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Contents May/June 2017 Vandala 8 ALBUM REVIEWS Kendrick Lamar "DAMN" (Rap) Joey Bada$$ "All-Amerikkkan Badass" (Rap) John 5 and the Creatures "Season of the Witch" (Rock/Metal) 14 INTERVIEWS What Else Can You do for Anyone but Inspire Them? - The Age of Electric Be Optimistic - An Interview with Steve Thill of Sinner Sinners Life Is Good (Sort Of): An Interview with Dennis Casey of Flogging Molly The Psychomania Tour is Upon Us An Interview with Jamie Madrox of Twiztid 38 COVER STORY A Last Stand History Lesson An Interview with Par Sundstrom of Sabaton Sabaton are one of the best metal war story tellers in the entire history of heavy metal! They could teach a history lesson about war hero's through their music better than someone on the history. We chatted with Par Sundstrom about Sabaton's "The Last Stand" and the next thirty years! 56 LIVE MUSIC & FESTIVAL COVERAGE Jean Michel Jarre Plays First Concert at the Microsoft Theater In LA Jimmy Eat World Indulges Crowd Photo Highlights - Growlers Let's All Hang Out Weezerf The Trews and The Flatliners Thaw From the Shaw 2017 Beale Street Music Festival in Memphis Celebrates the 40th Anniversary The Last Waltz Tour Brings Historic Line-Up 04 VandalaMagazine.Com - May/June 2017


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Kendrick Lamar "DAMN" (Rap) By Dustin Griffin - 5/5 Dragons This is a review of Kendrick Lamar's new album DAMN. But it's also a review of Kendrick Lamar the artist, his relevance, his importance to popular music the past few years, and a little about his detractors. And he does have detractors, mostly people who feel that anyone as commercially and critically successful as he is, must by default be overrated. Because no one has as much critical and commercial adoration as Kendrick Lamar has as of late.

I'll get one thing out of the way right now. I am not a Kendrick Lamar detractor. get something else out of the way while I'm at it. Kendrick Lamar is the most important popular music figure of his generation and probably many generations before. In fact, I've been known to go so far as to say that Kendrick Lamar is this generation's, John Lennon. And if you're a McCartney person, well, he can be that too. As of this writing, To Pimp A Butterfly is the most important and artistically impressive album released in this new millennium. And Good Kid, M.A.A.D City isn't far behind it. Pimp said what we needed to hear, it sounded how we needed it to sound, and it reveals itself in new and surprising ways with every successive listen. There are literally only a handful of albums I can think of that have that kind of power and versatility. And The Beatles' White Album is one of them. So that's where I stand on that. And here's where I stand on this: The first thing that strikes you when spinning this album from front to back is how deceptively simple it all sounds. I don't mean that to say that Kendrick lacks enthusiasm, or has phoned it in on this project in any way. I mean that to say that Kendrick seems to have stripped away some layers, lyrically and instrumentally, in comparison with his previous two projects. If the last three Lamar records represent a fully realized human being, then DAMN. is its skeleton. I say seems, because it's actually far more complex than that, but I believe the intention is to present a sharp, succinct, bare bones version of what Kendrick has been crafting since Section 80. To put it another way: if the good kid was the arousal and Pimp was the climax, then DAMN. is the afterglow.

I'll hit the tracklist with a few words on each tune, but out of respect for the format Kendrick puts forth on this album, I'll make it short and sweet. BLOOD. - Starts with a story that ends with a gunshot. DNA. - Banger #1. A fat, heavy beat and one of Ws most electrifying vocal deliveries. YAH. - Short for Yahweh, the Jewish God. Slow, smooth, theological and contemplative. ELEMENT. - Banger #2. A keen braggadocio. Think Watch The Throne, but with 08 VandalaMagazine.Com - May/lune 2017


Kendrick replacing both Jay Z and Kanye. Which actually sounds amazing to me. FEEL. - Smooth jazz and manic depression. Another electrifying Kendrick vocal performance. LOYALTY. - The club single. Kenny and Rihanna trade bars over trap pop gold. PRIDE. - A jagged guitar sample teeming with vocal experimentation and the astounding lyric: can't fake humble just cause your ass is insecure'. Which is a perfect segue to: - Banger #3. Simple, crushing beat. Kendrick asks for humility from the music industry, while simultaneously proving he alone has the right to brag. - Kenny vocally dances with the weird, reverse beat sample. A song with many more layers than are apparent on first listen. LOVE. - Club single #2. A sweet song with sadness hiding beneath its outstretched arms. XXX. - A three phase hammer which perfectly utilizes its musical arc, as well as its featured musical guest in U2, which could have gone very wrong indeed. The siren part in phase two is one of the album's most exciting moments. FEAR - Kenny as Sob from the incomprehensible bible story of the same name. Is this Kendrick Lamar losing his religion? It certainly sounds so. - Kendrick as God. A very wealthy, critically acclaimed God. A nice, wispy beat, with a lyrical undercurrent of sadness, which seems to be a theme, if not THE theme of DAMN. DUCKWORTH. - The autobiography of Kendrick Lamar Duckworth. Lyrically and musically pulverizing. The record end with the line that it starts with, bringing us full circle in the way Sergio Leone's Dollars trilogy does if you know, you know). Final thoughts: I love this album. Not as much as Pimp and not (currently) as much as good kid. But it's only been out a couple of weeks. It will bloom and pop and open up and transform in the way those other two albums have and it will mean something different to me in the months and years to come. Something potentially more profound, or something potentially less profound, but it will mean something. And that should be enough. www.kendricklamar.com www.facebook.comikendricklamar

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Joey Bada$$ "All-Amer)kkkan Badass" (Rap) By Dustin Griffin - 4.5/5 Dragons Joey Bada$$ is one of the most exciting hip hop artists of his generation. After dropping a string of strong mixtapes, including the classic throw back 1999, his debut album B4.DA.$$ was the perfect encapsulation of what he had been working towards. Mixing jazzy beats with silky smooth flow and multigenerational wordplay, Biti.DA.$$ announced the presence of an artist who at his best could go toe to toe with any one of his peers, save maybe Kendrick Lamar. One thing a lot of people like to mention when talking about Joey, is his devotion to preserving the 90's hip hop aesthetic in his bars and the beats he chooses to lay them over And while it's fair to say that if Joey had been around in the golden age of hip hop, and his albums and mixtapes were spread out among the middle years of that decade, he would fit right in. It's also unfair to pigeonhole him like that. Yes, the jazzy sparkle and easy flow of 'Good Morning Amerikkkai, the kick off track from his new record, sounds decidedly nostalgic. But it, and the rest of his new LP, also sounds decidedly current. He may not be trying to rewrite the script the way Kendrick was on To Pimp A Butterfly, the way Danny Brown did on Atrocity Exhibition, or the way Kanye West does with every project he releases, but sometimes honesty and talent is enough. And honesty, brutal honesty, is at the very core of All-Amerikkkan Bada$$. Joey does not mince words on this album. He is reporting from the street level view of a black man in an America that has reacted against the progress it was making, in an attempt to turn the progression back a few decades, to the detriment of every minority group who has fought so hard for the little bit of equality they have been accorded. Take 'For My People', for example. An uplifting, but sad song about oppression, especially as it related to people of colour. Take the lyric in the chorus: "This for my people, tryna stay alive and just stay peaceful So hard to survive a world so lethal Who will take a stand and be our hero, of my people?" That is a call for help, and a call for action. Or in 'Temptation' when he says "I just want to see my people empowered". Or in 'Land of the Free' when he raps "They disorganized my people, made us all loners. Still got the last name of our slave owners". That's powerful stuff. And while Joey has always been a socially conscious lyricist, there is an air of desperation in these lyrics. Hopeful CAmerikkkan Idol', `Devastated'), at times angry CRockabye Baby', 'Ring The Alarm'), at others confused U Don't Love Men, but desperate. He's working through how he sees the world in 2017 and laying his heart bare. 10 VandalaMagazine.Com - May/June 2017


And he's doing it to some of the smoothest production of his career. Working again with frequent collaborators in Kirk Knight, Statik Selektah and Chuck Strangers, as well as new hands on the one's and two's like Di Khalil, 1-900 and Powers Pleasant. But then, Joey has always attracted top shelf production talent, in the past working with DJ Premiere, J Dilla and the legendary Roots crew. This album hasn't been out long enough for me to compare it against Joey's previous release. Not that everything needs to be compared to everything else, it's just the way our minds work I guess. I will say that All-Amerikkkan Bada$$ is a far more mature and cohesive work than Bitt.DA.$$ was. I'm excited for this kid's future prospects. He could turn out to be one of the greats. Keep your eyes on him. www.joeybaciass.com

John 5 and the Creatures "Season of the Witch" (Rock/Metal) By Chad Thomas Carsten - 4.5/5 Dragons John 5 brings forth a creep show horror rock instrumental masterpiece that will have metal heads moshing in their own houses all over the globe! Virtually every song is laden with soaring gut wrenching guitar solo's that could very well have Black Sabbath's Tony Iommi and even Van Halen's Eddie Van Haien weeping in happiness from the outstanding performance John 5 delivers deep within Season of The Witch. Fans of instrumental records won't be prepared to be taken on such a thrilling rock n roll roller coaster when first listening to the album. All tracks featured will catch listeners off guard and have them smiling ear to ear through out the entire record, while listening to the record over and over for hours upon hours. It's just that satisfying! Instrumentally these songs could fit with the likes of Queensriiche, Marilyn Manson, White Zombie, and even Judas Priest. Overall, John 5 deserves every bit of success he conquered under his belt and "Season of the Witch" further proves the man is an absolute God on the guitar! So to the rock n rollers worldwide don't sleep on this astonishing release. Support the satisfying talent and allow the record take you on a guitar solo journey through the pits of hell with your jaw dropping straight to the floor alongside every single note John 5 and the Creatures hit flawlessly with your metal horns held up high! Major highlights include: "Here's to the Crazy Ones", "Season of the Witch", "Black Grass Plague", "Making Monsters, and "Guitar, Tits, and Monsters". www.john-5.com ..■im..41 ■Fm■• ■•

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Twenty-six years ago the western Canadian cover music scene, which had an incredible boom in the 80's, was starting to get stale. The venues demanded that in order to play there the cover bands needed to play from a very standardized playlist. The same songs week in and week out and the bands started to look the same. At that same time a few bands appeared on the circuit and instigated a change that needed to happen. "People don't want to hear all the same songs. We played different [songs] and that's why people would come to see us." Ryan Dahle, the guitarist for The Age of Electric, one of the bands who were the tipping point that changed the cover scene. "[Venues] would tell us to play this song list and we would say, "Sure, we can do that." Then we would play something completely different and it would attract a lot of people. We would get a phone call from the agent who would say "Hey, you are not playing those songs that you have to play, it doesn't matter that it was sold out, you got to play those songs." Todd Kerns, lead vocalist, has had an incredible career, from his solo career to playing and touring the world with Slash. "You had this set of circumstances in order to get into this party. We would just go in and do it our own way. It wasn't long that we were playing original music and quickly a lot of it. Then it became to the point where people wouldn't come to hear what the top 40 hits were. They came to hear our songs." In that era, it was very rare to hear original music in the cover scene, but Age of Electric defied the trend and pushed their music out. They still played covers, but more obscure songs that made them even more interesting. "When a guy is sitting with his beer and his girlfriend, he actually wants to hear something challenging. He doesn't want to just hear another band do Brown Eyed Girl. He really doesn't want to hear that list of songs." Ryan states. One of the major differences of the cover scene to the original scene is the length of the sets. Bands would play 3 to 4 sets from fpm to 2am six nights a week. "It's like playing 3 concerts a night. Just the repetition of doing it so many times, the 10,000 hour thing becomes applicable to it. It just becomes so comfortable. The idea of being on stage sometimes is more comfortable than having to be at a dinner party." Todd refers back to this time as the band's Hamburg Years "The best thing we did was having those "Hamburg Years" of just playing all the time like the Beatles went to Hamburg and just played, and played, and played. I've played gigs where the monitors don't work, it's not even a stage, just a corner over there. You still get up there and you play and you do your thing and you learn so when you get yourself into a position where there is a stage, a sound check and there is all the proper things you just can't Fr lose. "Learning songs taught us a certain craft, we didn't know it at the time, about song writing. We learned the basic structure of putting a song together" Todd remembers. "We learned that a lot of those hits, the greatest songs, the arrangement was not cookie cutter. You realize that a Beatles song is not just Verse, chorus, verse, chorus." "I think a lot of musicians skip that part of it and end up in a band writing songs but they don't really know how you can challenge the regular structures and just follow the stream of the song." Ryan owns his own studio and is an active producer in the Toronto area producing acts like Hot, Hot, Heat, K-os and is a founding member of the 16 VandalaMagazine.Com May/June 2017


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- 4111011. Mounties with Hawksley Workman. "The internet gives the illusion that no one needs to do the work". Todd interjects. "We are a blue collar band, we do what needs to be done. Put your hard hat on." In the early 90's the band created a new opportunity for themselves. Ryan tells the story. "With our artist at the time, we drove from Lethbridge, Alberta to Los Angeles, California. I spent my week there going around and I booked two shows, The Whiskey-A-Go-Go and The Roxy. Talked to the local magazines and got a deal to do full page ads by just talking to them face-to-face. We ended up taking money that we made on the prairies and putting that into travelling there, doing ads, making handbills and doing those two shows" "It never led to a record deal in America or anything, but it definitely made us feel like we could do anything." Todd reflects. "It's weird to think about it, in all the years I've been living in the USA now, I often think how different life would be if I decided to relocate to LA [not Vancouver and Toronto]. The good thing we kind of avoided is the idea of becoming one of those nameless bands that were flushed out with the rest of the shit." This was right at the beginning of the Grunge era, when the hard-rocking late 80's and early 90's were now ending. The band stuck to their philosophy of "It's all about the song", started their own record label, which they still have and created the music that they wanted to listen to. Combined with their work ethic they have been able to sustain careers in the music industry. Todd plays and tours with Slash along with a solo acoustic career and the Sin May/June 2017 - VandalaMagazine.Com 17


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City Sinners based out of Las Vegas. Ryan is a producer and the founder of Limblifter and The Mounties. Kurt writes and tours with The New Pornographers and John plays support in bands in the Toronto area. This year marks the 20th anniversary of the bands most famous album "Make a Pest a Pet" and for this first time in years a cross Canada tour. "It was never a good time before for what everybody else was doing. Todd was with Slash for years on the road and couldn't find a big spot to rehearse and do shows. Kurt was in the New Pornographers on album cycles and tours for many years. And for me it was kind of the timing rather than any other times it could be. I am working on so many other things, but it's fun and it's good to go back and revisit the way we do things. It's interesting to see the personality of the band combined by those four people how powerful this is. You just don't realize it. It's like a sports team that can still skate." "It goes back to Vancouver. Todd's parents are near Vancouver, his kids are there. He always comes back and when he does we make sure that we are aligned to get together and do something. It kind of started organically just like a new band would, we just kept on getting back together." "When we first intially started getting back together it wasn't like these are going to be Age of Electric songs, or this is going to be an Age of Electric record. It was just two guys getting together as musciains do, going Plikity, Plinkity, Plink, La, la-la, La, La and then all of a sudden you got a couple of ideas that are like pretty f*cking cool. Then they just build into songs." Todd adds. "That first Calgary show [May 2016] created an energy of it's own and created the momentum to finish the songs and put them out. That sort of stuff starts to filter into reality and you start to think that there is no reason why we can't do this." Todd reflects with "[Looking back] from a career sense we could have been playing Brown Eyed Girl and collecting money, like the other bands of the time, until it ran out. Get the right haircut, the right pair of pants, and just show up. Play from 10-10:45 take a break and so on. This wasn't us right from the get go. We were always the square peg." The hard work ethic and staying true to what you believe is what makes careers that last for over 25 years in an industry as crazy as the music industry. "If this was a [traditional] business we would be the president of the company by now, but that's not how this [music] business works." Follow the Bands Online: www.theageofelectric.com www.toddkerns.com www.mountiesband.com www.limblifter.com www.thenewpornographers.com

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THE DISCO BISCUITS BASSNECTAR • PRETTY LIGHTS LIVE • GM LOTUS • GRAMATIK • ACTION BRONSON • SHPONGLE V"' 12TH PLANET • BEATS ANTIQUE • BREAK SCIENCE • CLASSIXX (DJ SET) DESERT DWELLERS • ELECTRIC BEETHOVEN • EMANCIPATOR ESCORT (LIVE BAND) • THE FLOOZIES • G JONES • GAM WHITE NIGHT GOLDFISH • KASBO • KILL THE NOISE • THE KNOCKS (LIVE) • LOUIS FUTON LOUIS THE CHILD • MANIC FOCUS • NIGHTMARES ON WAX (Di SET) • OPIUO PAPER DIAMOND • PIGEONS PLAYING PING POND • POUYA THE RUSS LIQUID TEST • SLUSH!' • SPACE JESUS • TEAM EZY TOKIMONSTA • TOO MANY ZOOZ • TURKUAZ • TWIDDLE • THE WERKS CLOUDCHORD • CLOZEE • HIGHER LEARNING • JAW GEMS • MADDY O'NEAL MARVEL YEARS • MELVV • PUSHER • ROOTS OF CREATION SOPHISTAFUNK • SUBTRONICS • SWIFT TECHNIQUE • WAX FUTURE WINGTIP • YOOKIE • AND MORE

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Sinner Sinners new record "Optimism Disorder" is exactly what the punk and metal world needs right now. Pure original punk brutality that's bound to shake hard re and metal fans a like to their very musical core with it's deep, harsh-reality induced, lyrically ass kicking themes dealing with anxiety, culture-shock, and escaping from depression by staying focused on your bands future. Sinner Sinners is keeping punk rock alive and "Optimism Disorder" will be remembered as an album that saved the punk genre from damning itself. Sinner Sinners looks to have a lot of Punk Rock influence. Can you define punk rock in your own words? Steve Thill: That's a tough one! Mostly not going mainstream, I guess. Do something alternative. That's what punk rock means, really. That's a little cynic, I know. Which is why pop punk never really made sense to me because it was two opposites. Are you able to get into more detail behind the background of your album title "Optimism Disorder"? Steve Thill: It's mostly weird talking about, but it was a bunch of friends growing up and we all just turned thirty. So that's why in Europe growing up your always expecting more out of life. We kind of eddicated in a way that you think; like a lot of younger people I know still believe today that their going to be millionaires someday. They might but chances are your not. The thing is like it seems that a lot of people hit that age where you kind of supposed to be settled in, but fall into depression because even though their life is actually alright, but they go on the deep end because they were expecting more. It's something that I think is around me so much. But you know it's not that bad. You can always find something worse, I guess. I don't really know how to say it in English, but you know like the grass is always greener on the other side. It is always wanting what other people have. Not realizing what you have. Its a generation problem. Get you that goal, but don't let it ruin your life. That's what I was trying to convey in our press release. That's why we called it Optimism Disorder. That's the short version of it. Did you have any main set goals planned when first recording "Optimism Disorder"? Steve Thill: It's weird. This one really took awhile because usually for our older songs start writing stuff and demoing from home. So I'll start with a bass line or a guitar line and write music like that and record it then keep coming back to it. I guess for some tracks on the record that I've already been f*cking around with it for over a year. Coming back to it thirty times or something to change stuff. We started recording in the spring of 2015, I think. We recorded most of the stuff in LA and then we got a tour offer with Eagles of Death Metal in the Summer. We were set to finish the record in the summer like after August, but the guy that was working with us at the time said, "I won't be available any more" So we replied with, "Never mind we'll finish it when we can" So we stopped. Then we went on tour and then I guess like a month later that's when Eagles of Death Metal were in Paris and that whole tragedy happened. Because we're from there and because those guys are some of our closest friends and we have a lot of friends in Paris, it basically ficcked us up for about six months. We couldn't do shit, really. Barely able to function and work. So the whole recording we didn't really feel like playing music at all. It took us six months to get back into it. Everyone that's close to the music world took a hit on this one. Then after that we had to find someone to finish it, so we talked with 26 VandalaMagazine.Com May/June 2017


one of our friends Michael Patterson that's a producer in Hollywood. He's done a lot of work with Nine Inch Nails, The Notorious B.I.G., he's a pretty big name in LA. He told us that he was going to help us but he's obviously way out of our price range. He hooked us up with Adam Greenspan, who produced Refused. So that was a perfect match cause some of the songs we were trying to add like a Refused light to it. Something a little bit more messy. We went back to Adam during the Summer of 2016 and went to Rancho De La Luna to finish recording some of the tracks with Joshua Tree. Then once we were done recording then Adam jumped in to finish the vocals and did some production work to really help us to where we should take the songs. Which was a pain in the ass because the way we do it all the time is we'll record the music and then whenever we're ready for vocals and we'll do the vocals on top of the music. It's not something we think before hand. The vocals was always kind of a problem for me to write vocals at the same time that I write the music. Because it was so long in-between a lot of the tracks, we already had the tracks for almost a year before we started recording the vocals on it. Then you get to that point where you want to start to tweak everything and you go through like three thousand different ideas in over a year and go "I'm going to do it like that" and then you change it. It was nice to have Adam to have try a bunch of stuff and pick the best one. It was a pretty hard record to make. We've never worked on a record so hard before. If you had to choose one word to describe the difficulty of recording Optimism Disorder, what would it be and why? Steve Thill: Life-Sucking. *Laughs* A lot of sleepless nights and anxiety. Going from France to California must of been a pretty big culture shock. How does it relate to your track "California"? Steve Thill: It's about realizing more about LA. We call it California, but it's really about Hollywood. Coming here the first few times over a year or two and you're still completely stunned by Hollywood and how crazy and rad everything is. I had slot of my friends that were local telling me they never play LA and their reason is it "F*cking Sucks". No it doesn't, it's awesome! But then you start realizing what they meanâ– We've been here for nearly seven years and it feels like the traffic has tripled! How does your track "Last Drop" relate to your own personal life? Steve Thill: It's really about where we're from in France. It's a really small town with very high unemployment. One of those small cities that's kind of dying. There's a lot of alcoholism related issues. It's kinds like we knew if we didn't get the f*ck out at some point that's where we would have been if we had stayed. It's more like an anxiety song. Fear of what could be. Our town was not much. We used to own a clothing store, so that was pretty brutal already. Having your business in a city with a bad enconomy is not really the best choice. But then when we started the band we stopped working. But pretty much everything is closed on Sunday and Monday and there's not much to do.

SINNER SINNERS OPTIMISM DISORDER

May/June 2017 - VandalaMagazine.Com 27


So you have to rely on your imagination for entertainment where you used to live in France? Steve Thill: There's not much entertainment. That's why a lot of people have bands in my home city because there is really nothing else to do. But that's also how we discovered a lot of music and a lot of bands. We don't get a lot of people stopping by there on tour. Pretty much every single show with an electric guitar we were there! We would go to every rock show that was stopping in town. That's the main difference in LA. In LA it's completely oversaturated with bands and that's why it's hard to exist here. Whenever your playing, nearby there are three to four other bands doing the same thing. When we moved here we played in Pomona and it was pretty cool. There's a university there. It's a little bit outside of LA. But we were playing their in a club and we learned that the same night that Lemmy Ki!mister band Head Cat was the guest that night. They were doing a free show next door! So yea that was tough night! *Laughs* Were there any certain life moments that inspired the writing process when you first wrote Optimism Disorder? Steve Thill: It's weird because I've never really thought about writing lyrics before and on the second record it was really more basic themes and just like regular, "Oh it's a punk song let's just do the punk thing" it wasn't really personal I guess. But this one it was as I've said it was huge pain in the ass because I had never really done it properly before. I guess like the album before that I couldn't really speak English that well. It was a little more complicated to start speaking more English and understanding what I'm talking about. When we did our first demo for our record in France nobody really understood the lyrics when saying them. Nobody really gave a f*ck about it. And even me. I was just writing stuff that wasn't really grammatically correct and I didn't have a problem with it. It just sounded English enough to be on the record. Once you start understanding what you say, like there's a lot of those songs I won't even play live anymore because it's so bad. They don't even make sense. This time I wanted to actually be able to say something. It's weird. It took me forever! The producer was like, "Alright. Send some lyrics" "Okay I gotta get to it" and I told him we were to tour Europe last February and I'll be in the band all day, so that's what I'll be doing is writing lyrics. Of course I didn't do shit. I didn't write a single song. Then when we went to Rancho De La Luna where we recorded in the desert, it just clicked! I don't know why. I was just by myself. They like a little house that was lost in the middle of the desert behind the studio and I just went there by myself and started writing one song. After that first one came, it just became like natural. I was good and I just became able to write the rest of the lyrics in a few weeks. But you see I had ideas already, like drafts and I went back to it re-invented the whole thing. Of course when we went into the studio with Adam he would proof check me or something and make sure it was English and actually meant something. There were also some stuff that I was trying to convey, like stuff in France that really don't have a meaning here.So back to the "Last Drop" song, that's what it is. The last drop that makes the vase over-flow is how we say the last draw that broke the camel's back. That's the same expression. I learned that later. "Last Drop" is a double sense in that situation. What do you want to accomplish with Sinner Sinners in the next five years? Steve Thill: I'm going to try to just look at this coming year and pull off as much as we can. That's really where we're having a blast. Our live shows is where it's at! Come see us. www.sinnersinners.com 28 VandalaMagazine.Com - May/June 2017


Citif and C010111* wt David Bazan 9/15 • Pioneertown, CA Pappy & Harriet's 9/16 • Los Angeles, CA @ The Wiltern 9/17 • Anaheim, CA ® House of Blues 9/18 • Santa Ana, CA Observatory 9/20 • San Diego, CA Humphreys 9/22 • San Luis Obispo, CA ® Fremont Theatre 9/23 • San Francisco, CA ® Masonic 9/26 • Portland, OR ® Roseland Theatre 9/28 • Bellingham, WA ® Mount Baker Theatre 9/29 • Spokane, WA Knitting Factory 9/30 • Seattle, WA ® Paramount

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19.04 HONG KONG CHINA - HIDDEN AGENDA

31.03 KIEV UKRAINE - MONTERAY LIVE STAGE

23.04 WELLINGTON NEW ZEALAND - SAN FRAN

01.04 MINSK BELARUS - BRUGGE

24.04 AUCKLAND NEW ZEALAND - KINGS Mows

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27.04 SYDNEY AUSTRALIA - MANNING BAR

04.04 YEKATERINBURG RUSSIA - DOM PECHATI

28.04 MELBOURNE AUSTRALIA - MAX WATT'S

06.04 TOKYO JAPAN - WWW X

29.04 PERTH AUSTRALIA - BADLANDS

07.04 TOKYO JAPAN - 0-NEST

06.05 COPENHAGEN DANEMARK - A COLOSSAL WEEKEND

09.04 NAGOYA JAPAN - RAD SEVEN

07.05 BELFORT FRANCE - IMPETUS FESTIVAL

10.04 OSAKA JAPAN - CONPASS

16.06 DESSEL BELGIUM - GRASPOP METAL MEETING

12.04 CHENGDU CHINA - LITTLE BAR SPACE

17.06 CLISSON FRANCE - HELLFEST

13.04 CHONGQING CHINA - NUTS

07.07 VIVEIRO SPAIN - RESURRECTION FEST

14.04 SHANGHAI CHINA - MAO LivEmousE. 15.04 BEAJENG CHINA - YUGONG YISHAN

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29 SEP JACOBS PAVILION AT NAUTICA

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CLEVELAND. OH

18 SEP SHAW CONFERENCE CENTER EDMONTON, AEI

SEP BURTON CUMMINGS THEATRE WINNIPEG, MB

23 SEP SKYWAY THEATRE MINNEAPOLIS, MN

24 SEP UPTOWN THEATER KANSAS CITY, MO

2 6 E P ORBIT ROOM GRANO RAPIDS, MI

03 OCT NORVA NORFOLK, VA

04 OCT PIER SIX BALTIMORE, MO

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Flogging Molly is twenty years old this year. They burst onto the punk scene in '97 with their now signature mix of traditional Celtic music and punk rock speed and aggression. Along with a select few other notable bands, Hogging Molly was the logical extension of what started with The Pogues back in the 80's, and continues today in a thriving underground paddy punk scene the world over. Molly has a number of classic albums under their belt, but they haven't actually released anything since 2011's Speed of Darkness. Which had, at least to my ears, a decidedly more rock influence a la The Who, than the punk influenced by early Clash or Sex Pistols records. Life Is Good continues on in that Who by way of The Dubliners vein, while still making time for barnstorming tracks like 'The Hand of John 0. Sullivan, and 'Crushed (Hostile Nations) Y. spoke with guitarist Dennis Casey about the new album, the love of the life, and the band's impressive longevity. With six years between albums, it could seem to some like you guys had taken time off, but that wasn't the case was it? You've been touring pretty much constantly since Speed of Darkness came out. Dennis: That's correct; we never went on a break. We had a few internal changes. We changed our business team so to speak, that kind of boring stuff. So that delayed the making and the release of the record. So the break between records wasn't planned? Dennis: No it wasn't planned at all. It was just life. Life circumstances happened. And on a more somber note, my father passed away while we were writing the record and Dave's mother passed away while we were writing the record. I'm sorry to hear that. The new record is optimistic at times and cynical at times in about equal measure. However, the record is called Life Is Good, and the cover art is a young lad flipping us all the bird. So with that, and the losses you've faced within the band, is the title of the record meant to be literal or sarcastic? Dennis: Sarcastic. But it's open for interpretation. But there's definitely some sarcasm involved in it. This may be rhetorical, but what encouraged you guys to record another record in Ireland as opposed to the U.S. or somewhere else? Dena - Well we made our record Float in Ireland. And we had such a great experience; we wanted to do it again. And it was in the same studio, same everything. It's really secluded and you can really focus on what you're doing. Beautiful surroundings. It's really good for the vibe of making a record. Massive studio. What part of Ireland is that in? Dennis? The way I like to explain it is if you took a map of Ireland and put an 1XF on it, right in the middle of the 'X' is where the studio is. Right in the middle of the country. And what does actually being in Ireland and soaking up the culture there give to the band that it might not get in America? 34 VandalaMagazine.Com - May/lune 2017


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Dennis: Well finding a studio is not that easy. We could have worked in a bigger city in America) I guess, but there's a lot of distractions with that. And we were already familiar with the place. And being a seven-piece band, we like to record live when we're making a record. And that's not easy to do in a lot of studios because they don't have the space. Whereas this studio was really quite large and we could all set up and record live and not have anything bleeding into microphones. So I think it was a combination of all that, not necessarily that Dave is Irish and the green hills of Ireland inspired us more or anything like that (laughs). It's interesting that you mention recording live, because the record sounds like a live record. Like one of your shows, without the screaming people in the background. How much of the album was recorded live? Dennis: I would say ninety percent of it. But we had to finish in L.A. because we ran out of time there because of technical issues. If I can paint a picture for you: you're in the middle of Ireland. If you forget a screwdriver, you have to drive two hours to Dublin to get one. There's nothing there. You're surrounded by farms. You can get a quart of milk easier than you can get a screwdriver. I'm not exaggerating when I say it's remote. So that held us up, some of the wiring in the studio wasn't right and we lost a few days. So we finished it in L.A. Particularly a lot of Dave's vocals.

LIFE IS G000Š

You guys are celebrating twenty years together this year. There aren't a lot of bands out there right now that have reached that milestone. What do you attribute to your longevity? Dennis: Well, there are a few things. I mean never forget when we made it to ten years. I thought 'geeze, we made it'. If a band can stay together and continue to do what they do and love what they do after ten years, that sounded great. Now, it's twenty! I mean it's incredible. I think it's the relationship thing, like you said. It's the love of the music, the love of what we do. And we've become like a family. It's basically our second family. Do you guys have anything special planned for your twentieth anniversary? Dennis: Yeah we're going to tour our asses off (laughs). Fair enough. Flogging Molly's long awaited new album, LIFE IS GOOD, is out on June 2nd via Vanguard Records. (ORDER NOW) plus catch them live! Flogging Molly Online www.floggingmolly.com www.facebook.comifloggingmolly www.twitter.com/floggingmolly May/June 2017 - VandalaMagazine.Com 35


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LES COWBOYS FRINGANTS • ROBERT CHARLEBOIS • LES TROIS ACCORDS • LOCO LOCASS GROOVY AARDVARK • BERNARD ADAMS • THE PLANET SMASHERSFacm MONONC' SERGE • KORIASS • DEAD OBIES LES ANTICIPATEURS • LES PISTIRF_TS ROSES • BOB BISSONNMI Er: LUBIK • HOMAGE AU ROCK QUEBECOIS Asir

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Sabaton are one of the best metal war story tellers in the entire history of heavy metal! They could teach a history lesson about war hero's through their music better than someone on the history channel because their lyrics are so well-researched when it comes to lyrical war themes. Sabaton's "The Last Stand" proves the band has enough life to continue as a band in the next thirty years! All of Sweden and Europe should be proud of Sabaton for all the hard work they do as a band on the daily. Define Metal in your own words and how the genre reflects you as your own person? I always wanted to play Heavy Metal. It's affected a lot of my life of course. As some other people call themselves musicians, I call myself a Heavy Metal guy in a Heavy Metal band. I think that speaks for itself. For me it's not about playing music, it's about playing Heavy Metal! That's the thing I wanted most when I was young. What I did at first was I did a few classes in school and they told me I had to learn the basics. I told them I wasn't interested because I would never do that, because I only wanted to play Heavy Metal. It's my life. I don't want to play anything else How did the local bands and favorite musicians you grew up listening to influence you as a musician today? Par: I've met a lot of awesome musicians. I've toured with a lot of them and I've played with a lot of them. All the bands I grew up listening to that is. I've met most people that I've admired when I started to play music. There' s still bands that I admire and there's a couple of them that I don't admire anymore because they aren't the same person anymore. I still love Maiden. As a perfect example I've toured with Iron Maiden a lot of times. The first thing I learned to play was an Iron Maiden tune. I'm still very inspired by them. What they do and how they sound, they're such a great band! Most influential Sweden Metal band for you as a Heavy Metal guy? Par: I would have to say HammerFall because "Glory to the Brave" came out about the time when a lot of Heavy Metal was absolutely dead in Sweden and even I was playing Death Metal, even though I didn't enjoy it because it was the only thing people liked. Then HammerFall came with a lot of melodic heavy metal and I was like, "Wow! If they can do it then I want to do it too!" That's when things changed and that's why it's a very important band/album for me. Why should a fan attend a Sabaton show? Those who've never been lucky to attend one. Par We are great live band! Often around the globe we've been awarded with "Best Live

Show"/"Best Live Act", it shows that a lot of promoters go there and are like, "Whoa! Sabaton! you are really entertaining!" Also fans from all regions come to see our shows. Some bands only pull a certain demographic and a certain age of people, but we have a lot of kids in the crowds and a lot of older people too. Everybody is there to listen to their favorite Sabaton song. In America we are limited to where we are and the pubs we play. In Europe we play a lot more! Also we try to visualize what we sing about in a completely different way. We bring stuff to the stage which relates to our music and its pretty impressive. A lot of pyros! How did your latest record "The Last Stand" challenge you as a musician? Par: Music wise I don't think that it's changed so much. As a fan if you pick up a Sabaton album, it's a Sabaton album. It won't change so much. It's the same when it comes to 40 VandalaMagazine.Com - May/tune 2017


song writing an performing. We are not really trying to evolve that much. We're trying to do great songs in the kind of style that we have. We don't really think about too much that we need to evolve. You guys do a lot history research. Are you able to break down a few of the tracks from "The Last Stand'? Par: "Shiroyama" was one those obvious ones. It was the last stand of the Samurai. It's one of those themes that popped into our heads and we really didn't need to think about it so much, just research. It's just something that came natural. It was a simple choice for us to do that. For me the most interesting one to write and to make was the song about the Winged Hussars about the Battle of Vienna, because before I wrote it, I watched a lot of documentaries about it and it was so inspiring, especially the Winged Hussars, because they made the most impressive charge of human history in all times! The entire battle is also reflected like how much for example, )RR Tolkien must have found inspiration when he wrote the Lord of the Rings. It's exactly that same battle! So for me that was exciting and the most exciting to write and to read about. "Hill 3234" was one of the later ones we decided to add to the album. Pretty much the second to last song we wrote. We were looking for something that was little bit more modern than the other stuff. We found it there in the Soviet Afghan War. Maybe it's too current, but then we thought on the other hand that pretty much what happened there has become history and changed the Country into something else. It has become history, it's not political anymore. Which war movie inspired you the most as a musician? "Band of Brothers. It's not really a movie, but it's a TV series. That one was very inspiring. But "Saving Private Ryan" was the one that inspired the whole Sabaton thing. When we were watching it and we were trying to find inspiration of what to write about and we found it inside that movie. We thought, This is more exciting and inspiring than to write our previous lyrics, so we should continue this down the road!" and that's what we did!" Now we've been continuing this path for seven albums about war history. It doesn't seem like we're going to stop! When you have Soldiers that approach you in real life to tell you that you've impacted their lives for the better, how do you react to that situation? I always get inspired always when we inspire somebody. We show appreciation in mostly in a way that I could not do by myself. That is the most inspiring to me. I don't care if there is fifty or only five thousand people in the crowd, I'm only interested in one person and that is one person that is doing something that I myself could not or would not do to see a show. What it took for them to get there I'm inspired by it. This is what drives me when I do the show. Usually I try to figure out if there is somebody in the crowd who has done something kind of extraordinary to be at the show and that is the one person I think about when I get up on stage. I feel proud to be on stage when I May/June 2017 - VandalaMagazine.Com 41


find out a person went to such an extraordinary length to be at a Sabaton show! What would you say is your greatest accomplishment thus far in your career with Sabaton? Par: There are plenty of those. I don't know what they would be called in terms of greatest accomplishment. I have found a way and I'm very proud that everybody in the band can live solely as musicians and don't need to bother about anything else! Ever since we reached that point its now my main goal to have it remain like this. We never really need to think about something else. When it comes to a show I've already done the biggest show of my life. When I started Sabaton it was seventeen years earlier and it was the same year as the Sweden Rock Festival and I was there the first year it was formed with a demo of Sabaton. I messaged one of the organizers and I said, "One day I will headline the main stage!" and he said, "There's no chance you will." and since that seventeen years when a lot of people said, "You can't do this or you can't do that" and when it turned fifteen we were the biggest main headliner at the festival in Sweden! So I kind of reached the most, for me, the most impressive show I've done and emotionally the one I wanted to do most. It's not the biggest crowd wise. We've played for a half a million people, but the Swedish Rock Festival was the most emotional. But I would say that I have a lot more to accomplish in the future and our plan is to work hard so we can maintain this great life we have forever!

Sabatonrs Open Air is August 16th to 19th in Falun, Sweden which will be one amazing event. Until then they will be performing at many different festivals and events; details www.sabaton.netitour. Plus their latest release "The last Stand ," Is out NOW be sure to grab a copy today, Sabaton Online: www.sabaton.net www.facebook.comisabaton www.twitter.com/sabaton www.instagram.com/sabatonofficial www.youtube.com/Sabaton

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For over twenty years Twiztid have brought forth the best lyrically written horror hip-hop to date and their latest LP "The Continous Evilution of Life's Ps" further proves Twiztid are lyrical tyrants that run the underground music scene to the fullest! Recently Twiztid just announced their very on pop culture convention "Astronomicon" that will take place net winter in Sterling Heights, Michigan, February, 9th-11th. Guests already announced include, wrestling star Mick Foley and even horror icons, Sid Haig and Kaine Hodder! Don't miss Twiztid's current Pyschomania Tour coming to a city near you! If Jamie Madrox "The Multiple Man" from Marvel Comics approached you with the Cosmic Cube in his hands, what super power would you wish for? Jamie Madrox: I'm a firm believer in not wasting a good God damn wish! Let's see. How bout regeneration power?! Nothing trumps regeneration power. No matter what a motherfucker could do to you, you could just re-generate. They want to cut your head off/arm off. Whoop! You just grow another one back like Jeeper Creepers, motherf*cker! That Jeepers Creepers motherf*cker scares me! I'm just saying. I'm throwing that out there. I was just watching Jeeper Creeprs 2 again last night and when the motherf*cker loses his head, he just grows another one back. I think that is where I'm gravitating to on this need for this re-generation power. That's what I'm calling it. Yes! Which classic horror movie Monster from the Universal era best represents your personality and why? Jamie Madrox: I'm never a good person with just one answer, so I would say two answers. One would be Frankenstein because normally I'm like Frankenstein a lot where when I'm dumb and I'm just stomping around like,"IJUIJUIJUIJUIJUGGGGGGGHHHHHH" and throwing shit around and I'm very like that. But in other times I'm very cool and very, very, creepy dark like Dracula. If I"m going to go old school, but then again I like to swim like the f*cking Gill Man, so I could be the Creature from the Black Lagoon. Why are you making me just choose one?! *Laughs* I pick all three. How about I'm just a cool charismatic motherf*cker that likes to smash shit and swim! What does the hip-hop culture need right now to be kept alive? Jamie Madrox: I don't even know if it's just the hip-hop culture. I think it's any culture for that fact. It's with anything! It's even with the God damn comic book stores and the record stores. We need people to support! That's what it is. Doesn't matter if it's hip-hop, if it's the heavy metal scene, no matter what it is, if you really like something go out there and support it! I don't care if it's a horror movie, go out there and support horror movies! The more that you support whatever it is that you like/that scene, the more that scene will flourish and obviously make more. So if you like horror movies and you never go to the movie theater to see em when they come out, don't cry like a baby bitch when they don't make them no more, because clearly the demographic isn't there. "Nobody cares about them, so we're done making them". But you see if you go out and represent, the more people are going to do it Hopefully the shows will get bigger in regards to the hip-hop scene. But whatever it is, the more you invest into it, it should give back. That's my thoughts. In reference towards Record Store Day) 48 VandalaMagazine.Com -May/lone 2017


By the way, don't forget, go out there and pick up the new 7 INCH picture disc from us and Blaze Ya Dead Homie! That's how we roll, man! We want to get people to give back to the Mom and Pop record stores and let's not forget that. I think that so much of 2017 and beyond is about this futuristic shit, like you can have an android deliver your shit to your front door, but let's not forget about being human being and going out and that touch. Go pick up that new CD and flip through those linear notes. You can't do that with a digital download! Keep it real! There's something about that smell of popcorn in the lobby and when you can hear someone talking during the movie and you're like, "Shut up!" that makes it official that you are investing in this project that is going to come out. And if it's a shitty movie, then you earned the right to talk shit about it because you sat through it for two hours. That's how I believe. How does Twiztid want to accomplish leaving their own mark inside the hip-hop history books? Jamie Madrox: I think we kinda have or imply to where we want to stand as always being innovative. We're not the kind of people that rest on our morals. We're the kinda people that like to invest in ourselves. We always try to up our skill sets. So no matter where we were at mentally before, we wanna be better than that. Sometime we set goals for ourselves that are just inhumanly possible. But that's the guys that we are. So maybe we will be; I don't know if it will necessarily say remembered as, but maybe our nigh in the history book will be, "These were two crazy kids that came from the ghetto and made good and they were all about theatrics" A million people can't be wrong. Obviously we're talented, but its not about blowing your own horn though. I don't know. That's a hard question because I'm not that guy to sit there and jock myself like, "Oh cause we're the freshest!" I f*cking hate when people do that! So yea, I don't know? That's what I would think. We've released a lot of records, man! It's been twenty something years we've been doing this shit. We've been blessed to do this shit for twenty plus years. Our legacy in music; maybe that's how we'll be in that hip-hop book, motherf*cker! Twenty years we're still killin it! How bout that?! The Psychomania Tour is almost here! How did Twiztid go about choosing who they wanted as opening support? It's super dope you have Body Bag Syndikate on the tour! Jamie Madrox: A lot of times when we come to bring a show around the nation, we like to bring different artists, so it's a different package. A lot of the people that come to attend the shows really appreciate that because a lot of times; this being their underground outlet, this is where they find us! It's like the mecca for them to find out about a lot of these new bands and seeing a band perform on stage sometimes is a selling point for people. They're like, "I've only heard of so and so, but after seeing them rock it like that man, I'm going to pick up that record!" So I think it's a win-win situation. We get a great package and those other people get a great opportunity to further their career. That kind of shit is great! As far as our own artists, we're bringing them a long for the Psychomania Tour as well because we got so much talent at Majik Ninja Entertainment that it's a possibility that this may be one of the f*cking dopest runs and it's still not everybody! This is just a good collaboration of people. It's going to be a hot show, man! It really is! Which city are you looking forward to the most on tour? Jamie Madrox: I can't do that! You know I can't do that. Those cities are like my children. Don't make me pick one, Chad. God Damn it. *Laughs* I'm going to say all of them. I'm gonna be greedy, you know I can't pick one. Its all of them motherf*ckers! May/June 2017 - VandalaMagazine.Com 49


Real talk, seriously, its like anyone who would take the time to come see me and my brother and stand in line or stand out there in the crowd and represent and scream and be that charismatic energy because we precipitate. You give us the energy, we give it back to you! So anyone who would take that and do that for us, how can I not say you are my favorite city?! Anyone, everywhere! So they're all my favorite people/all my favorite cities. I have to say that! Your relationship with Davey Suicide is obviously pretty tight. How did you guys come across each-other and what inspired your verse on the track "Too Many Freaks"? Jamie Madrox: First things first. Davey and I had been talking with our manager and had played some shows and somehow (I don't know the linguistics behind all of it), but he was scheduled to be on a show that we were on and I started chatting with him on twitter. I'm like, "Hey what's up brother! We're gonna rock a show together. This is awesome! A couple painted freaks get to get down!" just being cool. Low and behold Davey hit me back on Twitter and we started talking a little bit and just came to find out they're really cool people! They're a lot like us. Really chilled and laid back. They're about their music! It's a different type of music but they're just as passionate about their music as we are about ours. That same type of commodity made us click. As far as what inspired the verse; obliviously yea we're all a bunch a freaks walking around, so you know that there's so many freaks and not enough circuses, that we need to start filling more circuses and just accept running around freaks in the streets. It's a great song! What's the true meaning behind the album title for your latest LP "The Continuous Evilution of Life's ?'s? Is it about your own personal lives or what's going on with the world today? Jamie Madrox: It's a little bit of both and none at the same time. Essentially what it is, is me and my brother sat down and we thought about it. The undertone scene of the record is that you're not a piece of shit/a fat ass/a skinny, whatever/a racist exploitive, whatever/you're not this name/you're not that name. We don't know what we are! We've been called so many things. We've been called Juggalos, we've been called maggots, hip-hoppers, punk rockers, you name it! We're not all those things. What we are is we're question marks because we're not sure what we are. We know we're better than that slanderous shit the world has been calling us. So we are the questions marks! That record is the continuous evolution of us as we evolve and take another form in 2017! Which was us basically telling you a little bit more of us. There's a lot of us in that record. A lot of our life situations/emotions, so it's legitimate like an evolution of us as artists as we've grown, not even just as artists, as people on a never ending quest of who we are and what we're apart of. So many questions in life, man. Is there a God, is it a girl or is it a guy?! Do you believe in itido you believe in the devil? Are we all gonna go to hell when we die or are we gonna go to Heaven? Does that shit even exist? We can 50 VandalaMagazine.Com - May/June 2017


go for days to all the parts of the question marks and life's questions that we deal with and if I'm not mistaken most of those topic are greatly talked about on that record. How does this record showcase your musical growth as an artist through out the years? Jamie Madrox: Because of the diversity on it, first and foremost. That's my first answer to that because there are songs on there that may go against a certain template that we've set up for ourselves. Like for example *starts singing "I Got These Feelings"* that's not a wicked song. That's just Jamie and Paul wanted to do this f*cking song because Paul did the beat and Jamie loved dancing to that motherf*cker and it make us feel good! So we did that song. It was kinda like musically we found confidence. Not that we haven't already had that, but I think we just kinda segewayed into our musical confidence enough to where we feel confident enough to know that what we do is good and if we enjoy it (and I'm being presumptuous when i say this) I like to assume that those who enjoy what we do, will enjoy it as well. So I think that's where I am. At least for me. I'm not speaking for Monoxide as well. We both grown talented/we both have always tried to be bold and become better at what we do, but I honestly think that for me it's just a level of confidence to know now that as you're coming up in the game where you're trying to establish a fan base or a following or whatever you want to call it these days, your always questioning you know, "Was that right? That probably wasn't a good look?! Or maybe this will be better?" But to always have that confidence about you to be like, "This is amazing! This makes me smile! This is gonna be great!" and not question, it just is what it is. I think that's what I want to say where I've come to it. So yea that's my evolution! What was the most challenging moment vocally when recording Life's ?Fs? What song was the most harsh on your vocal cords? Jamie Madrox This is going to sound completely corny/f*cking weird and cheesy, but it's real and I don't give f*ck. The song that to me was the most scary vocally, which was a song that didn't make the record. It was an outtake and it's a cover of "Come As You Are" by Nirvana. It didn't make the record and we are planning on releasing it later on as like maybe a B-Side on another single, if we we do another picture disc vinyl or something like that. But never the less, doing it because I'm such a big fan of Nirvana. I love Kurt and trying to do it justice, man! Trying to do it justice and It was trippy. That was probably the one and aside from that I'm sure there were other points where we left the studio and needed a bag of halls and couple shots of whiskey, but that one was the most stressful for me because I was like, "Oh god! I need to do the lyrics! I know the words, but what if I learned them wrong?!" you know, just dumb shit like that. You don't want Kurt Cobain rolling around in his grave like, "What kind of shit bag tortured my song?! You dick!" *Laughs* It was a great time and it was totally fun. Any behind the scene details you'd like to share when filming the video for "Kill Somebody"? Jamie Madrox: What we did is we released these like behind the scenes of us both getting painted up. There is a separate one of mine and a separate one of Paul's. It was nine hours for each of us to get painted. So eighteen hours for that! Kay Pike is so f*cking talented and everything she did was meant to be! It's Absolutely amazing! I wouldn't change it for the world! How soon until the next Twiztid video drops? Jamie Madrox: I think it's *starts singing the hook for "Are You Insane Like Me?"* or "I

Got These Feelings". They're both on the fence. We have a lot of video projects that May/June 2017 - VandalaMagazine.Com 51


are going on right now but there is another video in the works! It's top secret. It's fresh that you are networking with Mizter 8 Legz for your own musical art! Thanks for looking out. Jamie Madrox: That motherf*cker is so talented, bro. That guy is so dope! I've been following him for awhile just as a spectator on instagram and all that other shit, man. He does those middle fingers with the ultimate warrior faces. Dude's got some crazy awesome imagination and as always I can't say how awesome it is to have him be part of the team and help us on some of our projects. So f*ck yea, man! Dude is a really good dude! When we say it's a family business brother, we mean that! Why should Juggalos not choose between ICP and Twiztid and just simply listen to the music and enjoy both for what it is? Jamie Madrox: Because that's what this is all about and that's what its always been about, is about enjoying the music. Put it this way. There's Baskin Robbins with thirty one different flavors and you go in there and there's all these things to try. Why would you not try them all? I'm not saying you can't have your favorites. I know I go in there and I have me some pistachio ice cream and I love me some peanut butter. That don't mean that I hate everything else. It seems almost, I'm trying to think of another word aside from just hating, I don't know another word other than hating, but we're firm believers that what we do, we do well, I'm not worried. We will continue to school what we do hands down! So I know for a fact as far as people who enjoy or follow our work, you guys will be happy. As far as everyone else that is not with us/our company, they're not going to stop doing their music either, so that just means more music for you the listener. There is no reason to pick a side in anything. I think that's idiot asinine shit to me, but that's my personal opinion because I guess it's my opinion and I'm entitled to it. What do you want to accomplish with Majik Ninja Entertainment in the next 10 years? Jamie Madrox We want to be the number one underground independent record label in the world. I believe that we have the roster to do that. The guys that we have are extremely talented. Any one of them! They all bring something special and amazing to the table that makes them their own masterpiece! Every time that we show them to people, just the look on their faces and the excitement of the response from them let's me believe that we're doing the right thing and it is a very foreseeable want! TICKETS ARE STILL AVAILABLE For Twiztid's upcoming summer shows! Follow them online via www.twiztid.com www.facebook.com/Twiztid www.twitter.cornitweetmesohard www.instagram.comiofficialtwiztid www.youtube.com/officialtwiztid

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Jean Michel Janie Plays First Concert at the Microsoft Theater In LA Article and Photos by L. Paul Mann Jean Michel Jarre, a French pioneer in electronic music and a true living legend in the world of pop music, gave his first live performance in Los Angeles as part of his first tour of the United States ever, at the Microsoft Theater, Saturday, May 27. Jarre is famous worldwide for his live performances and has drawn the largest crowd ever for a live performance, with an estimated three and a half million in attendance at a Moscow concert. His performances are usually unique events taking place at historical sites, involving massive multimedia synchronizations to the music, including fireworks and state of the art lighting. His outdoor live events across the world usually draw crowds in excess of one million people. His two latest outdoor spectacles included a concert near the ancient fortress of Masada in Israel, as a benefit to help preserve the Dead Sea. He also performed a concert for the opening of the Jubilee year at the Monasterio de Santo Toribio de Liebana, in Spain. Jarre had only played once before during his 50-year career in the United States as part of the celebration of the 150th anniversary of Texas, and the 25th anniversary of NASA, in 1986. The one and only indoor mini tour of a few select cities in the US made its way to the Microsoft Theater in the massive LA Live complex which also includes the larger Staples Center. The May 27 show featured a two hour set of 24 tracks synchronized to one of the most sophisticated light, laser and multimedia show ever imagined. Outside the venue, music fans lingered in the Memorial Day weekend sunshine comparing stories regarding their idol the elusive Jarre. It was evident from the many accents and languages in the cacophony of conversations that the French musical genius has a worldwide following. The concert, coming on the heels of the Manchester bombing also showed signs of a new normal in an apprehensive atmosphere. The main entrance to LA Live was blocked off with traffic being rerouted to the back. I addition to an increased security presence, bomb-sniffing dogs could be seen patrolling the area. But none of this deterred from the excitement of the unique live event. After an opening 30 minute set by an electronica DJ, the crowd settled in for the spectacle. Inexplicably, there were more than few empty seats in the house, but that did not stop Jarre from presenting a spectacular show. Flanked by two talented musicians, each playing drums, and keyboards, Jare appeared on a platform in front of a myriad of keyboards. Multiple layers of LED light walls began morphing around him creating a multidimensional vision of lights and graphics. Huge lights and myriad colored lasers were also incorporated in the show; all carefully choreographed to the music. The result was a spectacular display that even EDM artist Deadmau5, famous for his live presentations, would acknowledge unprecedented in its unique brilliance. In fact, the giant EDM music festivals, so reliant on massive visual presentations today, owe their evolution directly to Jaffe's original live performance vision. Jarre became known to the pop music world back in 1976 with his breakthrough electronica album, Oxygene. He was a pioneer of the genre along with Giorgio Moroder from Italy and Kraftwerk and Tangerine Dream in Germany. But what made Jarre unique among his peers was his vision of live performances with gigantic state of the art multimedia displays unmatched in the concert world. At the show May 27, Jarre showcased new music from his two-part LP Electronica and most recent release Oxygene, alongside classic material from breakthrough albums such as Oxygene and Equinoxe. One of the many collaborators on the Electronica album, local Los Angeles transplant, Gary Numan, could be seen beaming in the audience. The 56 VandalaMagazine.Com May/June 2017


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May/June 2017 - VandalaMagazine.Com 59


Jimmy Eat World Indulges Crowd Article by Alexandra Moher Photos by Claire Bourgeois American alternative rock veterans Jimmy Eat World returned to Calgary for a night of early 2000's nostalgia in support of their 2016 album, Integrity Blues. The Arizona natives played to a sold-out crowd at the Palace Theatre on Friday, April 28 with support from punk rock band Beach Slang. Beach Slang was quick to dive into their duties as the opening band, performing an alcohol-infused set of fast paced punk rock songs. Frontman James Alex came dressed to impress, sporting a velvet blazer and bowtie, leading the band like some sort of rock and roll maestro. The Philadelphia punk band indulged the crowd with a number of 90's cover songs, including covers of Oasis' "Wonderwall", Pixies' "Where is my Mind", and an impromptu cover of Lit's "My Own Worst Enemy" after a crowd member purchased Alex a shot of Jameson Irish Whiskey. Jimmy Eat World delivered a calculated 20-song set that combined new material and sing-along worthy hits from their decade-spanning musical catalog. The band kicked off their set with Integrity Blues opener "You With Me", before launching into the grittier "Bleed America", the title track from their pivotal 2001 album. Bleed America dominated the evening with Jimmy Eat World playing seven songs from the record. Jimmy Eat World was best able to demonstrate their musical chops while delving into the heavier side of their discography. During the explosive finale to their 2016 track "Pass the Baby" the bolder side of Jimmy Eat World was most evident with thrashing drums and fast-paced guitar riffs complimented by high contrast blue and red lighting. Midway through the set, frontman Jim Adkins declared the Palace Theatre crowd to be the "rowdiest" he'd experienced on the road thus far - and the Calgary crowd lived up to the title. Crowd surfing proved to be a popular undertaking with a constant stream of concertgoers floating over the heads of those occupying the floor and the mush pit managed to hold on to life through even the most temperate of songs. A double-hit of 2000ffs nostalgia ensued as the band ended their set with "Work" followed immediately by "Pain", both off of the 2004 album Futures. Jimmy Eat World returned for the encore, armed with a trifecta of hits beginning with the song that would largely define the band's career and soundtrack pubescence for a generation - "The Middle". Integrity Blues lead single "Sure and Certain" followed by 2002's "Sweetness" would round out the set with the band leaving the capacity crowd utterly beaming. The band performed with the ease of a veteran rock band, wearing their twenty plus years of experience on their sleeve. Not ones for flamboyancy, Jimmy Eat World have never strayed away from their signature sound they are true rock and roll traditionalists. (Photos on the next page). www.ji mmyeatworld.com www.facebook.comijimmyeatworld www.beachslang.com 60 VandalaMagazine.Com - May/lune 2017


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Let's All Hang Out - Weezerf The Trews and The Flatliners Article by Dustin Griffin Photo Credit Crystal Lee Penticton's South Okanagan Events Centre was host to Weezer on April 8th. It was Weezer's first time in the Okanagan and they, along with openers The Trews and The Flatliners, put on an energetic show to a loud house. â–şeezer have been radio darlings ever since their self-titled debut 'the blue album', landed with a catchy thud on the back singles like 'Buddy Holly', 'Undone - The Sweater Song' and `Say It Ain't So'. After being critically and commercially lambasted with the release of their dark and heavy follow-up Pinkerton, which has become a cult classic in recent years, they disappeared. Five years later they reemerged with their 'Green Album', again on the back of smash hit singles like 'Hash Pipe' and 'Island In The Sun'. Since then their output has been consistent, sometimes ambitiously so, and their success as one of America's favorite rock bands has never wavered. Punk rock act The Flatliners kicked things off in Penticton with a lively set encompassing their catalog. I've seen The Flatliners a number of times, for the most part in much smaller venues, and they never fail to impress. As a band, they've more or less been on tour their entire adult lives (and a good portion their teenage ones as well) and it shows. They're a well oiled machine. Speaking of well oiled machines, Nova Scotia's The Trews were the perfect act to bridge The Flatliners heavier sound with Weezer's pop sheen. The Trews have been a Canadian favorite for twenty years now and while I'm not overly familiar with their back catalogue, I realized as their setlist drove on that I recognized more songs than not. Grow up in the 90's listening to Canadian radio and you're guaranteed to absorb a healthy amount of The Trews over the years. The Trews are a great live band and hugely talented performers. They love their fans, evidenced as much in how they play as in the vast amount of charity work they contribute to, not least of all for Canada's veterans. The crowd was receptive and enthusiastic and primed for the main attraction. Before Penticton, the only other time I saw Weezer live was at a festival in Edmonton. They were good, but it was a festival and a festival is a crappy way to see a band. So it was nice to see them doing their thing in their own element. They kicked things off well with 'Hash Pipe', 'My Name is Jonas' and 'Pork and Beans'. And that's pretty much the way the night went. Weezer went through their list of hits and checked them off, one box after another, leaving no hit behind. If you came that night to see some lesser known tracks or a favourite b-side, you were disappointed. But let's be honest, most people don't go to a Weezer show to see 'The World Has Turned And Left Me', ‘Getchoo', `Susanne' or 'Berndt Jamb'. I do, most people don't though. They come for the hits. A highlight of this particular show was the five song medley midway through the show which started with the infectious 'Dope Nose' and ended with the achingly nostalgic summer slammer 'Surf Wax America'. After that, they pounded through a few more songs, then pretend to leave, as band's do, before a two song encore of 'El Scorcho' and, of course, 'Buddy Holly'. It was a fun set. I will gripe about its length though. They only played fifteen songs, which took about an hour to hammer through. An hour. That's a pretty sad length for a headlining act at their own concert. Again though, if you came to SOEC to see Weezer play the hits, you got them, and you left feeling satisfied. 66 VandalaMagazine.Com May/June 2017


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Beale Street Music Festival in Memphis Celebrates the 40th Anniversary Article and Photos by L. Paul Mann One of the oldest music festivals in the United States opened the month-long celebration known as Memphis in May, the first weekend of the month, May 5 to 7. The Beale Street Music Festival has roots dating back to the 1800's, when African American musicians from across the South would descend on Memphis to perform. The festival takes place in Tom Lee Park, situated on the edge of the mighty Mississippi river. Memphis has historically been a cultural hub of American civilization due to the proximity of the important waterway. The city also sits at the apex of three converging states, Tennessee, Arkansas, and Mississippi. Outlying areas in all three states offer safe and affordable vacation accommodations for visiting tourists. Tunica Mississippi, about 40 minutes from the park is one nice outlying vacation hub from which to explore Memphis. Located to the south of the city there is very light traffic in the direction of Tunica. The rural Mississippi town has a fascinating history. An actual cotton picking region, it was designated as one of the poorest communities in the country until a series of gambling casinos were approved for the area in the 1990's. The casinos created an advanced road system and odd one-off Las Vegas like resorts sprouted up across the flat delta cotton fields. Numerous hotel chains moved in offering discount accommodations to bring people to the region. Tunica is also one of the small rural towns that were the birthplace of American blues music. James Cotton called Tunica home. Some of the best barbecue and local cuisine can be found at the Hollywood Cafe in Tunica. The restaurant has a long, storied past intertwined with the history of blues music. According to the restaurant's website, "The Hollywood Café, both at this site and its original location in Hollywood, Mississippi, earned fame as a Delta dining institution but has also shared in the area's musical history. Pianist Muriel Wilkins performed here for years, and she and the Hollywood were immortalized in the Marc Cohn hit song "Walking in Memphis." Legendary bluesman Son House also performed at this site when the building housed the commissary of the Frank Harbert plantation, where House once resided. The Hollywood Café had neither live music nor a kitchen when Bard e!den opened the business as a bar in the summer of 1969. But over the years the café began to offer dinnertime music as the menu expanded to steak, catfish, and the Hollywood's signature dish, fried dill pickles (a specialty of Bard's brother Tait Belden ). Muriel Wilkins (1923-1990), an African American schoolteacher from Helena, Arkansas, entertained customers with a wide repertoire ranging from standards to spirituals both at the original Hollywood, seven miles south of Robinsonville just off Highway 61, and at its new location here. After singer-songwriter Marc Cohn joined her in singing "Amazing Grace" and other spirituals here one night in 1985, he wrote about the inspirational experience in "Walking in Memphis," which became the hit track from his 1991 debut album. In June of 1973 BBC television used the Hollywood as the setting for blues performances on its program "The Friendly Invasion." The BBC filmed a trio from the Clarksdale area, with Robert "Bilbo" Walker (billed at the time as "Chuck Berry Jr."), Big Jack Johnson, and Sam Carr, and a Memphis group led by Joe Willie Wilkins with Houston Stackhouse, Sonny "Harmonica" Blakes, Melvin Lee, and Homer Jackson. Bob Hall, who purchased the Hollywood from Selden, brought in Muriel Wilkins and also offered music by the Turnrow Cowboys. After the Hollywood was destroyed in a fire on August 27, 1983, the Owen family bought the business from Hall and reopened the Hollywood in Robinsonville. John Almond and Michael Young acquired the Hollywood in 2006. Both Hollywood buildings had originally been plantation commissaries. The first Hollywood was on the Tate Place and had also once been used as an antique store. Delta blues icon Son House was living on the Tate Place at the time of the 1940 census, and also once resided on the Harbert Place. Robinsonville resident Phoebie Taylor recalled that the 76 VandalaMagazine.Com May/June 2017


Hollywood Café in 1984. House often played together with guitarist Willie Brown, his closest musical associate, and the local blues circle also included Robert Johnson, Howlin° Wolf, Fiddlin' Joe Martin, Leroy Williams, Woodrow Adams, Willie Coffee, and Sol Henderson. Wolf sometimes played at his aunt Lula Prince's house on the Harbert plantation, according to Taylor. Nolan Struck, a Louisiana-born blues and soul singer, moved to Robinsonville in more recent years. Another blues event of note at the Hollywood was attended by B.B. King and Governor Haley Barbour on November 9, 2007, when AT&T presented a $500,000 donation to the B.B. King Museum and Delta Interpretive Center. Jackson guitarist Jesse Robinson and the young Tupelo blues band Homemade Jamz performed at the ceremony". A storm blew into the southeast Wednesday night before the festival threatening to delay the event. High winds, hail and freezing rain swept across the region along with unseasonably cold temperatures. After a horrible day► of weather Thursday that caused extensive flooding just across the Mississippi from Tunica and Memphis in Arkansas, the weather finally cleared Friday morning.

Day One By the time the gates opened at the Tom Lee Park at 5 pm, the sun was beaming although it was still chilly and windy. The music Friday began on time at 6 pm. The Beale Street music festival is one of the most eclectic pop music festivals in America and also one of the most affordable. With advance tickets starting at less than $50 a day, the festival is worth the price of admission to see any single act, all of which are afforded full set times by the way. There are none of the 30 minute ADD sets that plague many of the biggest festivals in the country. The festival features three main outdoor stages and a blues tent with chairs. There is also a smaller showcase stage for legendary regional blues performers. •

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The River stage opened the festival fittingly, with a set by Memphis jam band, Freeworld. The eight-piece group merged jazz, funk, and rock into a great sound that motivated the first arrivals at the festival. The stage went on to feature a set by festival veterans, Charles Bradley, and His Extraordinaires. Bradley began as a James Brown impersonator but has come into his own as a bonafide funk master vocalist and performer. His band is a powerhouse of funk rock music. As night fell, the stage changed genres, offering up a blistering set of genuine Bluegrass music, by the Kalamazoo five piece group Greensky Bluegrass. The River stage ended the night with the jam rock regional favorites, Widespread Panic. For many in the large crowd that gathered to hear their extended two plus hour set, they are the consummate Southern rock band, heir apparent to the Allman Brothers legacy. The Blues tent featured three regional blues bands that brought that lit up the house with some phenomenal guitar picking. Classic rock vocalist Peter Wolf, from J. Geils Band fame, closed the tent with a rock laden set. The second largest Bud Light stage featured bands catering to a younger crowd, with highlights including set by Grouplove and MGMT. For many young concert goers, the Indie rockers Grouplove were the highlight of the evening with their infectious vocals by singer-keyboardist Hannah Hooper and singer-guitarist Christian Zucconi. The band met in 2009, on the island of Crete, at the Ikarus artist commune in the village of Avdou. The five piece band also features drummer Ryan Rabin, son of veteran rock drummer Trevor Rabin of Yes fame. Trevor was just inducted into the Rock and Roll Hall of Fame with Yes and Ryan seems to have inherited much of his talent. American psychedelic Indie darlings MGMT closed the stage with a well-received set. The band came to prominence with their modern rock anthem "Kids." The largest Fedex stage featured mostly Indie rock bands throughout the night. New York post-punk rockers Taking Back Sunday opened the stage with a spirited set that had the crowd moshing early on. Canadian skate punk rock veterans Sum 41 played a furious set next. The band has headlined Vans Warped tour and played countless festivals for more than 20 years now and always inspires the crowd to move to their music. The next band to take the stage was the Arizona group Jimmy Eat World, who has been around even longer than Sum 41, having formed back in 1993. Their crisp pop-rock sound proved to be another crowd pleaser. By the time they need their set a huge crowd had gathered at the FedEx stage, with many festival-goers arriving late. The final act on the FedEx stage was a triumphant finale by Hip Hop legend and American icon Snoop Dogg. Along with a crack band, backup singers and dancer, and even a dancer in a dog costume, the hit-making rapper wowed the crowd with his popular music. It was a fitting end to a fantastic night of diverse music.

Day Two Day 2 of the Beale Street music festival began on a beautiful sun-drenched afternoon with the mighty wind of the days before subsiding. Just after 2 PM, early concert-goers were treated to the first set of the day in the Blues tent by the Daddy Mack Blues Band. The Memphis blues veterans are led by singer-guitarist Daddy Mack Orr, who has been compared to Albert King in sound and style. The band is a fixture on Beale Street and an authentic taste of local blues music. The Blues Tent features its own full-service bar and an IPA beer, and a shot of premium whiskey could be purchased for about the price of a ballpark Budweiser. The tent opens onto the bank of the Mississippi river, and some concertgoers choose to lounge in the sun on the grassy bank. The shelter offers up an impressive view of the shipping traffic along the river and the spectacular bridges connecting the city to Arkansas across the waterway. Next on the Blues tent stage to play was another Memphis treasure, Blind Mississippi Morris, who sings and plays a smoking harmonica. 78 VandalaMagazine.Com - May/lune 2017


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He was followed by an extraordinary set by Carlos Elliot Jr. and his band. The singer-guitarist who describes his sound as Columbian Hills Blues music has much in common with Carlos Santana in guitar style, but with a Columbian roots music twist. While the band jammed, the animated Elliot would frequently jump into the audience and spend around the crowd even playing on his back. The set sent much of the crowd into a dance frenzy. Virginia-based Corey Harris and his band took over the stage next with an intense blues sound mixed with tinges of Reggae music. Chicago blues prodigy Ronnie Baker Brooks played next. Ronnie is the son of the legendary musician Lonnie Brooks who just passed away a month before the festival. Ronnie showcased his singing and guitar talent and brought out some special guests who appeared on his new album. These included Memphis rapper Al Kapone and rocker Big Head Todd. The awesome set featured Brooks playing his guitar all throughout the tent. The schedule Saturday featured 26 performances crammed into the five stages, so music fans had to choose which performances to watch, as many of them were conducted simultaneously. The River stage opened with Memphis rockers Dead Soldiers. Their clean southern rock sounds have been compared to rock greats, The Band. In a nod to into de Mayo which was the day before, the next band to play the stage appeared in Mexican ponchos and Sombreros with a bottle of Tequila. The Cape Cod Indie rockers Highly Suspect, played an irreverent and totally fun set jumping into the crowd and crowd surf with abandon. The Los Angeles rockers Silversun Pickups took over the stage at sunset and played a blistering set of guitar-drenched rock, led by charismatic singer-guitarist Brian Aubert. With a vibe not unlike the Smashing Pumpkins, the band is well known for their ferocious live performances and they did not disappoint the Memphis crowds As night fell the New York Indie rockers, X Ambassadors took over the stage immersed in a stunning light show. The ever growing crowd surged towards the stage as the talented quartet rocking into the night. The Bellingham Alternative rockers, Death Cab For Cutie closed the stage with a set much more intense than they usually play. The large adulate crowd seemed to be entranced by the vocals of lead singer Ben Gibbard. The Bud Light stage featured a jam-packed diverse line-up for Saturday. Memphis rapper Lil Wyte opened the stage with an energetic set. The Kongos played next. The group of 4 South African brothers may be the heir parents to the African-tinged pop rock sounds of Johnny Clegg and Savuka. That band brought the unique South African rock music to the world in the late 70's. The brothers have taken the sound into new territory with a much more sophisticated beat. The only act to cater to EDM fans at the festival played the stage next, with a well-received set by Griz. The experimental sax player played alongside his WI who mixed dance-inducing beats to the delight of a young crowd in the afternoon sun. Rap wizard Wiz Khalifa closed the stage in front of a huge crowd with a jaw-dropping set along with a tight band of backing musicians. The main Fedex stage featured a diverse line up as well throughout the day. Memphis musician Amy Lavere opened with a set tinged with classical music and other incorporated genres. 82 VandalaMagazine.Com May/June 2017


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The charismatic John Paul White of Civil Wars fame brought his biting and introspective southern rock lyrics to the stage next. Los Angeles Indie rockers Dawes played a pleasing set next. The Drive-By Truckers brought their Athens southern roots music to the stage as the sun began to set. They were followed by an animated set by The Revivalists. The seven-piece New Orleans band are also music festival veterans who know how to wow the crowd. The Kings of Leon closed the stage with their intense rock sound in front of a large crowd. But for many, the closing sets by Wiz Khalifa and Death Cab For Cutie which was occurring simultaneously on the other stages were much more appealing. The musical choices on Saturday seemed to be overwhelming, but most everyone in the audience seemed to find a niche that they enjoyed.

Day 3 of the Beale Street music festival began under warm sunny skies with calm winds. The near perfect conditions brought crowds into the festival grounds early to lounge in the summer like weather, enjoy the many sumptuous food offerings and imbibe their favorite beverages. One local treat being offered up was a giant portion of boiled crawfish with corn on the cob, potatoes, and peppers. The $10 serving was enough to feed at least two hungry people. The music schedule for Sunday was a bit more relaxed than the day before with less simultaneous sets going on across the vast festival grounds. But it was also the most exciting and eclectic day of the festival with multiple genres and generations of music on the roster. Los Angeles-based R&B singer Lanita Smith opened the River stage as the first act of the day at the festival. Smith was raised in Memphis, so the show was a homecoming of sorts for the local girl who made the big time. Her new album was produced by the legendary Don Was. Smith began her career as a church choir singer and brought her Gospel influence to the early Sunday afternoon crowd. Smith was backed up by a stellar group of musicians and singers offering up a crowd-pleasing set. A very different act came next on the River stage. The three California blondes that make up the group Bahari provide a stunning visual look while providing pleasant folksy pop music. The band's sound blends well in the early afternoon sunshine. The music took another turn with Los Angeles soul singer Mayer Hawthorne taking over the stage next. His retro sound and dance moves delighted the crowd. Singer, songwriter and successful actress Jill Scott hailing from Philadelphia closed the River stage mesmerizing a huge crowd with her funky crossover pop R&B sound. A full day of music in the Blues tent featured singer and pianist Eden Brent, singer blues guitarist Super Chikan and blues guitarist extraordinaire Preston Shannon, all Mississippi natives. New York blues rocker guitarist Papa Chubby played a sweaty sunset set. The living legend Booker T. Jones, a Memphis native closed the blues tent with a smoking blues-drenched set of organ, guitar and harmonica playing. Jones wrote the iconic organ laden hit song Green Onion in 1962 when he was only 18 years old and has been a pop blues powerhouse player ever since. The Bud Light stage also offered up a diverse line-up for the final day of the Beale Street music festival. Swamp soul singer Marcella and Her Lovers kicked off the stage with a funky set of steamy music. Originally from Louisiana and now hailing from Memphis. The child prodigy melds the sounds of two distinct cultures into her compelling sound. She reflects her childhood influences from her father, two-time Grammy winner and Zydeco music maven, Terrance Simien. Feminist folk rock hero And DiFranco took the music in another direction during the next set, playing her folk anthems with a New Orleans jazz drummer. Her distinctive voice and compelling lyrics made for an enjoyable afternoon set. The music took an even bigger turn with the next set by Reggae icon Ziggy Marley and his group of exquisite musicians. Playing his hit tunes as well as his father Bob Marley's anthems, he 86 VandalaMagazine.Com May/June 2017


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was the only Reggae star to appear at this year's festival. A large crowd sang and danced along to the well-known tunes calling for peace and equality for all. Ben Harper & The Innocent Criminals took the music in yet another direction in a beautiful afternoon set bathed in the setting sun. The three-time Grammy-winning California rocker played searing guitar solos on acoustic, electric and slide guitars garnering a tremendous response from an adulating crowd. Recent Grammy winner Sturgill Simpson closed the stage with an innovative country rock music set drenched with guitar solos. The Kentucky native played another real crowd-pleaser. The main Fedex stage opened the day with a set by young rapper and guitarist Machine Gun Kelly. The animated rapper fronted a strong backup band that fused rock, punk and hip hop music perfectly. The Ohio native even managed to down the better part of a bottle of Jameson whiskey while wildly prancing about the stage. Her rockers Alter Bridge took over the stage next. The Orlando band formed in 2004 features several members of the band Creed along with well know singer-guitarist Myles Kennedy. The band rocked the crowd with a charismatic perforce by Kennedy on guitar and screaming vocals. Veteran Australian rockers Midnight Oil took over the stage for the sunset slot. The band was a regular fixture in the 801s music scene. The group took a ten-year hiatus at the beginning of the 21st century while lead singer Peter Garret pursued a successful career in Australian politics. The newly reunited band played a fierce and compelling set, and their catchy sound stood the test of time well. As evening set in, a wild-eyed British rocker Gavin Rossdale and his band Bush launched into a grunge laden set of pure energy rock. Augmented by a spectacular light show the band played thundering rock riffs while Rossdale leaped about the stage like a young Pete Townshend in The Who. The evening closed with a triumphant set by Seattle Grunge rockers Soundgarden. The veteran rockers played an extended set exciting the huge crowd to the end. The band was led by singer-guitarist Chris Cornell who was even more wild-eyed than Rossdale in the previous set. Sounding at times like Black Sabbath and other times more like a Grunge band, the innovative group was a powerful and fitting closing act for the 40th Beale Street music festival. Be sure you check out next years festival which is sure to be another success with an amazing line up Follow Online www.memphisinmay.orgi events/ beale-street-music-festival www.facebook.comipgibealestreetmusicfestival www.twitter.com/BealeStMusicFes 90 VandalaMagazine.Com May/June 2017


The Last Waltz Tour Brings Historic Line-Up Article and Photos by L. Paul Mann The opulent and ornate Orpheum Theater located in the original theater district of downtown Los Angeles played host to a very special concert, Thursday night April 13. The Last Waltz 40 Tour, billed as a celebration of the 40th anniversary of the Last Waltz concert by The Band, was originally meant to only be a one-time tribute concert in New Orleans. But the event garnered so much praise and interest it became a national tour and recently added a second leg of different play dates. The show features a nine-piece core band of Southern rock and New Orleans jazz veterans. The band was fronted by Gov't Mule and Allman Brothers guitarist extraordinaire Warren Haynes and Country rock singer-guitarist Jamey Johnson. The rhythm section was composed of legendary music producer Don Was on bass and New Orleans monster funk drummer Terence Higgins. Gov't Mule keyboardist, Danny Louis rounded out the five-piece core rock band. They were joined by a four-piece all-star horn section led by Mark Mullins. The nine-piece jazz-rock powerhouse opened with two of The Bands classic hit songs, Up on Cripple Creek and Stage Fright. The horn section kicked in on the third song, a cover by Hoagy Carmichael, Georgia on My Mind. That would set the pace of the evening's marathon two-set performance. Classic songs by the band would be interspersed with covers played at the original Last Waltz. The final concert by the original Band, became a major documentary film hit. That show featured some of the biggest names in pop music joining the band's swan song performance. The show Thursday featured two more songs by the core band, a cover of Van Morrison's Caravan and another Band classic It Makes No Difference. At this point in the show, the first of a long parade of very special guests began to appear on stage. The first guests included two New Orleans legends, Dr. John on piano and Cyril Neville on percussions. Dr. John was one of the original performers joining The Band at their Last Waltz. The raspy-voiced John opened with his original song Such a Night, leading the band with a bright honky tonk piano sound. He followed with another Band classic Down South in New Orleans. Cyril Neville took over lead vocals for the next song, a cover of the Bo Diddley classic, Who Do You Love? Dr. John then retired from the stage far too early for fans of the jazz funk rocker. The core group continued with another Band classic Rag Mama Rag, bringing the crowd in the packed theater to their feet. The master of all music that is Blues, Taj Mahal, took over lead vocals for the next Band cover, The Shape I'm In, which kept the crowd on their feet. The Blues innovator brought his 50 years of musical experience to bear and became the most prolific guest for the rest of the concert, singing, playing guitar and harmonica. Another New Orleans music veteran, singer-guitarist Dave Malone of Radiators fame took over lead vocals, ending the first set with the stirring Southern classic, The Night They Drove Old Dixie Down. As the band took a break, an enthused crowd headed to the bar. While the first set was superb, the second set proved to be even more magical with more surprise guests and last nearly 30 minutes longer than the scheduled end time. The core group opened with another Band classic and was quickly followed another Band tune with Taj Mahal returning to the stage. Mahal then shared vocals with Dave Malone as they led the group in two very different cover songs, including the old Eric Von Schmidt song Baby, Let Me Follow You Down and the Crosby, Stills, Nash, and Young rock masterpiece, Helpless. After several more songs, Malone shined on a cover of Little Junior Blue Flames, Mystery Train. 92 VandalaMagazine.Com May/June 2017


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L ye Coverage? Singer-guitarist Bob Malone joined the jam next, turning in one of the most explosive blues-drenched performances of the concert. The former guitarist for Muddy Waters band, he also played at the Last Waltz and shared fascinating stories with the crowd between songs. He spoke about how Bob Dylan and Keith Richards organizing a jam session back at the hotel after the historic concert that lasted until sunrise. Malone played a stirring cover of Muddy Waters, Mannish Boy, and several other blues classics. At one point he sang in a screaming blues voice while writhing on the floor of the stage like a possessed James Brown. Just as the concert seemed to have reached a crescendo of fever-pitched energy, the show took on a whole new meaning and tone as one of the only two surviving members of the original Band, Garth Hudson appeared. It was a bittersweet moment as the long white haired keyboardist looked frail and old shuffling onstage. But once he began to play piano it was clear that his musical magic was intact. A brilliant piano solo segued into the Band classic, The Weight. Hudson has been lauded as one of the best keyboardists ever to play rock music. But it is his mastery of the Lowrey organ that made him an innovator far ahead of his time in electronic music. The original Band may have been the most influential group in early American rock music. The four Canadians and one American created a traditional American rock sound that is emulated in pop music to this very day. I first saw the Band as a freshman in college in 1974 with Bob Dylan. The concert tour, the first in 8 years for Dylan featured four alternate sets highlighting each groups music and then jamming together. The magical show was made into a two-album live recording featuring the remarkable vocal skills of Dylan and The Band at the time. In 1975 I again was fortunate to see the Band, this time in the third row of the inexplicable less than full Greek Theater in Los Angeles. On a college budget, I had purchased tickets for my girlfriend and myself in the back of the amphitheater, but inexplicably when we picked up the tickets at will call, we were upgraded to third-row tickets. Elton John was sitting in the row in front of us. In past interviews, John has credited Garth Hudson as being one of his biggest musical influences on keyboards. The group ended the second set of the Orpheum show with a rousing cover of the Bob Dylan hit; I Shall Be Released. After a standing ovation that lasted several minutes, Hudson returned to play a searing solo on his prized Lowrey organ, on the Band classic Chest Fever. Then he was joined by all the players of the evening sans Dr. John and an additional guitarist, Jimmy Vivino. The Los Angeles guitarist led the group including Hudson on a final Band cover of Chest Fever. It was nearly midnight when the band took their final bow at this historic tribute.

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May June 2017 Vandala Magazine  

The sun is shining, festivals are happening worldwide and the music is blasting. On the cover, we feature Sabaton who are one of the best me...

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