at all? Joey: I think we're more mysterious than ever right now. You know, instead of it being, "where did they go', it's 'what are they going to do next?' But we don't think about our own legacy. I think the fans that endear us feel more pressure in that regard than we do. April 2015 - VandalaMagazine.Corn

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Mike Scheidt is a cosmic dude and he has so fascinating views about the nature of reality what doom metal means in a larger context. depth interview we get to see Scheidy at his finest, shooting the shit about what he lo


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So Mike, how have you been? Mike: I've been good. This has been a really good tour. I've been fighting a little bit of a bug the last few days. Tour AIDS more or less. A couple of sets have been hard to get through but our spirits are high and we're having a good time. Now that you're latest record was #1 in Rolling Stone what are you going to do? We're just going to do whatever seems like the best thing to do next. It's so far out of anything that we could have been ambitious towards especially because we were not very ambitious to begin with. It kind of feels like achievements but it also feels like a phenomenon, its just things that are happening to us. It's an honor, a privilege and definitely a surprise but at the end of the day we just have to keep doing what we've been doing that has enabled things like that to happen and not deviating so much as to let it affect us overtly. WC!'

In the past few years doom has kind of taken off, how has that been for you? Is that a trend or is it here to stay? Mike: That's hard to say. I think that as to whether or not it's a trend depends on who you talk to. A lot of them were concurrent with the music's evolution. Like with grind, the genre hadn't been around for thirty years before people found out about it. It was the same with death and black metal it was concurrent with the popularity. Doom though has been around for a long time and then all of a sudden there are a lot

of people who are into it. So you have this new crop of people who are really excited about it but also this group of people who have been at it for decades. Like, how long has Wino been doing it? They've been doing what they wanted to do for years without a lot of recognition. Now that it's come around it's a very complex interesting thing and the people that have been moved to write this music all along have been benefiting from it, and people respect the history of the genre. So people who deserve respect are getting it and there is a new crew who are really excited too. What's that's enabled for a lot of the happening bands has been bigger shows, being able to do more, and maybe tackling festivals they couldn't have gotten before. People have benefited across the board and the excitement around it is really about the music more than anything else. I've been playing doom riffs for twenty five years. It may be a trend for some people but it's not for me. As far as it growing, I don't see any real negative aspects. There's pet peevey irritable chatroom stuff but that stuff doesn't feel very real to me. Part of what pulled me towards doom, especially being a younger guy, other genres seems to have waves of bullshit and doom is fairly down to earth, why do you think that is? Mike: The people that have been playing this music for a long time did so without a lot

of support. The scene support was small, we all agreed on certain things, like our love of Black Sabbath and Pentagram. I pretty much grew up on hardcore, death metal and black metal, so I'm used to high speed music. When you have an incredible quality of musicianship you can hide that you don't have good songs. I think with doom metal the riff is so bare and what's being expressed is so bare if there's no real emotional content to it, whether it be dark and ugly, or ascended but hopeless yet trying to climb out of it... like Obsessed, St. Vitus, and Pentagram had. It was trying to reach for something. You have to really mean it otherwise it becomes very boring very quickly. The expression is what makes it so vital, you can't hide 64 VandalaMagazine.Com - April 2015


InteRviiew. Mike

he.idt

behind the technicality of it, you can only really feel it. So you can tell when it's not there. It's something that you can't touch or taste. I think that level of sincerity, especially when it's been around for so long, someone who just discovers the genre gets to discover a wealth of music. All of these bands like Electric Wizard, Pentagram, and the Melvins of course, its all music that was made even though there was no hope in it. There was no ladder to climb. It was all seen as pretty hard to reach, the opportunities we tried to compete for and stuff like that. Do you think that as the scene gets bigger we could get that kind of competition? Mike: Sure. It's kind of inevitable in a way. At the end of the day there's such a history laid down already that it's always going to be compared to the best. There's going to be a lot of style over substance and when people are comparing it to other stuff it will fail. If your shits really there you don't have to do that. I just had this weird epiphany... Black Sabbath played to 300,000 people so now the bar is set so high you can't compete. Mike: Exactly, there's a God. There's no touching that. That's where certain bands can be really interesting because they can take the fragrance and infuse so much into it. It's not uncommon for a lot of people into doom started out not just into doom but also classic rock, Death, Napalm Death, Wipers, all these different backgrounds. You can see how it gets infused into different styles like Southern Sludge or bands who bring in death metal, or blackened doom or even that Black Flag style angst. It's the classic metal thing of borrowing from everything and yet somehow remaining pure. Building on that... are you saying doom is sort of the fundamental undercurrent that underlies all metal? Mike: It's almost like death metal in the way it can be traced back through time. Like, you have punk that impacted it, but also Mozart. The music is written in movements, much like in death metal. There are a lot of intersecting parts and parallels. Yet it all funnels through Black Sabbath. I don't think there's many styles of metal that can say they're not influenced by Black Sabbath, and if they do say that it's because they are younger and they are influenced by more modern bands who link back to Sabbath. There's a history they might not be aware of. That kind of purity started every scene and there's always bands that keep it pure, in every era. There are still bands that are current and embody why we loved it in the first place. Ws not just doom. Its just that doom is having its moment. Tied into the idea of Mozart and classical music, what I've always admired about Yob is that your records feel kind of like a symphony in that they work as a whole cohesive work of art. Mike: My goal is to have each song be its own universe that contributes to the whole of the record. There's a flow in the art. Maybe I'm too close to it and my view is diluted, which is entirely possible, but in my mind, In Our Blood, the first song on the new record, does not sound like Nothing to Win. Then the minor tinged weirdness of Unmask the Specter which doesn't sound like either of those songs comes up, but there is a thread there. Then you go to Marrow which also doesn't sound like any of those songs and has a very different approach but it also has that thread. If you listen to every song you're not going to hear any recycled riffs though. My goal for each album is to have a common thread, a common vibration, an atmosphere and April 2015 - VandalaMagazine.Com 65


a taste that is the album, that is cohesive but has individual songs. I'm not saying I'm getting that, but I try. If you look at Killers, Number of the Beast, A Piece of Mind, and Powerslave, they're all Maiden but they're all different. They all have that common thread though. So how do you go about getting that thread? Mike: I just have to wait until it feels real. I'm not just writing a bunch of songs and seeing what sticks. For me I agonize over what I feel will be the first song of an album because I'm looking for the one that will kick the doors down. That can take a long time and it can take up to two years before I feel I have that. Once I have that though the rest of the album kind of falls into place. I can take two years writing what is the worthy next song. I may have other things in the works but when the moment comes and the sky cracks open and that thing happens then the other songs will write themselves in a few months. It's kind of like an avalanche. Do you feel that the other songs kind of grow organically from that one song? Mike: Well I won't rush them. This album started out being much faster. In Our Blood was originally going to be a much faster song. I would keep working at it and one day I got really frustrated and I played it like five times slower than what I normally was playing it at and there it was. When I get out of the way the thing that happens, happens. There were things about it that worked but once I found the right pace it was all the right riffs and arrangements and everything. Once I ended up slowing it down the song went from 7-8 minutes to 17-18 minutes. What kind of got you playing slower music? Mike: I was lucky. When I was a kid right around the same year of time when I started to get into more interesting music...not just the stuff on the radio, which was awesome though. Pop music was stuff like Neil Young, Led Zeppelin and Pink Floyd. In the same chunk of time I discovered Judas Priest, Metallica, Black Sabbath, Blue Oyster Cult, Sex Pistols, Dead Kennedy's all that stuff. There was a wealth of music that hit me like a ton of bricks. Sabbath was very much the beginning of my development. When I was about 15 Metal Massacre 6 came out. That had a bunch of really great speed metal bands but also The Obsessed were on there and it was right around that time that the first Trouble and Candlemass records came out. I was kind of familiar with this music but I was still into really fast shit. I was a big Napalm Death fan so when I found out Lee Dorian had a new band and it was Cathedral. When I first heard it I didn't get it because it wasn't Black Sabbath and it wasn't death metal. It was the first modern doom metal where the metal was really in it. It was a lot more morose, dark and f*cked up than even some of the Sabbath was. Then I went and saw Napalm Death with Brutal Truth, Carcass and Cathedral and it was right when Cathedral was playing Soul Sacrifice. I was standing in the back of the room and couldn't care but then about 5 minutes in I went from the back of the room to the front of the stage. The power overwhelmed me. I had never seen anything that heavy and huge and Lee Dorians vocals....They were a five piece then and it was just a very primal huge thing. Then I discovered Holy Mountain and joined the Cathedral fan club and they sent me an Electric Wizard/Haunted Kingdom split and Haunted Kingdom were Orange Goblin before Orange Goblin. It's then that I heard of bands like Pentagram too and it snowballed from there. That '92 I was 21-22 years old. 66 VandalaMagazine.Com - April 2015


Your hands have tattoos that say "Stay Awake" is that tied into the motif on the new record "Time To Wake Up" Mike: In a way it is. In Eastern mysticism there's that theme of when people are asleep and lost in their heads. It's about people who are out of control or buying into reality all of the way and don't question it. They take about the awakening where you awake out of your mind stuff and you realize that maybe there's a lot more going on than what we've been taught and our creations. Stay awake to me helps kind of remind me when I'm getting lost in my shit. But also when I'm driving and feeling kind of funky its a nice reminder. It's really for me, its not for anybody else. Can you tell me about your interest in Eastern mysticism? likes It was probably in 1990 maybe when I first started getting into it. I've kind of fought manic depression my whole life and in one really bad spot I said to myself "I need some philosophy" and I ran into this book store and there was a free bin and there was a book that was called something like What Is Philosophy and it was kind of a summary of all philosophy. It kind of blew my mind and started me on the past. I know that other doom metal musicians are into that. What got you into that? Mike: It wasn't musically based for me, even though when I was past that, that was generally where I had written from. I think that music has the ability to take people into nonâ&#x20AC;&#x201D;ordinary realities. It takes us out of time and space for a while. It takes us out of our conditioning. It can make us forget for a while what our lives where beyond the moments that we kind of got lost in. Space can open up and for whatever reason sometimes information can come in. I don know how it works but music helps allow you to let new stuff flow in. For me, this is just an opinion, but when I listen to the monks doing polytonal chanting and I hit my guitar in A standard with distortion there's definitely some similarities. Would you argue that music is in some ways a form of astral projection? Mike: There's probably different ways to say a lot of the same thing. There's the literal kind of idea that you physically leave your body but there's the silver thread that somehow connects you there. There's also the idea that maybe you expand beyond your body or rather that yourself gets felt as bigger than your body and all of the sudden now you're a part of the room and the sound waves coming off of the stage. It's no longer just rooted in your body sensations, it's expanded out. There's a gigantic quality to that and that's bigger than your body. It's maybe not quite so literal as leaving your body and flying around. I don't think it's unique to doom though. I want you to finish this sentence for me "I've never told this story before and probably shouldn't but..." Mike: When I first started Yob I had really young kids and was trying to find musicians but couldn't. I brought on a buddy of mine who was a high school metal drummer and I spent three weeks trying to get him to slow down and then we recorded our first demo. I've never looked like I belonged to a certain genre, I always just had long hair and band shirts, but there was a period of time where in a weird phase I wore a lot of Hawaiian shirts and pub caps and was much more overweight than I am now. The first Yob shows I would wear khakis, a pub cap and a Hawaiian shirt and when people saw me at my gear they would be so confused and alienated they would be like 'what are you even doing'. I'm a world class socially awkward dude, I've always been like this April 2015 - VaridalaMagazine.Com

67


though. Even when I was 15 I had the long hair and band shirts. I had a really awkward beginning in this scene and it was hard playing with a lot of the old school bands that really almost couldn't be around me because I was so weird... We touched on this before but what do you love so much about music? Mike: It was the first thing that allowed me to feel empowered. Before I was a musician I was painfully awkward, on the autism spectrum, fat tortured kid. When I started playing music and had a kind of aptitude for it, it was the first time in my life that my folks saw something in me. Before then they were trying to get me to get out more and fight guys who picked on me. They wanted to toughen me up and with music it was the first time that I had people starting to respect me or pushing me around. It was a time when bullying and getting your ass kicked didn't really have an intervention, it just happened. It was more than that, it didn't just loosen the pressure on me it also made me start to believe in myself which was a first. I started to feel like I had something to offer and it made me feel good about myself. From there I think music has been a continuing journey on self exploration and connection. Fast forwarding all these years later, I haven't met all my heroes but ITve met a surprising number of them and in some cases even have their respect and music gave that to me. It's something I've been able to give as well. Being able to share music with my children too is awesome. The passion that goes into music and seeing people pouring their hearts out... it's hard not to be attracted to that. Final words of wisdom? like: I only know what is working for me and what's working for me is trying to breathe deep, give some space to everything and be careful with the cyber world because there's a crazy kind of overly irritable angsty trip on chat rooms and Facebook and a lot of things that are meant to be good but are building towards crazy intolerance. Some of it's good and some of it just feels like people venting and now everyone in the world has a soapbox they can stand on with their keyboards. I'm trying to breathe some space into it and now we might be able to understand our nature better. There used to be a time where we didn't know what people were thinking unless they said it and maybe we were a little more careful with what they said and they maybe thought about it more. Now you can call people out from thousands of miles away with no real repercussions. This is starting to feel like a ramble but part of what attracts me to mysticism is how I get a sense of a sensory overload and I like stuff that breathes not just space but a sensory knowledge. My reactions to it don't have to meet it Having choices instead of just reactions is important. That's where I'm at a lot lately, that may not be wisdom for anybody else but it's what I'm trying to be right now.

YOB ONLINE: www.yobislove.com www.facebook.comiquantunwob 68 VandalaMagazine.Com - April 2015


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06.26 06_27 06.28 06.30 07.01 07.03 07.041 07.05 07.07 07.08 07.10 07.11 07.12

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April 2015 vandala magazine  

Aprils edition brings a little bit of everything. The cover is a double feature with interviews with David Lovering and Joey Santiago of the...

April 2015 vandala magazine  

Aprils edition brings a little bit of everything. The cover is a double feature with interviews with David Lovering and Joey Santiago of the...

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