THE TRUTH WILL

SET YOU ....

FREE

ISSUE 9
 in your issue
ABORT™ Magazine
of ABORT
THE RZA KOTTONMOUTH
General Info: info@abortmag.com
Canada’s Counter Culture www.abortmag.com

KINGS
www.abortmagazine.com
Issue 9 www.abort.tv
www.abortmag.com/abortcast
Publisher/Editor-in-Chief: E.S. Day
Senior Editor: Grimm Culhane
____________________________________________
BLIND MELON
Senior Writer: Dave “Corvid” McCallum
Art Director/Layout: Christina Thiele
DEPARTMENTS
Advertising sales@abortmag.com DIPLO
SEAN PRICE
Marketing/Promotions promotions@abortmag.com
Staff Writers: Employment Opportunities jobs@abortmag.com
Grimm Culhane, E.S. Day, Dave McCallum,
Calder Fertig (Calgary), Amalia Nickel, .ninjoelspy., Alxs ABORT TV: www.abort.tv info@abort.tv
Ness,Russ Foxx, Nara Anderson, Jimmy Lynch (Toron-
to), John Norby (UK), Arceon
_____________________________________________
Subscriptions/E-Newsletter subscribe@abortmag.com
(we DO NOT give out your e-mail address)
CD’s, DVD’s, Books, Art, Murals, Cash, Drugs, Garter BILL MOSELEY plus:
Senior Photographer: Sarah Hamilton
Belts, Guns, Fur Coats, Trans-fatty foods and Cigarettes
to be considered for review… editor@abortmag.com live reviews
Staff Photographers: Chris Webber, Scott Alexander To submit words, art, video and filth: GARTH cd reviews
RICHARDSON
Jordana Meilleur, Grimm Culhane, Sarah Hamilton, E.S. submissions@abortmag.com
Day, Amalia Nickel,Mike Boldt, Paul Michalowski, Ajani

Charles. Chris McKibbenib, Arceon
Web Design/Graphics: John Allan (www.johnallan.ca)
versus
(NOTE: ABORT Magazine/ABORT TV and its copyright holders, ac-
cept no responsibility for and will not necessarily respond to unso-
licited art, manuscripts or any form of media Including photo, video,

36 CRAZYFISTS headphonica
audio and fi lm footage.

Contributors:Gavin Reid, Jeffrey Chan Tin, Matt Mer- Such material will not be returned unless accompanied by a SASE)
nagh, Stephen Gillis,Christina Thiele, Jonathan Parsons, Tales From The Eastside™ contains pictures of people who have
given consent and/or been
nofutureface, Samira Alinto

SNOT
compensated by ABORT™ Magazine, AbortCast™, ABORT TV ™
and AMP Corp for use of their likeness and comments
Transcribers : Amalia Nickel, Dave “Corvid” McCallum,

LAMB OF GOD
Chris Webber The views expressed in this publication are those of the authors and
_____________________________________________ do not necessarily refl ect those of Abort Media Publishing Corpora-
tion (AMP Corp.)

Cover Artwork by Dave MacDowell

www.macdowellstudio.com
ISSN 1918-0594 ... AND MUCH MORE
ABORT Logo by Ara Shimoon
ABORT MAGAZINE is owned and operated by:
ABORT Magazine is A Canadian Publication

Copyright © 2004-2009 ABORT Magazine. All Rights

SEN DOG UNBELIEVABLE SHIT
SO READ ON MOTHER
Abort Media Publishing Corporation (AMP Corp.) Reserved. Reproduction of this publication, in whole or in part, in

ROB ZOMBIE
1140 Comox St. Ste 203 Vancouver, BC Canada, any form or medium without express written permission from Abort
V6E 1K5 Media Publishing
778.330.7575
Fuck The Fax Corporation (AMP Corp.) is prohibited. All use is subject to our
Terms of Use.
FUCKERS
background art by jonathan parsons
 Our monthly chart
compiled from the
blood, sweat &
fears of our staff.
1.$10,000,000 Winner - Wendy O. Williams w/Ultra-
fly & The Hometown Girls (Profile)
2.Board Up The House - Genghis Tron (Relapse)
3.Merchandise - Fugazi – (Dischord)
4.Gut Level - The BlackByrds (Fantasy)
5.Mouthful of Cavities Blind Melon - (EMI)
6.Claude - Pig Destroyer ( Fractured Transmitter Re-
cording Company )
7.Down Not Out - Outbreak (Bridge Nine Records)
8.D.E.M.O.N.S. - Elzhi(Fat Beats)
9.One Last Goodbye - Anathema (K-Scope)
10.Don’t Rush Me - Jean Gray (Blacksmith)

ABORT’S latest list of interview

requests, and the people who
told us to go fuck ourselves
Cheech & Dong:
Not even worthy of a callback, we will have to assume
that it is mandatory for all involved with the Canni-
banoid clowns that in order to maintain employment
amongst the camp they to, are required to indulge in

Q-Tip:
After giving us a private photo shoot backstage at the
the herb, thus creating a hazy effect which disables the
part of the brain that allows for a publicist to call back
any member of the media.
Rock The Bells festival in Toronto this past summer,
Mr. “Vivrant Thing” must have thought that his ATCQ Ironically the boys had no problem going down to the
reunion would put him back on the charts. Judging from City TV’s breakfast television at 6:00 AM doing 20
the suits he’s wearing on his new album “The Renais- year old bits that were drier than their sativa-soaked
sance” maybe he should have stayed in the 14th centu- mouths
ry along with songstress Norah Jones who also appears
on the album to help Mr. Tip keep his street cred afloat.
We have a “tip“ for you sir: the next time somebody
makes a request.... you and your PR team should take
the cotton swabs out of your ears when someone tries to
help sell your (third) third-rate release.

Photo by Ajani Charles

 After their successful “Summer Slaughter Tour” Death
Metal legends Necrophagist hailed a shit-storm upon
the little village of Vancouver , ABORT’s Alxs Ness
climbed aboard the “NecroBus” and got down and
dirty with Vocalist/Guitarist, Muhammed Suicmez, for
a quick update into the band’s current state of mind
THE ABORT INTERVIEW fucking favorite movie. Actually I buy a copy wherever,
Europe or here, so I always have the movie with me. It
ABORT: Last question for you. Do
you have any recommendation s for
cheers me up. I think it’s the best comedy I‘ve seen so far. any bands we should check out?
Alxs Ness: What has been your impression of playing shows That’s my favorite movie and other then that I kinda like Unsigned, up and coming?
in Canada? heavy stuff like dramas whatever, war movies. MS: Oh yea, I just discovered a
Muhammed Suicmez : So far very good actually. It’s been German band. An amazing technical
varying depending on the area we’ve been playing at, but ABORT: Deniro and Pacino? (E.S. Day butts in) a good old death metal band called Centaurus-A.
there’s definitely a lot of strong markets for us right now in Robert Deniro movie…Scarface? Incredible guitar work. I was very
Canada and it’s really pleasant for us to play shows here. MS: Scarface I bought last year and I was disappointed. impressed and they are unsigned
The response is very, very strong. I would say at least as But I love Robert Deniro and I love his movies. He’s which I really don’t understand. I think
strong as in the US. A city like Vancouver, we get great probably my favorite actor. they are having a hard time finding
responses. And of course, the three big cities in the East- a label for their music which is kinda
Toronto, Montreal, Quebec- it’s really strong and in the ABORT: He’s versatile. sad because the musicianship in
center, on the way here too. Some of those markets need to Oh yea. Like the movie Heat for example. Watch that that band is incredible. My all time
be built up still but for the first time hitting those markets it’s movie and just focus on Robert Deniro. Every single favorite’s Spastic Ink which I don’t
been very good. We’re very happy about it and we think the second he’s in the movie it’s perfectly played. I think that think a lot of people know about, it’s
Canadians are very friendly people. guy’s a perfectionist, I always can respect that. It’s really not mainstream; that Blotted science
perfectly acted, that’s my opinion. I was really floored by his project with Ron Jarzombek and Alex
ABORT: Have you had any crazed fan experiences? performance in that movie. I’m looking forward to the new Webster playing Bass.
Like maybe people that have taken your lyrics a little too one. There’s one coming out with Pacino/Deniro. It’s about
seriously carved your logo into their faces or things like that? self-righteous cops. ABORT: Haven’t heard of it, actually.
MS: No actually, not so far. MS: Alex Webster from Cannibal
ABORT: Righteous Kill Corpse playing bass on it? The
ABORT: No obscure occurrences with fans? MS: Righteous Kill. That’s it, that’s my next movie that I’m instrumental thing. It’s a trio. The
MS:No actually we don’t. We know that people are very waiting for. guitar player’s the former guitar
stoked about the music and it’s very good. We feel very player of Watchtower, You guys know
happy about it and the level of enthusiasm about the music ABORT: All right, well back to the music. Watchtower from the eighties?
we play is really pleasant to experience because it’s not MS: Oh Damn! (Laughs) ABORT:
O surprise
Another ssur pris for the fans.
really mainstream what we’re doing. The more progressive MS: I hope soso. Anybody dy that knows me knows that I put all ABORT: I don’t. Being put on the spot.
music is and the more technical and more extreme like ABORT: Can you tell us anything about bout the
th follow up p to energy into whatever
of my energ tever I do know matter what it is so MS: Ok, here’s the thing. You check out Watchtower- they’re
death metal, the less potential fans you have. But within “Epitaph”? the new album and I’m
now it’s th I going to focus on it 100%- a band from Texas from the 80’s and then you check out
this limited scene, you know, we’re having this level of MS: Yeah actually, right now I’m ’m writing
writ it. We are going to writing and it’s going to be heavier, it’s going to be
finish w Spastic Ink it’s the same guitarist as Watchtower, and then
success and we’re really appreciative about it so that’s the hit the studio in spring 2009. We hope to have the release e and it’s going to have the
faster a he Necrophagist
N touch, so I you check out Blotted Science. It’s again the same guitarist,
crazy part for us. Being out there
t playing this absolutely not date for the US part of Summer mer Slaughter; it’s going ng to start
art think we should not disappoint. you see what I‘m getting at? It’s
ou se s my
m favorite guitarist. And
mainstream music and having ng this responsee is really a nice
n in June
une again.
again. Summer Slaughter
Sla ght has been establishedablished byy he made
mad this Blotted Science project
pro with Alex Webster
experience and I think that’s crazy enough for us. s. No carved ourr booking agent,
ag so we have
hav a strong relationship
rela nship and Cannibal
from Ca nibal Corpse and it’s really amazing technical
foreheads. we e want to make
ma e Summer Slaughter
Sla ghter 2009 the th release tour ABORT:
AB OR RT: Has the wrwriting
ng process changed?
c nged? Are you y progressive,
progress ve, death metal, whatever, but it’s amazing
for the new albalbum.
m. See here’s the e problem, [when]hen] I wrote still writing
sti wr ting all the parts
p s on this albumalb as well or is it a musicianship.
musici ship. I think it’s u
unequaled actually so far. You guys
ABORT: So far… Epitaph
pitaph and it wass released, I hadad difficulty in
i believing
elieving collaborative
co aborative effort for this album? check that out,
should ch o it’s insane.
MS:So far, yea true. Maybe there is some
ome that we don’t
on’t myself
m yself that I could album
d top that alb m because I reallyally gave it all;
all; MS: I don’t know to which hich extent each
e h member’s goinggoing to
know of. I rreally was a perfectionist
eally wa fectionist about
ab it. I didn’t think
th k I could pullll contribute,
cont tribute, but so far
fa it’s
t’s been like,
like I wrote every part
part for ABORT: Ok, so any current endorsements, what are you
o an
outt anything that
ou h was a step up from that.
th everyy instrument
ever nstrument and
an the second guitarist
g tarist of course
cour could playing these
t days?
days
ABORT: Speaking of carved foreheads, s, what’s your
yo favorite
favorit write hishis own solos and d stuff, because
beca e the solos are a split
horror movie of 2008? But over the
ut I think ove grew
he years, I g differentt taste,
w older, differ tast between
betwe en both guitarists
guita ts equally. That’s
Th ’s always a defi nite
d finite MS:
MS have an end
S: I ha endorsement deal with Ibanez guitars. I’m
MS:The problem is I never watch horror movies. This T s might
mig different
ferent ears and
a d I think I can really
eally top that album.
bum. I’m thing to to happen. I believe
b eve in never change ange your running
ru ning playingg custom
m guitars
g
gui which the custom shop built for me.
be kind of unusual for a death metal musician but no I ‘m pretty
etty confident actually. Here’s the thing,
den about it actually t ing, we’re
w system,
stemm, ok. I have no problem if I sstart band to just
rt a new ban jus I play Engl
En amplifi
mplifiers
e - the German amplifier manufacturer,
not into horror movies at all actually. I don’t enjoy watching
wa ching going
gooing to switch too 7 string guitars
guitars on the new album jam
m along
a ong and then just
ust write together
togeth r equally, I don’t
d ’t have
hav other then
th that
hat we have endorsements from Ampeg, Tama,
them. Not because I can’t take the brutality lity or the amount
amount which
hich changes
change the sound a littlettle but
u I’m pretty sure re a prob
problem
oblem with that.
that It’s just that with Necrophagis
Necrophagist, it’ss the Meinl cymbals,
bals, so we’re pretty much covered..
of violence, that’s not the problem really, but they hey don’t
don do
d that everybody
b that owns one of our u albums is going ng to way I compose.
compose I want to keep it th that way,
y but I’m open for or
much for me. I’m sorry to disappoint you. I could d come up
u recognize Necrophagist right away aw y on the new album um too.. suggestions;; meaning arrangement,
sugg ent drum parts, drum lines. s ABORT: Where can we find you on the web?
with a story if you like (laughs), if that’s better for you. I don’t Naturally, using seven strings, the t music’s going to o be
b That’s kinda
That a what
w we’re going to do on the new album. I’m MS: It’s Necrophagist.de
ecrop or it’s myspace.com/
really enjoy horror movies, but you could ask me about abou heavier because we have that low l end on the guitars, which ch going
oing to still write the things and then send everybody their necrophagistde.
gistd
different movies. we didn’t have so far. If you know the other albums, you parts,
arts their tablatures and then if anybody has an idea that’s
will probably know that we compose a little different then better
ette then what exists on paper, then we’re going to do that.
ABORT: Ok, what’s your favorite movie of 2008?08? your regular death metal band and so the use of the seven n But
ut I think other than that, I’m going to write the main parts.
MS: I don’t think the movie’s from 2008, but I discovered strings in Necrophagist is therefore going to be different. The
he sound of the band is not going to change because of By Alxs Ness
Talladega Nights in 2008, Ricky Bobby, and that’s my that.
hat
photo by Arceon
ANGOLA 3 UPDATE
Conviction Overturned, Judge Rules Albert Woodfox Must be
Free During Appeals or Re-trial
Lawyers: Ruling Brings Hope for
Remaining Prisoner, Also Spent 36 Years
in Solitary for Guard’s Murder
Albert Woodfox, who has spent 37 years
in prison at Angola Penitentiary, must be
released on bail, according to a ruling
issued today by United States District
Judge James Brady. On September
25th, Judge Brady overturned Woodfox’s
conviction for the 1972 murder of prison
guard Brent Miller. Though the State
has announced its intention to appeal
that decision, until such an appeal is
successful, according to today’s ruling,
there is no conviction on which to hold
Woodfox.
In his decision, Judge Brady wrote:
“[Woodfox] is a frail, sickly, middle aged
man who has had an exemplary conduct
record for over the last twenty years. At
the hearing before this Court on October
14, 2008, testimony was adduced that if
released Mr. Woodfox would live with his
niece and her family in a gated subdivision
in Slidell, Louisiana. Mr. Woodfox has
withdrawn that request because of fear
of harm to his niece and her family by
members… This change was brought
about by counsel representing the State of
Louisiana contacting the subdivision home
owners association and providing them
with information regarding Mr. Woodfox.
The Court is not totally privy to what
information was given to the association
but from the documents filed it is apparent
that the association was not told Mr.
Woodfox is frail, sickly, and has had
a clean conduct record for more than
twenty years…this Court GRANTS Mr.
Woodfox’s motion for release pending
the State’s appeal.”
Herman Wallace, who was also
convicted in the murder, remains in
prison at Angola. He has an appeal
pending with the Supreme Court of
Louisiana, which is similar in content to
Woodfox’s successful appeal. The two
men were wrongly convicted based
largely on the testimony of a fellow
prisoner, Hezekiah Brown, a serial
rapist who was promised and received
a pardon in exchange for his testimony
against them. Brown was the sole
professed eyewitness to the murder, and
none of the physical evidence put Herman
or Albert at the crime scene.
Woodfox’s legal team is now working
with the court to reach an agreement
on a suitable release location and plan
for Woodfox; once they agree to a plan,
Woodfox will be able to leave Angola. The
lawyers anticipate the process to take
several more days.
Woodfox and Wallace were each held in
solitary confinement from the time of the
murder until last March, after a federal
court concluded that their suit alleging
that such confinement for three decades
constitutes cruel and unusual punishment
could go forward. A third man, Robert King
Wilkerson, was held in solitary at Angola at
the same time for a different crime; he was
released in 2001 after showing that he had
been wrongfully convicted. The three are
known as the “Angola 3.” All black men,
they had been organizing nonviolently
for an end to gang-enforced sex slavery
and for better conditions inside the prison.
Angola at the time was known as the
“bloodiest prison in the US.”
“This is a major victory in a case where
justice is long overdue. Albert went into
Angola in his twenties, and he’s walking
out in his 60s. There is no conviction
against him now, and the state should not
take another day of his life,” said Chris
Aberle, Woodfox’s lawyer.
“In 37 years, Albert never gave up hope
that someday he would walk out the gates
of Angola. We continue to hope that
Herman will join him soon. Neither of these
men should have spent a day in Angola for
this crime,” said Nick Trenticosta, also a
lawyer in the case.
The case has attracted attention on the
state and national level. Last spring, US
House Judiciary Committee Chair John
Conyers (D-MI) visited the men, along
with Louisiana House Judiciary Committee
Chair Cedric Richmond (D-101).
Richmond has announced his intention to
hold hearings on the case, and Conyers
continues to monitor developments.
The state had sought a stay of Judge
Brady’s ruling ordering a new trial until the
appeal process plays out. Judge Brady
granted that request. The State must now
either win its appeals, or will need to either
release or retry Woodfox within 120 days
of the end of its appeals.
Judge Brady held an initial bail hearing
on October 14th; he postponed issuing a
decision at that time to allow for additional
depositions to be taken from Angola
Warden Burl Cain and from a doctor who
had examined Woodfox and his medical
records. The State has now conducted
both of those depositions.
FIND OUT AND DO MORE AT:
angola3.org
angola3london.org
To the people who are abusing
our abandoned toilet ... you know
who you are and you probably
read this magazine ...

PLEASE STOP!!!!!

Thanks

xoxoxoxoxoxoxoxoxoxoxo

Joel: You guys pulled your band name
from a Jackie Chan flick.
Brock: Yup
Joel: Any specific reason why, are you
guys really into Kung Fu flicks, is that
something you guys do?
Brock: Initially at the end of 1993 when the
band was getting together, I never heard
the name Jackie Chan. At the time it was
Bruce Lee only, and my guitar player was
the big Jackie Chan guy and in turn as the
years went on Jackie became much more
of a house-hold name.
We like Kung Fu but it was one of those
names that was just really silly that stuck
for 15 years and none of us are black
belts or anything like that, although self-
proclaimed street fighters but no real
karate skills
Joel: You’re a brawler then?
Brock: Well I grew up playing hockey my
whole life so it goes with the territory.
Joel: Locker-room politics, I grew up
with them a bit, I’m sure you’ve got some
halarious quotes from that room, can you
think of any?
Brock: There is a really great quote email
that goes around, its called the Junior
hockey bible, it has every sexual possition,
nic names for every guy on the team, like
bobby big wheels and Canadian Sled dog
race. I don’t know if you’ve seen it or not,
but if you haven’t give me your e-mail
address and I will forward it to you.
Joel: So if you want to check out the
Junior Hockey Bible, give Brock your email
address and he will forward it to you.
So half your band is from Alaska, and the
band was formed in Anchorage?
Brock: Yup.
Joel: Are you totally sick of incompetant
journalists asking you about Sarah Palin
yet?
Brock: Yes.
Joel: O.k. good because I wasn’t going to
ask you that.
Though I am really interested in what its
like being an American that comes from
a part of the states thats not connected
directly to the United States?
Brock: It’s normal I guess. I didn’t know
any different. You don’t really notice
anything until you start touring the States
a lot and people are like, “Where are
you from,” and you tell them and it looks
like you just said you’re from the moon
bassically because it might as well be to
some people.
It’s never been that big of an issue. We
lived in Portland, Oregon for like six years,
and then most of us moved back about
four years ago, I think our guitar player is
the only one out floating around, but he
doesn’t even have a house so I’m not sure
where he really resides but everybody is
back home in Anchorage, where we were
all born and raised.
Joel: But home for you guys right now,
I see you’re touring in an R.V? Did you
choose that as opposed to a bus or was
that not part of the budget?
Brock: Yeah, we can’t afford a bus,we’ve
been in a van actually all the way from
February till two weeks ago before this tour
started and its the last tour of the year so
we decided to spoil ourselves and get in
the R.V. and its light years better because
I can stand up in it. Thats a simple little
pleasure that you can get out of it. Its nice
to be in the R.V. right now, I wish we were
in a bus, in Europe we’re in a bus but over
here, no.
Joel: Welcome to North America. I’ve
tourned in an RV it was worlds better than
a van, except when the exhaust hatch
doesn’t work in the bathroom, have you
guys had any problems like that?
Brock: No its brand new, we’ve had some
rentals before that were pretty shitty, but
this one has like 9000 miles on it, we’re
feeling lucky I guess.
Joel: You do a lot of the driving, you were
saying?
Brock: Yeah, almost all of it, actually.
Joel: What do you do to stay awake?
Brock: Music, a lot of raw unspoken word,
Redbull...
Joel: You do spoken word while you’re
driving?
Brock: No, I listen, to Henry Rollins spoken
word, if I can hear talk radio for some
reason I can get more engaged in the
listening and pay attention as opposed to
music where you kind of get lost and get
sleepy. I just pulled a 17 hour shift the
other day and thats how I got through.
Joel: Switching stations as you go through
different areas.
Brock: Exactly, and its always AM so you
just keep on moving along.
Joel: What are five items you cannot live
without, besides food and water and that
stuff? Have you seen the movie Into the
Wild?
Brock: I read the book I haven’t seen the
movie.
Joel: What did you think?
Brock: It was great, I read it many times.
Joel: So driving through some bad
country, the protagonist from Into the Wild
was found dead in a bus on the Alaskan
fronteer, are you a little worried about that,
and on that note, what are five things you
can’t live without should that happen?
Brock: The five things I need, would be, an
iPod, or music, laptop, DVD’s, my wife and
my dog.
Joel: Keeping the mind and the body
stimulated.
You were saying that you have a much
better awarness than the protagonist from
Into the Wild about what you need to
hang out in Alaska and the realities of that
fronteer are, do you hunt?
Brock: Absolutly, I commercial fished all
my life with my father but hunting was
seasonal for sure, duck hunting, moose
hunting.
Joel: I think those skills are some of
the most neccessary. Lets say the
Appocolypse were to hit sometime soon,
I think the majority of people out in urban
centers are going to be scrambling for
the nearest Starbucks going, “Wheres the
fucks my latte?”
And guys like you with a set of skills, not a
black beld which I also think is a good idea
but hunting and fishing...
Brock: Yeah, I can build a fire and I know
if I get hypothermia what to do, I got a first
aid certificate, and I know how to load and
clean and shoot a gun.
Joel: When you land at home you guys
are going to be filming for a live DVD a
home town show in Anchorage. Are you
excited about that?
Brock: Yeah for sure, we’ve never had
the opportunity to do a DVD, we started
in 1994 so you can imagine the rediculas
amount of footage we have over the
years. I am excited, we’ve been editing
the special features stuff, its halarious, I
was 18 when we started the band so I had
long hair and I was way skinnier, we had
our first show, which we will probably only
show clips of because it was horrible.
When we were with Roadrunner I don’t
think we would have had the opportunity
to do the DVD because over there it is a
little more big business so if you’re not
generating X amount of dollars therefore
it doesn’t warrent you to get certain other
things.
So when we moved to Ferret it was one of
the first things they brought up, so we’re
real thankfull for it.
Joel: How can people stay in touch with
you?
Brock: http://www.myspace.
com/36crazyfists
photo by arceon

with garth richardson
E.S. Day here, we are here at the Farm Studios with Garth
Richardson, legendary producer, engineer, mixer, silent
songwriter, arranger, jack of all audible trades.
Currently, before we get into the techy stuff for the kids here,
you’re doing the new Gallows record, hopefully coming out
soon-
Garth Richardson: Should be out in April or May. We just
have to do vocals and then we’ll be heading to New York City
and have the king mixer Andy Wallace mix it.
E.S. Andy Wallace, Faith No More-
G.R.: Rage, Nirvana, you name it he’s done it.
E.S.: What have you got coming up for current projects?
G.R. Current projects, I’ll be doing the next lovely Biffy Clyro
record. Biffy Clyro’s from Scotland, they got voted by 4 out of
the 5 English magazines record of the year.
E.S.: And what about some American?
G.R. American? There is, really, no more...
unless you sound like Nickelback nothing is
being signed and there really is nothing worth
working on there.
E.S.: Do you even bother reading Billboard
anymore? chart wise?
G.R.: I don’t even look at it...I actually did do the
new record by the band Trapt which is actually
doing well for being on Nikki Sixx’s label Eleven
Seven Records and the records are going to
sell 825,000 units without even going to the big
big single, (really unclear on this part) which is
actually good.
E.S.: First off, we’re gonna go back a ways.
An old album you did, that you would like
to go back in time and re-record given new
technology now available to you.
G.R.: Wow. You know what? There probably
isn’t one because in the old days the bands
could play better. And you didn’t have that devil on your
shoulder called Digidesign, where everybody can do it in their
bedrooms. If you look at every record I did- the Rage Against
The Machine record, the Melvin’s record, The Red Hot Chili
Peppers records, those were all live off the floor and played
raw but felt great. When you get into the newer bands- not
like Ninjaspy, because they can play- but these other bands,
I have actually fired more Sony Playstation players that think
they can play bass or drums but they spend more time playing
their video games than other parts. That’s kind of due to MTV
and MuchMusic, you have to look good rather than play your
part. The Gallows guys could play their asses off, Ninjaspy
guys could play their asses off. All these other bands are just
piecing it together.
E.S.: Now, on that note, that right there is some advice for up
and coming producers who wanna get behind the boards, to
let them know to take the reigns when they’re in the studio.
Just because they’re behind the console
doesn’t mean that sometimes these guys don’t need a kick in
the arse from the producer, not the manager, not the publicist
or agent. It’s more than one role for the producer.
G.R.: The first thing that always comes out of my mouth
to each band is that I’m not there to be asked over for
Thanksgiving dinner, I’m there to help you make your record.
I actually say no, a lot of times. Joel [from Ninjaspy] knows
that I hold every band that I work with 100% accountable
because it’s their record. If they come up to me with this
excuse or that excuse, it’s like, you know what dude, fuck off,
grow up, this is really what has to be done. I make sure that
everyone knows that I care more than each band does.
E.S.: When you’re dealing with music, you can’t fuck with that.
Regardless, a little bit of advice for up and coming producers.
G.R.: Every single young producer walks into every record
thinking that its their record. If you go back through my whole
basic catalogue, when I went to make the Ninjaspy record I
went to make their record. When I went to make the Gallows
record I went to make their record.
Every young kid comes in and thinks because they know how
to use Pro Tools that this is how it’s going to be done but it
isn’t about ego, it’s about getting the best out of each band
and I tend to push and push and push because I want it to be
great. So on each record that I’ve done you can’t tell that I
was there.
I hate when you put on someone’s record and you can tell
instantly who made that record. A lot of records being made
today south of the border and west of the great pond there,
they all sound the same to me now. It’s like having the same
Elvis Presley crushed velvet painting in every room of your
house.
E.S.: You have some workshops coming up soon?
G.R.: Myself and Bob Ezrin and Kevin Williams here in
Vancouver are opening up a school, we are opening the doors
at the beginning of the year, we have our first enrollment
already tied up but our second enrollment will be in July, and
basically we are going to teach them all of the old school stuff
because what’s happening is everybody in all the schools are
spending $35,000 - $40,000 and they come out and they can’t
even basically make you coffee.
Everything that my father (legendary audio engineer Jack
Richardson)taught me, everything that I’ve learned throughout
my whole career will be taught here and I’ll be here helping
to teach, we’ll have teachers here teaching, but whoever is
here will have actually made rock and roll records. We have
people like Chris Shaw that’ll come by, he did the last two
Bob Dylan records. We have Joe Barresi coming up, he did
Tool, Queens of the Stone Age, everybody that I know that
are really good friends of mine that are all gonna come up and
give back because I’m tired of these kids. I’ve had about 15
kids coming through from the [other] schools, coming out here
to work with me, and I’m talking useless.
E.S.: Even after what they’ve learned?
G.R.: Yes. But they are taught all the wrong things. It’s just
sad. So we’re gonna open up a school, we’re gonna make it
so it’s basically an absolutely great school, it’ll be named after
Nimbus, my dad’s old company.
E.S.: Classic Studio.
G.R.: Where [Pink Floyd’s] The Wall was done, the first Peter
Gabriel solo record was done, and so forth.
E.S.: So the Nimbus School for Recording Arts?.
G.R.: Yes, we’re gonna teach kids that want to get into the
brand new music business. The old way is dying. The more
that every kid knows, how to merchandise themselves, set up
tours for themselves, 360 deals, touring, everything they have
to learn. Because a friend of mine, Ralph Alphonso who
owns Bongobeat Records and he’s a great guy. He’s been
doing this now as long as I have and he said very smartly, the
more the young kids know how to do everything, the better off
they’re going to be.
The old way of doing things is a bottle of wine, those lovely
grapes were picked and if they weren’t ready yet they would
wait a year. Then they would be stomped and they’d be put
into the big vat and then the guy would come over next year,
take a sip and go “not quite ready yet.” And then they’d let
it age a bit more, then the next year they’d go, “one more
year and this wine’s ready.” Then it gets bottled and put into
the stores and people buy it and go, “Oh my God this is a
beautiful bottle of wine.” That’s the old way of this business.
What’s happening now is, the grapes are picked Monday,
stomped Tuesday, bottled Wednesday, shipped Thursday,
bought Friday, Saturday night dinner they have it. They open
it up, and they fucking drink it and say “this is shit,” then they
say “yeah, but it’s wine.” And that’s exactly to me what’s
happening. So we, who have been doing this for 35 years,
have to give back to these young kids and to show them how
to do things properly because the other schools just are not
doing it right.
So tell people to go to Hot Sole Music, www.hotsole.com, we
are just in the process of having the name changed to Nimbus
Recording.
E.S.: Can people apply online?
G.R.: They can do that or they can go to Gggarth.com or
Thefarmstudios.com and we will steer emails to the proper
people.
E.S.: Fave gear right now, for the techy kids? Or starter piece
of equipment to get going, besides an old Tascam?
G.R.: It’s the Korg Tuner. It’s probably the most important
piece of gear that I value because that’s how you tell when
everything’s in tune and there’s nothing worse than somebody
playing a guitar or bass out of tune. Or a beautiful API 512 C.
API Mics are the best, I love them dearly.
E.S.: Favorite studio mic for vocals that somebody could
afford to go buy?
G.R.: I would go with the Neumann, TLM 149. But I do
love the Gefell mics. What happened is, when the Eastern
wall went up in Germany, Neumann who made Neumann
mics, got caught behind the lines. The wall went up, he was
property of the Communist country because he was there at
the time. Wall went up, he wanted to go back, they were like,
“No, you’re part of the Germans.” So when the wall came
down, he went back over and said, “Guys, I’m back, can I
have my company back?” and they said “No, it’s ours now.”
So he actually started making his own mics again. But [Gefell
mics] are actually made by Neumann but he has his own
company because when the whole wall went up he was gone
and somebody else got the company.
E.S.:Thanks Garth good luck and continued success.
 Garth Richardson Discography Machine
Producing, Mixing, Mastering, Engineering Red Hot Chili Peppers - Mother’s Milk
Rise Against - Siren Song of the Counter Culture
40 Below Summer - Invitation to the Dance Shihad - The General Electric, Love Is The New
Atreyu - The Curse Hate
Blessed By A Broken Heart - “Pedal To The Metal” Skunk Anansie - Stoosh
Bloodsimple - A Cruel World Spineshank - The Height of Callousness, Self-
Beloved - Failure On Destructive Pattern
Biffy Clyro – Puzzle Spoken - A Moment of Imperfect Clarity
Bob - bbbob Still Remains - Of Love and Lunacy
Chevelle - Wonder What’s Next Ten Second Epic - Count Yourself In
Downthesun Testament - Low
From Autumn To Ashes - The Fiction We Live, Trapt - Only Through the Pain, Trapt
Abandon Your Friends Ugly Kid Joe
Grand Poo Bah - rokkenphunkenrohl The Urge - Master of Styles
Gallows - Upcoming second album (Tentative Date: G.R.: Thank You
Spring 2009 Grim Skunk - Fires Under the Road
Haste The Day - When Everything Falls, Pressure For more Information:
The Hinges Hedley - Hedley
Idle Sons www.Thefarmstudios.com
Kerbdog www.Hotsole.com
Kittie - Spit, Oracle
L7
Melvins Hot Sole Music Inc at The Farm Studios is a
Mudvayne - L.D. 50 division of Nimbus School of Recording Arts.
Nickelback 242 East 2nd Ave, Vancouver BC V5T 1B7
Ninjaspy - “PiNature” Phone: 604.941.9924
Project 86
Rage Against the Machine - Rage Against the

photos by Scott Alexander

 ES: I’ve got to mention, sick
bass player with (opening and
backing band) Stone Mecca.
How did that all come together
with them?
RZA: Yo, they were just
musicians that did what they did
and we met. I just appreciated
the way they recreated
samples. And as they were
recreating samples so that it
was as good as a sample, I was

THE ABORT INTERVIEW

like shit, there it is, y’namean?
(laughs)

ES: Taking it rright ig

gh htt b back,
ac
a ck,
k,
Gravediggaz ig
gg ga az iss still
sttiillll on
on my
my
playlist.
ayylist
lilist
st.
t You You
ou can’t
can
an’t’t fuck fuc
uck with
wiit
w ith
th that.
tthhatt..
ha
G St Street,
S trreeet were
ett,, w
we ere they
re tthehe
h ey b behind
beehi
ehi nd itit
hind
RZA: What’s your name? an
a
and
nd refer
refe
re fer to
to itit when
when
wh en I got
got
ot a
ailments
ililme
menntts myself.
myse
myself
elff. then? ?
Drunken hottie (about to do a shot): “It’s Nina, like RZA: Th That
T hatat wwasass o
a one
ne tthat
ne hat
ha
Columbus’s boat.” E
E.
E.S.
.S
S.. D
Day
ayy n
a now
ow
o w ttakes
akkes
a es ccharge
ha
h arg
ge and
an
a nd gets
ge
g ets
ts the
th
hee serious
se everyone ne was
one waass behind
be ehhin ind itit - the
ind the
he
RZA: Yeah I know Columbus’ boat, he had three off an
a
answers
nssw
weerrs from
ffrrom
om the
the
he wizard
wiz
izar
ard of words...
wor
ords
ds..
ds
s.... label and an
a nd the
nd he artist
tth st was
artitist
ar as behind
was beehhiinnd
them... itit together,
ethe
ether, r, aand
ndd theyheyy really
tthe
he re allyy put
real
eal putt
E
ES
ES:
S: W We’ree’’re
e re ssitting
itttiting
ing
ng hhere
erre with
ere with
wi h award
a
awa
ward
wa
ward
rd winning
wininni
niing
ng
ng forward
ffoo ard arrd effort
efffo
ef rt sso,
ort o, yyou
o, ou
o u kknow,
n w
no w,, itit
Dave: Allright man, our stock question - Border pr
p
producer,
rod
oduccer, er, writer...Jesus
er writititer
wr iter
er.....J
Jes
essus
us - jack
us jacck of
of all
allll trades
trra
ade
des wasn’t
wa
w a
asn n’tt a sucker
ssn suc
uckeker move.
mo
m ovve e.
Patrol, how was your border experience today, and d b
basically...the
asi
sicca
cally
lllly.
y.....tth
he RZA. RZ
R ZA.
A. H
Howow
w are
arre
e you
you
ou doing?
do oiing
ng?
what was the worst border experience you’ve had d ES:
ES
E S: A Any
nyy m
n more
orre fifilm
o m sscores
lm cco
ore
res
ever? R
RZ
RZA:
ZA
A:: B
Bong
ong bo
on b
bong
ong
ng bong
bon
ong bong
boong
ng bong.
bon
ong
ongg.. ccoming
co
ommiin
ngg up?
u
upp?
p ?
RZA: Today was smooth action, it was smooth ((w
(what
what the
the fuck?
th ffu
ucckk?
k? not
no
n ot a go
good
ood
od sign
sign
ign of
ig of things
th
hiin
nggs to
to come)
co
omme)
e) RZA:
R
RZZA:
ZA:
A: S Shaboobaloo.
Shhab
abooo oba allo
loo.
sailing today. Previously they have tooken (sic)
people off the bus, y’namean, detained ‘em. But ES
EES: S: W Wellelll I g
e gu
guess
ueesss yyo
you
ou ju jjust
ust
st m
mapped
ap
a pped that
tha
th att out,
out
ut, pr
p
pretty
re
etttyy ((Shaboobaloo...what
(S
(Sha
Sha
habo
boob
bo oba
oba
alloo
oo...w
whha
at the
tth
he fuck
fucckk is
fu is
today was smooth sailing, and I’d like to say thank ob
oobvious!
bvi
vioio
ouus! Uuuhhh....The
Uuuhh
uu
u uhh
hhh.h.... .T
Thhe e new
new
ew album
allb
buum
m “Digisnacks”,
“Di
Diggiisn
snac
acks
ks””,, he
e saying?)
say
ayin
ngg?
?)
?)
you. II’I’m
’m no
n
notot g go
gonna
onnnn
naa gogo into
inntto the
the
th he meaning
mean
meea
anninng behind
behi
be hind
hind
nd the
the
he
n
na
name,
am
me e
e,, you’ve
yyoou’vvee gotta
got
ottta
ta buy
ta buyy thethe
h album
a
alb
lb
bum
um toto fifind
nd o
nd out.
ut. W
ut What hat
ha ES:
ES S: UUhhh huh,
uh
u any
h, an
h, a ny thing
tth ing else
hin else
el s like
llik
ikke
Dave: So what was the worst border experience a
are re we
we expecting
exp
xpecectiting
ng compared
coommpare
pared
pa re
ed to the
thee other
othther
er Bobby
Bob bby that
tth
hat
a ccom
coming
om
o minng up?
up?
up
you’ve had entering into Canada of all time? D
Di
Digital
ig
giital
ta
al albums?
allbum
a bu
b ummss?
s? RZ
R ZA:
RZA:A: BaB
Baby
abyylo
Babylonlon
on AD.
AD. M
AD Myy boboy
oy Vi V
Vinin
RZA: Like I just told you yo, they took some prople RZA:ZAA:: II’d’d ssa
say
ay ffo
ay focus,
ocu
cus
us,s, yy’namean?
’n
nam ame ea
an?
n? Ho Hoc
Hocus
ocucus pocus
cus pocu
po cuss I got
cu gott
go D ie
esse
Dieselell got
got
o me
me back
ba
b ack
ck onon the
the track.
th trac
tr ack.
off the bus and took them, that was it. the ffo focus!
ocus! s! ((laughs
laug
la ughshs around)
arrooun nd)
d) He
H e got
got
ot some
soom
m
me e shaboobaloo
sh
hab boo
oobob
baalo
loo
of course we we had already said we were looking augh
au
augh
ghs
(laughshs drunkenly).
drun
dr unkkeenl
nly)
y). We
y).
y) We in n here
he erre
re
for the worst of all time - not today ES: WWho
ho a are
re yyou
re ou a aiming
im
min ng for?
fo
or?? Who
Who ho do do youyyoou want
w n
wa ntt to
to and d we e having
havviin
ng a good
go
g oodd time,
tim
me e,, wewe
buy this, be
b
besides
e
essi
side
des everyone?
evvereryo
ryo
yon ne
e? justt w
wan
antt to
an
want to ssay
ayy ““bon
b n booboo”!
bo boob
bo boo
oo””!!
Dave: So beyond the blunts and shit, in Jim RZA: It’s jjust
usst
u llike
ike yyo,
st lilik o, w
o, wherever
herre
he
here eve er ththe
he m medicine
me ed diicine
cinne fitt,, w
e fit we e
Jarmusch’s movie “Coffee and Cigarettes” you’re got the remedy dy for
edy orr that,
fo hatt,, yyou
tha ou g
ou got
ot tththat
hat ssi sickness
ick
ckne ness
s w we e ES: WeW lll , yo
Well, yyou’re
ou’
u rere iin
n th
he la
the and
land d of
of
talking about herbal medicine, and I know you’re got the remedy. E Everybody
very
ve
ver rybbooddyy need
neee ed it,
ed t, y’namean,
iitt, y na
y’ ame n, but
ean,
an but
bu the be
est
s w
best weed ee
eed
ed in the
thee world.
wororlld
d.
all about Sacred Mathematics and the Ancient some people are smart sma arrt enough
eno
en ouu
uggh
g h to to getge
g et it.
itt. Youou see
You sseee
ee RZA:: Ye
Y eah,
ah, wh
ah
Yeah, who wa
who w an
ntts some
wants some
so
som me of
of
Sciences, how important is the alchemical process commercials, they gott many ma
m any
ny different
diifff
ffe
fererent nt commercials
cco ommerrccia
om alss this? (tokes
(tok
(tok
(tokes
ke ess all
alll around)
aro
oun ndd))
of herbal medicine a part of your daily life? of drugs to fix your shit, you ouu kknow?
now
no w? ? But But sso
Bu some
om
me e
things may not work, you know. Before Befo
Be re I take
fore ta ke a
akke elll just
e
Ok well just
ju st wrap
w
wra
ra
ap this
th
his
is up
up right
rig
rig
ri gh
h
RZA: Well at one point it was super important, Scooby snack, I’d rather take a Digi Snack. Snack ckk. here
y’namean? Then I got a lot in me, and then I do it
gradually. Some time you start things, you get into At this point we are convinced that the active RZA ass BBobby
ob
o by Digital’s
bby Dig
ig
it, you take it abundant becase it’s new to you. It’s ingredient in the aformentioned “Snacks” is nack
na c s” is
“Digisnacks” i in Stores Now
like anything that you eat, first you love it and then Psilocybin ass been
a
(and has b for quite some
you start eating it like once a week. So the same time)
thing with the herbal for me. But I definitely use it
photos by Scott Alexander
Sean
Price
The ABORT
Interview
Amalia Nickel here for Abort Magazine,
tonight we’re hanging out with Brooklyn
emcee Sean Price from the Boot Camp Clik,
he’s currently on tour with Ill Bill and that’s
what brings him to Richards on Richards in
Vancouver tonight. How’s it going, Sean?
Sean P: I’m Aight. Chillin.
Amalia: Enjoying Vancouver?
Sean P: Yeah, and Happy Thanksgiving...I
didn’t know it was Thanksgiving out here, I
just found out.
Amalia: Our Thanksgiving is a bullshit
thanksgiving though; it’s not really related to
anything, no historical event.
Sean P: You cook turkeys and all that like we
do? How you like your turkey, in the oven or
fried? You ever had deep-fried turkey?
Amalia: No, but it sounds fucking good.
Sean P:I haven’t eaten it in a while, I’m a
vegetarian now, but I miss it though.
Amalia: So the new Heltah Skeltah album,
D.I.R.T. came out just in September, right?
Sean P: Yeah, just this September 30th.
Amalia: What does that ackronym mean?
Sean P: It means dirt, but it stands for Da Incredible Rap
Team. Me and Rock. But they’d never let Rock in Canada.
Amalia: I guess not, huh? Can you talk about that?
Sean P: Oh you know, he got a lot of legal issues. You know
what I mean? He actually has an attempted murder charge
right now, he’s about to go to trial soon for that, you know?
He’s not guilty but you know, we’ll see. ‘
Amalia: Heltah Skeltah had a group Special Education which
did some rap-rock collaboration for the video “Ruck and
Roll” directed by Rick Cordero. Who plays guitar on that and
when can we expect to see a live version?
Sean P: The guitar is played by my man Guitarded, his name
is Guitarded, you know what I mean, cause he’s retarded on
the guitar. And a live version...I don’t know we’ve really got
to get the band together, know what I mean, they kind of don’t
like me and Rock but, you know, we’re trying to work it out.
Amalia: So possibly some time in the near future?
Sean P: Don’t keep your fingers crossed, they might get
cramped, that’s all I’m gonna say. (laughs)
Amalia: These days there seem to be a lot of artists connected
to La Coka Nostra family. What’s your connection to them?
Sean P: Well me and Ill Bill is peoples, number one. Rock
was signed to Lethal’s label at one time, so I guess that’s the
connection between Heltah Skeltah and La Coka Nostra.
Amalia: For our listeners and readers who do not know who
Ruste Juxx is, can you tell us a little bit about him and tell
us about the album “Indestructible”, which you executive
produced, right?
Sean P: Well, Ruste Juxx is my artist, he’s been with me since Amalia: Do you see that happening?
Magnum Force, the second Heltah Skeltah album, and we’ve
just been wokring on growth and development of himself as
an artist, now’s the time, the drop down. He’s been on the
second Heltah Skeltah Album, he’s been on the Boot Camp
albums, he’s been on both of my solo albums, my mixtapes,
so it’s time for him to shine on his own now, me Dru Ha and
Buckshot was like, aight, let’s do the album.
Amalia:And some of those tracks are produced by PF Cuttin
who used to be in Blase Blase, right?
Sean P: Yeah, PF Cuttin’, I know Black Milk did two joints
on the album, he got a nice list, a nice line-up.
Amalia:So let’s talk a little about dream collaborations. Who
would you like to do an emcee collaboration with?
Sean P: Jay-Z
Sean P: No.
Amalia: No? Why not?
Sean P: It just won’t.
Amalia: What about musicians, anyone you’d like to work
with?
Sean P: Nobody really, nobody in particular, whoever
wanna work with me, nobody really stands out to me that
much that I’m like, “I gotta work with him,” but if you
got some hot shit I’m with it, you know what I mean? No
musician in particular.
Amalia: Do you have any soundtrack or video game
appearances coming up?
Sean P: Coming up? I don’t know but I just had a meeting
with a dude from ea sports the other day so hopefully
we can make something happen from that beat. I’m on
Grand Theft Auto 3, I’m actually on the Grand Theft Auto
4 visual download only album, I’m on that, that Green
Lantern produced. I’m on Call Of Duty, there’s some other
video game I’m forgetting, but I’m on a few. Look out for
me in the future, me and EA sports.
Amalia: What’s on your ipod right now, what you listening
to?
Sean P: Besides me and Ruste? J Dilla, a lot of J Dilla, a
lot of Black Milk, Guilty Simpson, Billy Ocean. (starts
singing). A lot of old school shit, old shit.
Amalia: Are you into any Canadian hip-hop?
Sean P: Kardinal Offishall of course, Saukrates, that’s my
G, and that new kid Drake, he;s kinda dope. I’m up a little
bit, I ain’t too knowledgeable but I know a few.
Amalia: Well, thanks for your time Sean. Heltah Skeltah’s
D.I.R.T. is in stores now, Duckdown Records, on iTunes,
and currently touring.
Sean P: Come check out the shows, by some merch, enjoy
your life. Smoke, have fun, drink, and be merry.
Amalia: You can also check out Seanprice.com
Sean P: You could, but I would just go to duckdown.com,
my website sucks. It’s been under construction for 7 months.
(laughs).
photo by Scott Alexander
A: 13 years since you officially broke up and nine
years since you stopped looking for a singer
B: Yeah you know what, it was actually longer than
nine years, the truth is we were not actively looking
past 1996, i would say, we just knew it wasn’t going to
happen, and it was probably important for us to go our
separate ways.
Our first reaction when Shannon died was to stay
together because we didn’t know anything else, out of
fear sort of, you know, we have to stay together, we
have to find somebody else.
For me I wasn’t even prepared to listen to peoples’
recordings to even see if they were good enough to
be the singer. Mentally I was not prepared to be in a
band called Blind Melon again, so I had to go off and
do different stuff and that brings us to this piont, so its
really been like 13 years you know?
A: There has been a lof of fresh effort from quite a
few bands that have had singers either quit or pass
tragically, and they have come back and done tours
and it has gone really well.
You guys did a sold out club tour last year or two years
ago?
B: Yah and we just sold out everything but one on this
Canadian tour too.
A: Awesome, and the last tour you guys were on, was
that all old material or did you have some of the new
stuff as well?
B: No, for us it was essential that when we were to go
out and tour we had to have new songs. We wanted
to play those old songs, we wanted to honor them,
but for us it was never about, oh let’s just go play old
songs and try to cash in, it was more about let’s try
and have a future.
A: This tour even more, with the new record, For My
Friends, out now, I hear a lot of Beatles in it, something
you have been listening to lately or what have you
been into lately?
B: I mean always, you know, I mean that just never
ends, the Beatles are always part of my life. Now I
have a son so, you know, you’re trying to program
him with good songs too, there is a lot of Beatles and
Zeppelin and all the classic stuff.
A: My parents never played me any of that, I feel
deprived.
B: Yeah my parents didn’t either, I didn’t get turned on
to the Beatles until I first started smoking pot, which
would have been, you know 15 or something, and it
changed my life. So it would have been nice to maybe
know about that stuff sooner.
A: You guys still have the Sleepy House? Is that still
around?
B: No, no, we just rented that house actually.
A: So that was just for the time being.
B: Yeah it was just for that period of time. Somebody
just recently sent me a picture of it though. My mom
actually, my mom was in that area.
A: Has there been some changes there, from what
you could see in the picture?
B: It looked like the same old shitty house, the only
thing that was romantic about that house was the
period of time its not that the house was special it
was a special time for us as a band, hanging out and
bonding.
A: When you guys got your start, it all happend so
fast.
B: It didn’t seem fast, people say that, but it didn’t
seem fast to us. Because we didn’t have a hit for a
really long time, people think that we released our
record and had a hit song.
A: Well you were developing the self titled album in
the Sleepy house though right?
B: Yes we were but once the record came out, we
didn’t have a hit until over a year into that record, it
didn’t seem like it was happening fast at the time.
We thought the record was over, actually, the record
company said o.k. lets try one last single. No Rain
was the third or fourth song that they tried to get
played on the radio and it exploded and after that
everything changed.
A: There’s some really funky, funky, stuff on that
album too, do you guys all listen to a lot of funk as
well?
B: I don’t listen to a lot of funk, that might be more
Brad and maybe Glen. For me, stuff like Sly Stone
and shit like that is important but I don’t listen to
straight Parliament or anything like that, I know those
guys do. But for me, as a guitar player, I don’t really
feel that stuff as a guitar player.
I like when Zeppelin becomes funky you know, I prefer A: So the last time Blind Melon was here then would back across the border they searched our car, they
that, funky, it’s not like straight funk. So we had to continue and we had to go travel the world have been the Halloween Show you guys did. thought we had drugs we were there for hours, and the
for another eight months or so because at the last second B: Oh yes the infamous Halloween shows yeah, that was dogs ripped up this blanket that I had in my van.
A: I guess that’s what I’m hearing there too, it’s rock but we kind of had this hit song. one of my favorite shows actually.
its got this funky groove under it. That border crossing, especially after Shannon peed on
B: Yeah, that comes from the rhythm section for sure. So we were so burned out, not always getting along, A: Had a lot of fun that night? that audience, was always just a son of a bitch for us,
there were a lot of drugs going on and thats a really bad B: It was such a bizarre dramatic night, and I love shows they knew who we were everytime we came through that
A: Over the years you’ve been sort of the everything guy combination, atio , when you’re tired and you haven’t been g and that is a show that I will never
that I will never forget border crossing.
as far as instruments are concerned, you’ve done the the
he ho
h ome
home me in in a really
rea
re allly
ly long
lo time. ime
me. It
It drove
drrrov
d ove everybody
ov evve
e erry pret
ettty
prettyy well
wel
ellll eve
ev err forget.
ever orrg
gee
ettt..
mandolin, banjo, harmonica. Anything new you’ve been een ccrra
razy
azzyy,, w
a
crazy, wee we
w ere
werere all
allll pretty
pr out of
ou
out of our
our
ur minds.
miin
n A: IIs
A: s that still around, are you guys still dealing with that?
dabbling with? A: S
A: Soo all tthe he d
he rra
am
drama ma a aside, with th the
th th
he e repercussions
rrep
epeerrccu
uss
uss ssio ion nss for B: I d
B: don’t know, they of course searched the bus this time,
B: On this tour I’m playing a bit of worlitzer, depending on
on So I think we’re
So e rre
e a little
littl
ititttlle more
re
e conscious
co
onnssccio
ciio
o of thatt now,
no
n ow, so
ow so Sh
Sh
Shannon, whha
whatat with
wiith
w th urinating on on the
the crowd,
th ow
o wd,d, he he endeden up I th
tthink
hin
ink
nk they probably search most busses. They just make
the set we play, and then lap steel, I play a bit of that. now we fifig
no
now g ure
ur
gured edd out
out
ut afteraftfte three
fte hree
hr ee weeks
weeeek either we’re
e’r
’re going
go
g oiin
ng to
to com
co
coming ack to
ac
back to Vancouver
Vananco ou do community
to do co om m un niity
ty service,
se errrvv he itt ttough.
oug
ou gh h Whats odd is they make it tough for you getting
sta
starrt fig
start ghhttiin
ing
ghting ng or or its
iitts time
ttiime
me to go go h om
o me and
home a spend a little
liittle time
tim
ime end up working
en
ended woorrkkiing
ing
ng in in the
tth
he Downtown
D ntto own
wn East E st Side,
Siid
S id
de e, which
w is backacckk iinto
nt your own fucking country too.
nt
A: Whats a worlitzer? wiith
w
withh the
hee kids.
kid idss.. on
o
one ne of the most moos st re
st rreputable
eppu uttaabl
ble drug
drug g havens
hav
ave in in North
No orrth th America.
A
B: Its a piano from the 70’s, it’s electric, it’s not a B: Yeah it sshook
B: ho
h ookok himhiim
h im up.upp.. I ccame
am
a me up up to to get
et h hi
himim when
im wh he
wh A:: I kkno
now its hellish, and its gotten more intense since
no
know
keyboard, it’s a killer piano from the 70’s. They don’t A: T
A: Th
heerrre
There e is
is n o sh
no sshortage
ho of that,
of that
th at, I tthh
think, everybody’s wa
w
was a done,, and and of
an of course
couours rse hehe waswaass telling
telli
elllii me me what wh
w ha att he had 9//11
11
9/11
make them anymore. For me I can’t play a fake piano, o, I huma
hu man and
human and itit just
an jus
ust happens.
ha
h
hap
ap ss.. ju us been through,
just tthhro
roug
ougugh
gh and and
nd itit affected
affe
af fecctte
fe edd himhimim inn a really
re a
re
real allly
ly big
b way, B: Y
B: ea
e
Yeahah and
a I’m fine with that, what ever it takes to make
hate that sound. B: Ab
B: A b
Absolutly, iits
ts u
ts nn
natatu , people
unnatural, pe
p eo opp
plle
le don’t
d realize how do
d o
oii his time
doing titime
me
m e upup here. ere
re
re.
e. I think
th
hiink
nk in
in the
tth
he end nd hehe was wa ass gratefull alll of
a
all of uuss safe.
s
un
u nnna
a
unnatural it is to have haavve nine
nii e guys
n guy
uys in in 100
1 sqare feet or so.
so. tha he got
th
that ot an an opportunity
op
o p nity
ni
ity
ty to
to come
coome e up u and
and see
an sse
ee these
ee th
th
A: Do you ever use [ebows] or have any cool pedals that th
haatt Peo
Pe
People think its big bigig but
butut when
whhe en youyou think
yo th
th en
e ntt,,
of an apartment, pe
p eo
people and d feel
fee
eel like
l co
he could ould
ulld help
u help
he lp in in someme way,
me wa ayy, I know w A: II’ve
A: ’vve g goo this book here, A Devil On One Shoulder and
got
you use? wo
w ou you ever
would err live
e liiv
ve inin an
an apartment
apa
ap arrttm
me ennt with nine people,, a itit sshook him iim m up
up in i a big way ayy and
a annd
d itit really
re y effected
re effffeec cteted him m an Angel
an Angngel el On the Other, the story of Blind Melon, have you
B: Sure, the [ebow] I played of course on the Sleepy on
o n
ne
one e room apartment?
ap
paartme
rrttmme e
en ntt?
n cco om
coming miing
ng up p and and seeing.
an s hiin
I thinknk
k he
he realized,
rreea zeded, wow wo
w ow ifif I don’t
do
on n
n’’t’t sse
seeneeen n this?
this
his
hi
house, I don’t think I played on the new record. I pick upup get m
ge
get myy sshit
hit to
hi toge
oge
ge
together I could end end
nd upup dead d d or or like
lilikkee them
the
hem and
an
a nd B: Y
B: eah I had to approve it, so I read it actually, from
ea
eah
Yeah
the [Ebow] and Time to Go always has that kind of jam, m,, its
itts
s Itts n
Its not as sg lamo
la mour
glamourusuru uss as
as people
peo op
p
plele
e think,
tth
hiink
h nk itit could
cco
ou
o uld
d be
be worse,
w se, e, obio
ob ou
obiously usslyy he
he did diid end
d e up in one e of
of those
thohos ways.wa ayyss.. ccoove
cover ver tto o cover, I had to put it down a few times because
one of my goodies that I pick up for Time to Go. [Ebows] ws]
s] we
w
we’ve e’vve discussed
cus
usssse
sed traveling
ttrrav
avel
avel
elin
eli
ing in in a van,
vanan, to to save
sav
ave money,
mon
mo neeyy, we’re
we’
e’re
re its d
it
its isstt
disturbing for me to read, its really fascinating since
are great. I’ve been using it with the slide as well at the
the
he luck
lu
lucky cky to to b
bee in
n a bus,
buuss, but
b t you
bu yyoou have
havve
ha e to
to make
ma
m akke e sure
su
urre you’re
youu’’re
re not
no
ott A: Its
A: Its ju
It jjust
ust
st ttooo b
oo
too badad that kind
ad do off sshha
hak
akke u
shake uppd oe
o essn
doesn’t n’t’t happen
n’t haap
pppeen to
to its tto
it
its o in quote form, what you don’t realize is that other
told
same time, it has almost a [pheramon] sound ttiirre
tired ed andan
a nd grumpy
grru
g um
m
mpypyy because
p be auausese youyou
ou could
co ouulld
d really
re
eaalllly
ly snap
sna and d want
waan
nt mo
m
more o
orre people,
pe eo
oppllle
e, especially
e, esp
esp
spe ecc for Vancouverites,
fo
for Vanc
Va nccou
ouve
ou
uvve
eri
ritte
es we’re
we’re re used
usseed to
to pe
people are having their own experiences as you are
to sstrangle
to tran
tran soome
meebo
somebodybo
b ody
dy in
in their
tth
hei
eir sleep.
eir sle
sl eeep p.. itit n ow, I walk through itit every
ow
now, ev
e verryy other er day
day and
da an
a n
ndd I’mI m glad
glla
g add that
t t havi
ha
having ving
ng youry experience. You can talk about one situation
A: Any tips for slide playing? I know a lot of people
e pick
piicckk
p he took
he too
ook something g away
away
aw ay from
frro
om that.
tth
h here
he
here re a and nd
n d you can hear my side of the story and I can hear
up a bottle or a mic stand... A: Le
A: L ea the pe
Learn eac
ace,
peace,e, learn
le
eaa
arn
rn silence
rn sililen
enc
nce
ce too.
to
ooo B: He did in a big
B: g way,
wayy,, obviously
wa obvbvious
iio
ousl
usly
us ly he putt itt into
iint
nttto
n o a song,
so
so he Brra
B
Brad’sadd side of the story and didn’t realize he’s thinking
B: You really have to find what slide works for you, B: Y
B: ou
o
You u have to
og o to
go to tthe
he h
he pp
happy pyy place.
pla
lac
ace
ce. w obviously very
was vve
ery
ry inspired.
in
nsssp
piire
p red d.. that
th
that at because he has his own set of bullshit he’s going
sometimes I use the steel one or the glass one, I think its ts tth
hro
throughou I think Greg Prato did a really good job.
important to find one that feels comfortable. Its not like allalllll
a A: It
A: IIts
ts ffunny
u in ssuch
in uccch
u h a llo
ou industry
loud ndusstry
nd try that
tr th silence is
th A I’ve always wondered
A: wonond de e ed about about
ab out that,
ou tha
th att, listening
l e en nin ing to to that
tha hat
slides fit every person, you have to figure out what works ks
ks sso
omme e
eth
somethingthiin
th ng youyyo
ou have
havve
ha e to
to go
go for.
orr.
o a
album over the hee years,
yeeaa
ar Vancouver
Van
Va nccouv
ouve
ou ver isis the th kindkin
ind of of city
city
itity that
tha it
th He was
He w really dedicated, he’s been doing this for years,
for you B: E
B: Ex xpec
xp eciia
Expecially alllly in
in close
ccllo
losse
e quarters
quuaa errs you
you know.
yo know.
kn ow.
ow is so young, itit even
is even
ev en has street str
tree
tre
eet names
na
n a
amme
m es and nd references
rre
effe erre
ere e
ennces
nc
nces es to to he talked
he tta
a to a bunch of people in bands and everybody
b
bigger thho
cities, I thoughtoug
ougug maybe be that
be thha
at was
wa
w as about
ab
a bo ou ut NewNe
Ne ew w York.
Yo
Y ork.
rk.
rk we worked
we w with. In the end I wish I’d given him more of
A: So you’re back in Vancouver now, you guys have a A: So
A: So w hen w
hen
he
when wa
a
ass the
was the last
th lasstt time
la me youyyo
ou guysgu
g uysy were re in
i B No, straightup
B: ghtup
httu
h up pa b
about xper
xp erie
erie
his experience ienncce up up here, heerre, I was was as my ttime,
my i I was really busy when he was doing the book
little break after this? Va
V anc
ncou
ouve
verr?
Vancouver? ? th
th
thinking about ut itit riding
ut ri d
ri diin my bike today,what to
oddayay,,w wha at a great grrea
g at line
lilin
nee an
a
andn
ndd I dont feel like I contributed as much as I probably
B: Yeah we have about a week and a half or so. We’ve ve
e B Fo
B: For me
For me iitt would
ouulld ha
h
haveave
ve been,en,
n, Brad
Brad
rra
ad anda I were in that att
a h has in that
he at song,
at so on ng,
g, why w does something omme e
eth tth
hin
ing good go
g oood d have avve to to ssh
hoou
should u have, I did get a chance to talk to him once for
been doing about three weeks on and about a week, orr a b nnd
d, Unifi
band, Un
U nifie
ifie
ifi heeo ory
ed Theory,ry, I do d o t re
don’t rremember
emme e
emb
mb
m b where we would oul
uld
uld d before we
die e miss
miiss
m ss it?iitt?
t? its
i just so true, trrue
truue, its i s soso truetruru with th
h my
my ab
a b
bou
aboutou an hour.
ou
ow.
week and a half off, its been our schedule for a year now. ve
havee played.
pla
layyee I guess
ue
u essss that
th
haat would
oul
uldld have
have
ha ve been the last time ime I
im e
expericne withth him,
th him
im, for fo
or meme to think nk about
abo t that
ab tth
ha att lyric
l now w
here
he
was here.re That waswasas a long lon
on timeime
me ago.
ago go. I had a he heavyy moment
mo
m omeme ent ntt today,
n to oddayay, I was as like
lilike
ke ‘ohoh fuck
oh fuc
uc he’s so I th
tthink
hin
in he did his homework he talked to a lot of people.
x
At the beginning we were doing a longer tour, five or six I used too live in Seattle
Se
S eatattltle so
so wewe would
wou
wo ulld come
cco
ome
me upup and
and hang
an anngg r htt’’. S
right’. om
o metetth
Somethings hing
hin
hi ngs got go
g ot to
to diediee and
a d then
the
hen you ou go go oh my god
usstt
weeks, and three of us have kids at home and it was just out and stuff. I ha h avve
haven’ten
en’
n’’t lillived
iv d tthheerrre
there e for
for a
fo ab
bout
boou
o
aboutut seven
seve
se ven years,
ye
eaarrs,
s, I Im mi issss h
miss him
im
mo orr w
wh hate
ateve
at
whatever err itit is
is you
yo don’tdon
on’t’t haveh ve any any more. Its
an It w
It wasa fascinating for me to read, I don’t know if anyone
too long to be away from family. moved back down wn to o LosLos
os Angeles.
ngel
ng eleess. jju
ust
justst about
abboou
ou
utt taking
ta
akkin
ing shit
ssh
hit it for
ffo
orr granted.
o graran ntte
edd. And
An nd d I think
thiin nk
n k thats
t what elsse
el
else e is going to care about this shit, it was interesting for
he got
he go ott from
from be b e ng up
being up here, heerre
re, hehe realized
rea
re alliz
iz that that
hat he
ha he was taking me to
me t hear about what the other guys were going through
A: Thats a great schedule, its good to hear that you u guys
gu
g uyyss I ha
h a an amazing
had azi
zinng
g day
day
ay today,
ttod
oday
od ay, I love
lo
ove
ve this
thi
his city,
cciitty
y, riding
rriiidi
din
di ng
g our
ou
urr shit
sh
shit it for
fo
orr g rra
ant
nted and
granted, nd he he realized
re
ea alilize
zed how
ho
h ow fragilefrag
fr agile
iille life
lliife
fe is,
is, he at tthe
at he
h e ssame
a time.
are treating yourselves so well that way. biikes around.
b
bik
bikes nd
d cou
co
couldullld
d end
en
ennd
d upu like that. t I tth
hin
hin
ink its
think itits an easy read, it’s in quote form its not heavy in
B: I think that was one of the things we really fucked up I rode all around, I went to Hastings, of course, for the the sense of literature, it’s good for Greg he did a good
on the first time through this career, I think what happend reference that Shannon wrote about so I always like to A: And after that time what were you guys up to? job.
is we didn’t have any time off. Like I was saying we pass through Pigeon Park. B: I don’t know if that was right before Woodstock, I can’t
toured for a year playing clubs and right when we were remember in the chronologial order of things, I remember
getting ready to have that time off we had a hit song. that I came up with my wife to get him, when we coming
The ABORT
Interview
ABORT: Ninjoelspy here with Thomas Baptist Morello from Illinois,
once a reckless dabbler raging against the machine, went through
a few years of “Audioslavery”, now you come before us as the
Nightwatchman. Making for the masses a mix of fun, ferocious, funky
folk music. What does being the Nightwatchman mean? What is the
significance of that name?
Tom: Originally it was an antidote for my arena rock in Audioslave,
which I enjoyed very much but I felt there was a big piece of me
missing from that and I filled it in by playing Nightwatchman shows
at coffee houses and protests and union rallies and stuff like that. A
bigger and bigger slice of my musical interest was being funneled into
that and it really felt like it was a calling and I started amassing a body
of material that i felt was as important to me as any other music I’ve
ever been involved in so I made “One Man Revolution” last year and
“Fabled City” this year, so The Nightwatchman is on his way, beware.
ABORT: Its funny because up until probably the last year or so most
people probably didn’t know you had some pipes on you.
Tom: You can add me to to that number. I have been playing electric
guitar since I was 17 years old...
ABORT: were in choir when you were a kid though?
Tom:Yeah, actually the very first band that I was in, before my voice
changed, was called Nebula, I was the singer of that band but I
could sing Led Zeppelin songs, and then my voice went down, and
oh there goes my singing career. But thank goodness for guys like
Johnny Cash and Leonard Cohen that give those of us a chance
that can’t always hit the high notes.
ABORT:Baritones are cursed because the pop world is full of tenors
and altos, and having a low voice, trying to squeeze out the high
notes.
ABORT:Did you sing baritone in high school then?
Tom: Yeah.
ABORT: . so it dropped then... Definitely, when I heard your voice for
the first time for the Nightwatchman stuff I heard Cash, Cohen, Tom
Waits, Bruce Springsteen, and then bang out of nowhere I hear this
track, you’re
Founding member and guitarist for the
legendary Rage Against The Machine and
Audioslave, activist and environmentally friendly
Tom Morello sat down with Joel Parent from
Vancouver super-trio Ninjaspy, to discuss his
latest album “Fabled City” from his alter ego The
Nightwatchman
doing The Ghost of Tom Joad,with Bruce Springsteen live, doing the guitar
thing but Rage did the same song a while back, what was it like doing two
different versions of that?
Tom: ‘m a huge fan of Bruce’s record, The Ghost of Tom Joad, and
suggested that rage play that song, we were opening up for U2 in 1997 and
thought we should have some new jam to play so we did sort of a Black
Sabbath version of that acoustic song. When Bruce and I played it last April
it was a version somewhere between the two, it was one of the things that
could have pushed me in that direction of doing this tour the way we’re doing,
half acoustic and half electric. I really wanted to, on the first Nightwatchman
tour, make sure that it stood apart from the other stuff I do, that there wasn’t a
room full of guitar shredders standing in a room going ‘why is he just playing
acoustic?’
Now I feel much more comfortable, there is a tremendous amount of guitar
shredding going on tonight as well as acoustic songs, and I feel pretty
comfortable doing all the things I know how to do on one stage.
ABORT: I want to talk about “Shake my Shit”, it was a special release just on
iTunes, so saving paper, just pick it up online, make sure you pay for it.
Tom:Or not, actually a percentage of the proceeds of that song and another
song called Facing Mt. Kenya go towards Kenyan Red Cross to help the
people who were hurt in the troubles lately. That one you should feel a little
guilty about if you don’t pay for it.
A: You’re doing the same thing with your merchandise on this tour correct?
Tom: In every city a percentage of the merch goes to a local homeless shelter
or food bank.
ABORT: And its getting colder, and the homeless people here are fighting
for tent cities, and the right to occupy public parks. The problem is getting
worse, with the warm climate here that its just easy for homelessness to get
out of control and it doesn’t seem like anybody’s got a good plan for it. So
that should help a lot. With System of a Down, they put out “BYOB”, that song
with its chorus, you see people singing it, getting drunk, ‘everybody’s going to
the party, have a real good time’ But really its totally sarcastic, poking fun at
it. Now is it the same thing with Shake my Shit, are you poking fun at apathy
and procrastination or do you really just want to shake your shit?
Tom: the verses of the song are about the things I’m going to put off until
tomorrow, and those things include, basically storming the barricades, and
doing all this righteous political stuff.
Every once in a while The Nightwatchmanneeds a party jam. If I can’t dance
I don’t want any part of your revolution, so we try to make sure there is some
good ass shaking as well as the deep political thinking.
By Ninjoelspy
photo by Scott Alexander
 But after that, I always told myself I would keep music and movies
separate and that I would never put my own music into the movies.
I mean I might someday, if it’s ever appropriate, but to me it’s never
been appropriate. I find it distracting to hear my own music. It takes
me out of the film for some reason. So, no plans.
ABORT: And can I ask how things are with “Superbeasto.”
Rob Zombie: The “Superbeasto” is completely finished, and done,
finally. I finished it about a week ago, finished mixing the sound and
all that stuff. So, now we’re just trying to figure out when the best
time for it to come out is. I mean, that’s really it. But as far as work-
ing on it, it’s done, which – after three and half years, there is a nice
feeling. I was hoping for one.
ABORT: I was wondering can you tell us a little bit about “Tyran-
nosaurus Rex” when it’s going to come out, and what the movie is
actually about.
unlike movies, with the records, they are not quite as quick to set a
release date. But we’re hoping to finish it by Christmas. So when-
ever, and sometime after that.
ABORT: All right. And back to the White Zombie box. I mean,
what was – after doing it, what was the kind of overall perspective
you had at the band, and then what was some of the stuff you found
for this that brought a smile to your face?
Rob Zombie: I mean, the funny thing was when I was putting it to-
gether, it seemed so long ago, I felt like I was putting together a box
set of somebody else’s band. Because even though it’s not that long
ago, the band broke up about 10 years ago. I guess that’s pretty long.
It just seems like forever going. Some of the early songs are like,
whatever 20 years ago or something. I don’t know, it just seemed
weird.

Rob Zombie: Not really. There is Most of the really old tracks I hadn’t
no plan, there is nothing on yet. I even listened to since then. The
haven’t really started it yet. The song was from like 1985; I prob-
problem with Tyrannosaurus Rex ably hadn’t listened to it, and heard
was – it sort of got announced like it since 1985. So it was just kind of
way ahead of time, unfortunately. weird. Found a lot of old fliers in
So since it was out there, I started junk. But luckily, the biggest thing
talking about it a little bit. But that was I was just happy that I had saved
movie has not even started yet, and a bunch of stuff, because I was sav-
so not too much to talk about that. ing it for no apparent reason, but now
I have a reason so that I can throw
ABORT: Punisher: War Zone it all away. It’s all documented and
With the release of the Edward Scott Day: Hi. Scott from “ABORT Magazine” in Vancou-
ver, Canada. How are you?
soundtrack Can you talk a little
or just about how that assignment
done. So I don’t have to save any-
thing anymore.
Rob Zombie: Good. came down or how that came
WHITE ZOMBIE box ABORT: with the release of the “Punisher War Zone” thing coming
up, the White Zombie retrospective box set and numerous appearanc-
down in that, what you son that
song?
ABORT: So are there any song titles
that you can actually reveal or are we
es on compilations, featuring your own take on classic tracks. Can Rob Zombie: That came down still very premature – to premature
Set and several sound- we ever expect to see a Rob Zombie album, of strictly covers maybe,
spanning any and all genres of music, Rob Zombie style?
like most movie songs come down.
You just get a call about doing it,
stages of this record?

Rob Zombie: I mean, I thought about it before, becABORTse I do doing a song for a movie. Usu- Rob Zombie: No we’re pretty
track and film projects like doing covers kind of sometime.
ABORT: You do them quite well.
ally, there’s not a lot of time, that’s
why, we usually ended up giving
deep into it. I mean, we’re finish-
ing it right now. Song titles, what

in the works— Rob Zombie: But just never get around to – maybe someday. I
mean, I always like the idea of it. And you know with certain bands
like Metallica, they are one of them, their covers record in Garage
them like a remake, sort of an old
song or something. It was very
really their time to write some-
are some of the song titles, “Jesus
Frankenstein,” is one of our song we
finished, that’s a good one. Another

Rob Zombie took a a Days is one of my favorite records. That they redid for some reason.
I love that when it came out, and so maybe if I can ever find time, I
like the idea of it. But I don’t have any plans at the moment.
thing new for the movie. But this
time, there was enough time; I was
already in the studio recording.
one called, can’t think of any songs,”
Fixed Bubble Gum,” that’s one of
our favorites.

time out of his busy ABORT: who are the other members on this one?
Rob Zombie: On the new record?
So we just basically, I haven’t seen the movie yet. So it wasn’t based
on me watching the movie. I had – they gave me the script, so I
ABORT: We can’t wait to hear that.
Rob Zombie: Yes.

schedule to keep our ABORT: Who else is signed with you?

Rob Zombie: It’s the same guys I have had for a couple of years.
John 5, Tommy Clufetos and Piggy D, which they’ve all been with
knew what it was about. And just sort of got in there and cranked it
out. I figured, it was obviously – I knew the vibe of the movie. So I
tried to incorporate that into the song.
ABORT: And then lyrically, I mean, what approach did you take
with this solo record?
Rob Zombie: It’s all over the place. I don’t really have an approach

readers updated on the me now for probably two years, I guess. John 5, longer. But we’ve
never actually recorded a whole record together. Part of Educated
Horses was John 5 and Tommy, but Matt wasn’t around yet and the
But I was happy to have that come up, because what it really did, it
was a nice kick in the ass too. We’ve been recording, but we really
– I used to sort of have more of an approach of what I want to do.
Now, we just go in the studio and we just kind of like let it happen
and this is by having a band that helps because we change things for

antics and activities of other guys were still new. And so you know, this is the first full ef-
fort of us together.
ABORT: And any of your upcoming movie stuff?
the ever spooky Rob Rob Zombie: No, definitely not. I made a choice a while back after
a House of 1000 Corpses – House of 1000 Corpses had some of my
music, but that was out of financial desperation to get the music, to
Zombie get the movie done. I took an advance on a soundtrack, and then put
the movie, the money back into the movie to finish it.
haven’t finished any songs yet. We had all those songs kind of half
finished. And that was a good kick in the ass to actually have to fin-
the moment, work on things and by the end of day – like we’ll start
with something in the morning, and by the end of the day its mor-
ish a song. And that really became the domino effect of finishing all, phed into something completely different.
starting to finish all the songs for the record actually. So it worked
out good. And the lyrics, I’m pretty lucid with how I approach it. Sometimes I
get inspired by things and sometimes I don’t, I don’t know. You just
ABORT: Do you have – do you have a timetable for the record?
Rob Zombie: I don’t have a release timetable. Not sure yet, because
bang your head against the wall till something comes out I guess it’s
like something else.

ABORT: I’ve been following your career
for many years now. And I noticed a subtle
difference between your music and from
White Zombie, and there are a lot of fans
out there trying to wish you – you would get
back together with the original band. What
was your set out purpose for starting your
own project and tell me, what is the main
difference between Rob Zombie and White
Zombie?
Rob Zombie: I mean, the main reason
White Zombie ended was, because the
people that were White Zombie couldn’t get
along anymore. One of the biggest things
that I could do as a solo artist is, I can get
people that can do anything. When you are
in a band, and you use those musicians for
good or for bad, you are at the mercy of
their ability, and nothing to slack them, but
say working with John 5. I mean John 5 is
a phenomenal guitar player. I can demand
things with him, but I could not demand
that from other guitar player, because they
wouldn’t have the ability to do it. So that’s
kind of nice to be able to reach out and
branch out to people, who can play beyond
the main, than perhaps the people here are
in a bandwidth.
And it’s funny too, because I see it in
another bands, because sometimes if you
are on tour with bands, I don’t want to play
(with) popular bands and they will come
up to John. John will literally be giving
the guitar player on the other band, a guitar
lesson. I can see the struggle bands have,
when you are stuck with the limits of your
own ability. So, I feel like that is one of the
things that being solo has really set me free.
I don’t have to try to get someone to do a
solo that might be like Kerry King. I’ll just
go to Kerry King to do the solo.
ABORT: Going back to when the band was
first discovered, what events transpired that
got White Zombie there for its record deal?
Rob Zombie: It was pretty simple and
pretty – I mean, we’ve been turned down by
every single record company that could turn
you down. We sort of were flirting with
RCA at the time, who had just signed some
friends of ours. They had signed Raging
Slab, who we were friends with at that time,
also the band Circus of Power that we were
friends with. And we’ve been talking to
someone over there for a while.
But I wasn’t really feeling it. I wanted to be
on Geffen for some reason; because at that
time Geffen Records seems like the cool
record label to be on. I don’t know why, I
can’t remember why I thought of that. But
that was, I had set my goal to Geffen Re-
cords that seemed like the one. And we – I
remember, I think we played a showed at a
small club in here, called the Pyramid Club
and Michael Alago, who is the main guy for
Geffen Records came down.
We think – I don’t even know if we knew
– we had already known him, because he
was friends of some other people who knew
him in New York. It’s a small scene, so
you know people. And he liked one of our
songs which became – which was the song
“Soul Crusher” that was on “Sexorcisto.”
He just loved that song, and really based on
that song, he signed us to Geffen or signed
us to make a demo for Geffen.
Then we made a demo with Jim Thirlwell
and that demo produced Thunder Kiss and
all the other songs that you aware. And
then we got a deal. But it was really it
was through Michael Alago, who just saw
something in the band, and he’s all about it.
That’s how we got our deal. And that’s the
funny thing that people have to remember
when they try to break into the things, and I
have to remind myself of it, sometimes too.
It only takes one person. Sometimes you
shop a demo around every record label, and
they go you suck, we hate you.
But it only takes the one person that says,
they like it. Same thing with scripts you
know. I’ve gone through this on like so
many movies where, whether it’s a – even
a finished movie, with the House of a 1000
Corpses, where everyone turned it down.
Every single person turned it down except
one place, Lions Gate. Because all I needed
was one place. Only one person who can
put the movie up. So you know people –
you know anyone looking for advice, that’s
what I was telling you. You only need that
one place. And that’s what we found with
Geffen.
ABORT: Do you have a lot of fond memo-
ries of touring with Pantera back in ‘96?
Rob Zombie: We had toured with Pantera
so much, because we had the same manage-
ment company back then, Concrete Man-
agement. It’s so funny, seems like another
lifetime ago. But we played with them
almost like 300 shows with Pantera, I swear
to God. Yes that was a crazy time, because
it was sort of like – we sort of were on the
same path; because both bands were sort
of – they started breaking out, just before
I’d said Cowboys from Hell and then we
actually opened for them, on their Cowboys
from Hell tour, and then after that – I think
“Sexorcisto” and “Vulgar Display” may be
came out, then “Sexorcisto.” I think they
had “Vulgar Display” at kind of the same
time period, I think. I tend to get confused
on it.
But it was fun, they were good guys and
we were good friends with them, and it
was nice to have sort of both bands, sort of
breaking simultaneously. We were sort of
achieving the exact same level of success.
I remember you know going on, me and
Phil one time went on Headbangers Ball
together. And you know, the bands were
very-very interlinked through that whole
time period. It was great.
ABORT: I just wanted to just wrap up the
White Zombie thing real quick. White Zom-
bie seemed to end rather abruptly, and was
the end of the band ever talked about, or did
it just sort of happen or kind of fall apart or
anything?
Rob Zombie: Well, you could feel it com-
ing for a long time, I mean, anyone on the
inside knew it was more of a miracle that
it was still holding together, rather than it
falling apart; because people weren’t get-
ting along, people weren’t speaking, I don’t
think the entire band was ever actually in
the same room together, when we made
“Astro Creep.” We were riding on separate
buses. I wouldn’t even see those guys until
show time, I would walk on stage play, walk
off stage.
So it was more of a miracle that it lasted
that long. And I just remember, it was the
(War of the Gargantuous) tour with Pantera,
walking off stage and handing this guy who
we call them Wookie, because he looks like
Chewbacca. Handing him the microphone,
and just – and I remember saying well,
that’s the end of that. And just I walked out
stage and walked to the car, and went to the
airport, and went home and that was the end
of that. And there was no discussion at all
just sort of self evident.
ABORT: Okay, perfect. Thanks very much.
I appreciate it.
Rob Zombie: No problem
By E.S. Day

A
credit card swipes the crack
of a female ass while naked
women’s bodies writhe
and grind. Men covered in
guns and money laugh with
pleasure. Politically, this is
oppression. Culturally, it’s a
music video. Byron Hurt’s
award-winning documentary
“Beyond Hip-Hop: Beats and
Rhymes” addresses this issue head-on. Hip-Hop culture
has reached a pinnacle of misogyny and is littered with
disturbing images: so why does society stand back and
watch, or try to mimic it?
It’s not easy being a woman. There’s a one in four chance
that a man will rape or coerce you to have sex before the
age of sixteen. There’s about a one in five chance that it’s
someone you’re related to. Add minority status to those
numbers and you’re fucked. Battered Women’s Support
Services, the organization that hosted a screening and
panel discussion around Hurt’s movie, deals with these
issues as a daily reality. Angela Marie MacDougall is
the executive director of BWSS and has been doing this
kind of work for 20 years. “As an organization,” she says,
“we’ve been trying to find a way to have this dialogue,
to look at misogyny, sexism, women’s representations in
hip-hop. The film, well here it is, it really connects the
dots.” Bringing Byron Hurt, Chuck D and the powerful
documentary to Vancouver was “directly a part of our
prevention work, directly a part of our community
engagement work. This event is exactly what BWSS
wants to do.”
The role of men in the movement to end violence against
women is necessary but also controversial. MacDougall
feels that “men are coming to this without having
the personal experience of violence and sexism that
women have and they do have reactions to talking
about it. They get defensive, they get scared, and they
react.” Furthermore, while hundreds of women work
to end violence against women with no notoriety or
financial gain, “there are men who are leading the way
and it’s lucrative for them, they’re making a good living
at it.” However, in a culture that does not give importance
to the woman’s voice, big stars like Chuck D may be
necessary to get men’s attention.
The filmmaker sees his film as a way to “trick” men,
engaging them to participate in a movement that they do
not think belongs to them. “Men need to feel they have
the space to speak out against violence against women,”
Hurt explains, “so we use hip-hop, use x-box, basketball,
whatever they gravitate to.” It may seem a sad situation
Beyond Bitches:
that men need to be tricked into caring about women’s
issues, but that too stems from a sick culture. “Boys of
color,” exresses Chuck D, “haven’t seen men of color
show them the way.”
In what he calls “radiation of a TV movie nation,” the
Public Enemy frontman explains the problem as distorted
imagery, where the voice telling people how to think
about themselves is a voice that can’t answer questions
of leadership value. Without a grounding of values,
people become apathetic about their personhood. In
the documentary, scantily clad women claim that rap
songs addressing bitches and hos are not talking about
them. Many men in the film see no problem in addressing
women as such, or even with unwanted and aggressive
sexual advances. Nobody seems to feel accountable for
the attitudes that accompany mainstream rap culture these
days. How ironic that the culture whose raison d’etrewas
to give voice to the marginalized is now complicit in that
very oppression.
Hip-Hop’s
J.B. The First Lady, a local female rapper on one of the
discussion panels, connects it back to culture, “we feel
like we are displaced so we connect with certain things
TV images say,” she claims. The images found in many
rap music videos are of women as sexual slaves, these
effigies become the ideal and disconnect womanhood
Cultural
from motherhood or sisterhood in the minds of men. So
while Chuck D compels people to “look into your culture
to protect you,” many do not have access to a healthy
view of either gender. Men are idealized as rich and
violent, women are portrayed as cheap. The film, then, is
Meltdown
one way to expose these myths and challenge boys and
men to learn about a feminist perspective.
People lost in a cultural cesspool cling to the icons fed to
them by corporate controls. Financially there is much to
gain when a society is searching for validation through
pricey products, community discord and the adoration of
false heroes. Hurt’s film and BWSS’s work are directly
combating these forces from the ground up. Shown in
schools and theatres across the continent, the film aids
in building what Chuck D calls “media literacy for self-
protection.” MacDougall agrees “the fact that we could
show this to youth today tells me that there is a way to
engage the community on this stuff and it’s my job as
executive director to figure this stuff out. I really want
that challenge.”
by amalia nickel
Please visit: www.bwss.org
By Amalia Nickel
Bill Moseley
Part One
In Part One of the ABORT
Magazine interview, actor/
writer/musician Bill Moseley,
(most notable for roles as
Chop Top in “The Texas
Chainsaw Massacre 2” and
Otis B. Driftwood in “The
Devil’s Rejects”) chats with
Grimm Culhane about his
latest project “Repo! The
Genetic Opera” as well as
working with the likes of Rob
Zombie, Tommy Chong and
Clint “FUCKING” Eastwood!
Read on!
Grimm: Once again this is Grimm Culhane for ABORT
Magazine. Today I have the pleasure of
speaking with actor/writer/musician and all
around Renaissance man Mr. Bill Moseley.
How are you today Bill?
Bill: I’m doing good.
Grimm: Your latest project “Repo! The Genetic Opera”
was released late this year. Can you give us a
brief run down on what this film is about?
Bill: Well in a nutshell, first of all it’s a movie and
an opera, so as an opera movie it’s all sung.
There’s nary a spoken word in. We had some
heavy hitters in the opera world involved,
namely Paul Sorvino, father of Mira and
alumnus of a lot of “Goodfellas,” “Goodfather”
type movies. He’s an amazing operatic
baritone, and Sarah Brightman who used to
be married to Andrew Lloyd Webber and was
on Broadway. She’s an amazing, world class
vocalist… and then there’s me. (Laughs) Just
trying to hang in there and hit my notes, and
you know, I did, so I was happy.
women, kills them and takes their faces and Otis. I’m forever grateful to him for leading me
wears them for his own. He’s a little strange. away. A lot of times when you have a signature
I’m terminally angry and kill people very quickly. character you hang onto it like it’s your life raft
Then there’s our sister who is none other than
Paris Hilton and she’s what we call a “scalpel
slut,” she loves changing her looks constantly.
on a stormy sea. Otis is a lot sexier than Chop
Top somehow some way and I didn’t know I
had that in me.
Grimm: So a lot of these themes are topical today. Grimm: Besides Rob Zombie you’ve worked with some
Bill: Um, yeah, absolutely. of the biggest names in horror, Tobe Hooper,
Both: (Laugh) Tom Savini, even Sam Raimi himself.
Bill: I have yet to go under the knife in Hollywood Bill: And George Romero, George and Tom, yep.
here so I’m an exception to the rule.
Grimm: Any plans in that regard? Grimm: Just looking at the list of films you’ve been
Bill: (Laughs) No, but that reminds me, I need to
make an appointment with the dentist.
in, “House of 1000 Corpses,” “The Devil’s
Rejects,” you were in “Grindhouse,” the trailer
for “Werewolf Women of the SS.”
Grimm: Any specific challenges with having to sing
throughout the whole film?
Bill: That was fun. I got to work with the great Udo
Kier and Sybil Danning, it was pretty amazing.
Bill: Well I am a singer, I did have a band with It was a lot of fun at lunch, believe me.
probably the greatest guitar player on the face
of the Earth, Buckethead. We had a band Grimm: I bet! (both laugh) You also worked with
called “Corn Bugs” and I actually sang and Tommy Chong.
wrote the lyrics so I was no stranger to singing.
I’ve taken singing lessons for the last 15 years Bill: Yes, that’s right, in “Evil Bong.”
and I have a voice coach which has helped me Grimm: You also worked with Clint Eastwood in the late
as an actor because the voice is so important. 80’s.
Bill: Yes, on a film called “Pink Cadillac.” It’s
Grimm: So it has maybe more in common with “La
Traviata” than “The Rocky Horror Picture
Grimm: You’ve portrayed several very memorable interesting cuz I got that job, once again, on
characters in your career, Otis B. Driftwood the basis of Chop Top. Clint did not like to read
Show?”
(“House of 1000 Corpses,” “The Devil’s with actors because often times they were too
Bill: Yeah I would says so in terms of opera versus
musical, but really it’s more a cross between
Rejects”) for one. Chop Top of course from overwhelmed by the fact they were reading
“Texas Chainsaw Massacre 2”… with Clint Eastwood. Back then Clint liked to
“Rocky Horror” and “Bladerunner.” It’s a
Bill: Yep. (In character) Dog will hunt! work from video tapes of performances. My
science fiction movie, it’s about a world in
Both: (Laugh) agent called saying they want to see tape on
the future where everyone’s organs have
Grimm: Every time I hear that I think of Primus. (Jerry you so I cued it up to the radio station scene
failed and there is a company that has risen
was a Race Car Driver). in “Chainsaw 2” and submitted that to Clint’s
from the death and destruction of society
Bill: I know! That was fucking cool. Oops, can I casting person. Clint apparently took a look at
called GeneCo. GeneCo provides organs,
say “cool” in your magazine? Chop Top and I got hired.
really anything you want physically, for a
Both: (Laugh)
price and you can buy with very liberal credit
Grimm: That must have really been something.
arrangements. The only problem is if you don’t
Grimm: Is there a specific character that you have Bill: Yeah, I had a scene with Clint, just the two of
make your payments your organs are subject
played that is your favourite? us having our scene at the white supremacist
to recall. If you don’t make your payments
Bill: Well that’s kinda like asking which of your base camp or something, whatever it was, and
GeneCo then sends out “The Repo Men” and
children is your favourite and we all probably I’m talking to Clint and we’re having our scene
they are authorized by an act of Congress no
have one, but it wouldn’t be politically correct and all of the sudden there was this part of me,
less to repossess whatever organ you might
to say that. You know it’s funny, Chop Top deep inside my brain going, “holy shit! That’s
have of GeneCo’s even if it’s your heart and
and Otis are two very different characters. Clint FUCKING Eastwood!” I had a great time;
they take it pretty ruthlessly and if you die
Certainly, as my life has gone, Chop Top is the it was really a lot of fun. It was one of those
tough patooties.
“father” of Otis. Thanks to Chop Top back in magical memories.
the mid 80’s, “Texas Chainsaw Massacre 2”
Grimm: So can we have your liver then?
came out in 1986, that turned out to be one In Part Two of our interview, Bill discusses his
Both: (Laugh)
of Rob Zombie’s favourite characters and on relationship with Timothy Leary, Chop Top on Broadway,
Bill: Fortunately I play the son of the owner of
the basis of Chop Top he hired me to play working with musician ohGr, writing for National
GeneCo so my liver is safe. Paul Sorvino
Otis. When I first began working on “House of Lampoon and reprising his role as Otis B. Driftwood
plays the owner of GeneCo and he has three
1000 Corpses” I thought Rob really wanted a in the upcoming Rob Zombie flick “El Superbeasto.”
ne’er-do-well children, me, Luigi Largo, then
repackaged Chop Top, but he gently but firmly All that and more, coming the next issue of ABORT
there’s my brother Pavi Largo (Oghr) who loves
lead me from playing Chop Top to finding Magazine.
the unofficial ubc online art magazine

a free online
magazine
out now
submit
your artwork
www.skewedmagazine.com
Please Donate to The Portland Hotel Society of Vancouver | www.phs.ca photos by chris webber
photos by chris webber
photos by nofutureface photos by scott alexander

Grimm: This is Grimm Culhane for ABORT Magazine. Today we
are taking a step back to about ’97-’98 with Sonny and
John from the band Snot. Welcome you guys, thanks for
coming to Vancouver, good to see you.
Sonny: Thanks brother, good to be here.
Grimm: To familiarize people… or make that “refamiliarize” the
public of all things Snot, how did it start, how did it get
going?
John: Sonny and I both come from the East Coast. It was like
’96, ’95 and a really good friend of ours was in a band
with us on the East Coast, Shannon Larkin, who drums for
Godsmack now. He was doing drums for Ugly Kid Joe in
Santa Barbara at the time. He was hanging out with Mikey
(Doling) and Lynn (Strait) and they were just partying
and it was like, you know, we don’t really like our bass
player. We need a new bass player. Shannon’s like, well,
how ‘bout call my boy up? So they called me up and two
weeks later I was in Santa Barbara and then Mikey’s like,
meh, I think I want to add another guitar player, so I said
I got the perfect guy for you and called Sonny and Sonny
henceforth came out and then we’re like, ah, we gotta get
rid of this drummer and brought Jamie in.
Sonny: We went through a few drummers.
John: Yeah.
(Both laugh)
John: And then basically it was the East/West Coast connection
and that’s how it totally just started.
Grimm: So where the hell have you guys been?
Sonny: We’ve all been all over the place man. We’ve not been
taking any time off at all. After Lynn (Strait) passed,
John and I were in Amen. Did a couple of records, did a
record on Roadrunner, did a record on Virgin… a couple
records on Virgin actually. We all kinda went out into the
world. Mikey went to Soulfly, Invitro. John went to Low-
Pro after Amen. I went to Hed (P.E.) and Sevendust after
Amen.
Grimm: Hed (P.E.), that’s pretty much a lateral move for yourself,
very similar styles, similar genre. What genre would you
call yourselves now?
Sonny: Rock and roll, that’s what I call it.
Grimm: That’s the low level hierarchy?
Sonny: Yeah man, it’s so hard these days. How you gonna be
The Grimm Culhane sits down with Sonny and John from the
band Snot to discuss where the hell the band’s been hiding
for the last 10 years. The boys clear the air (and their noses)
ABORT regarding the ever changing music biz, the importance of
remaining organic and clogs in the music pipeline.
Interview Somebody pass these boys a tissue!
clever and come up with like “oh, this is what we play. We Grimm: So it’s more of a relaxed approach, you guys can call the John: It sure ain’t about how many CD’s you scanned every
play ‘this’ kind of music.” It’s all Rock and Roll. Steve shots? week and praying that you sold more than a thousand or
Jones (Sex Pistols) said it best. People used to go, “oh you’re going home, or some shit like that.
you’re so Punk Rock” and Steve Jones was like, “no, no, John: We’re enjoying being together. It’s been ten years, it’s Sonny: Or getting a giant record deal advance or whatever.
this is Rock and Roll!” You know” This is just a different fun. John: There are still a lot of kids, and God bless them, wanting
flavour of it. Sonny: We want to be organic, like let it happen. We can get a that thing, but man, it’s few and far between.
little clogged up in the pipeline of the music business Sonny: The big machine of the record industry has been trimmed
Grimm: It took you a while to get Snot back on track, were you if we start trying to force things to happen. Anytime down, the fat has been trimmed down.
writing anything? Was there anything going on with something isn’t really going our way we go “ok, cool.” Grimm: Is it grinding to a halt?
Snot? So stop fighting it and then see what’s next, and then Sonny: I don’t know about a halt, it’s like a Transformer or
something else comes and you go, “oh that’s cool, ok, let’s something, morphing into something else.
Sonny: It didn’t take us long to get it on track. The funny thing take that.” It’s kind of the philosophy we took, but we’re
about it is we didn’t really ‘decide’ to put it back together. gonna start writing and working. Grimm: I appreciate you guys taking the time to talk with us.
When I had my departure from Sevendust and Mikey had Grimm: That sounds like a more popular approach, especially in Good luck with everything.
his departure from Invitro we had already been jamming today’s music industry where the sales are just dropping John: Right on.
a little bit here and there, we had done some songs. The off so much that you have to tour, you have to have your Sonny: Right on brother, thank you.
four of us got together with Invitro in Anaheim at a merchandise, you have to have the industry behind you to
Sevendust show and did “Stupid” with their lead singer. make a successful go.
So then we were just jamming cuz we liked jamming. Sonny: It’s always changing, this business is always changing.
We were doing that to our old songs and then when the Grimm: How much has it changed since ’98?
time came around that we were all free we were kind of
like, let’s see what happens. We were really going, “do
we want to do a show, like a ten year in memory of Lynn
show,” cuz this will be the tenth anniversary of Lynn’s
passing, so we were like what do you wanna do? Do
you wanna do this/that? We wrote a song, wrote another
song. Tommy (Vext) came down, we tried a few dudes
out. Tommy came down and just lit it up so we decided
to asked him to be part of the project, and then we went
into the studio and did two songs. Then all of the sudden
“boom,” hey, here’s the DevilDriver tour. Hey, by the way,
Chad from Mudvayne called, he wants you to go on tour.
We’re like… oh?
John: We didn’t consciously pursue everything; it just laid itself
out in front of us.
Sonny: We literally have done nothing but whatever comes up
next in front of us. Like what’s next? Oh, go into the
studio. What’s next? Oh, go on tour with DevilDriver.
What’s next? Oh, do another song and get it ready to go
on Myspace Music front page next week. These are all
just things that come to us. The universe is definitely
offering up opportunities, and we take them.
photo by Scott Alexander
 Dave: So you’re in
Philly right now?
Diplo: No, I’m in Salt
Lake City. I’m in a
record shop across from
the Mormon Temple.
Dave: Nice. Are you
getting ready to rock
the Mormons?
Diplo: I’m getting
ready...Mormons need
to party too!
Dave: So, Mad Decent
is a record label that
you started with?
Diplo: Actually, I
started it myself. It’s a
really cool record label,
I think it’s probably the
best record label that
there is in America...
in the world! So, I’m
just taking this tour to
promote this, ‘cause
Diplo
a lot of people don’t
know that yet.
Dave: What makes it the best
vs. Dave
record label?
Diplo: I think it’s because we just
have a really open mind and we’re
doing cool stuff, we’re kind of all
“Corvid”
over the place with our music, and
we’re doing exciting things all
over the world. Whether it be not
for profit stuff or recording artists
McCallum or doing mixtapes for artists or
whatever.
Dave: As an artist, you’re known
Producer extraordinaire for a pretty wide range of styles,
and founder of Mad from Crunk styles and Dirty
South to bizarre experimental
Decent Records, to introducing a lot of people to
Brazilian Baile Funk, what kind
Diplo chats with Abort of flavours are you going to be
Magazine’s Dave bringin with the Mad Decent tour
this time?
“Corvid” McCallum Diplo: You can’t really expect
about Mormons, Mad to hear anything particularly
but we’ll play club music...lots
Decent, and dancing of stuff from England - some
pizza... Dubstep, some Reggae...some stuf
I produced for MIA, cool stuff.
Dave: And what about the
folks you bring along with you,
Telepathe, Abe Vigoda and Boy 8
Bit?
Diplo: Telepathe and Abe Vigoda
are both like hot bands, Abe is one
of the artists from my label...it’s
gonna be kinda crazy - electonic,
clubby, housy. Telepathe’s kinda
out there, like more softer and
Abe Vigoda’s like proper punk.
We don’t want people to be too
comfortable you know? It’s not
a proper party when everyone’s
comfortable and happy. We want
to, you know, fuck with you a
little bit.
Dave: Speaking of which, I gotta
ask - what’s with the dancing
pizza?
Diplo: Well the dancing pizza is
brought to you courtesy of one of
your own people in Vancouver,
Paul Devereux. We just got a
pizza costume for really cheap,
and then we had a pizza! I don’t
know exactly why it’s pizza, but,
it just is! There’s a lot of people
on tour who aren’t performing
while I DJ, so everybody gets to
have fun!
Dave: You were on the Big Dada
label, is your style deliberately
influenced by Dada and
Surrealism.
Diplo: I like surrealism, I don’t
know how I relate that to music...
Dave: Well, as far as the dancing
pizza...
Diplo: I guess that’s it! (lol)
www.myspace.com/diplo
www.myspace.com/abevigoda
www.myspace.com/telepathe
www.myspace.com/boy8bit
www.maddecent.com
 KOTTONMOUTH KINGS
Dave “Corvid” McCallum sits down with
Brad X
D: You’re down in LA right now?
B: Yeah we’re actually in the studio now, putting out some good old fashioned punk
rock.
D: Nice one, that was the first thing I wanted to touch on, the Green album, your
tenth studio album, which we’re looking forward to coming out. I was just checking
out the advance, it’s pretty dope. There is a lot of diversity there, one of the things I
noticed is you have a couple more punk rock cuts, how did you feel about going back
to those roots and what prompted that.
B: As far as the punk rock style, the Kottonmouth Kings, since we started playing
we always put two or three punk songs on every album. Growing up in Southern
California punk rock was such a huge influence on us growing up that its just part
of our culture down here. I think thats what we do with the Kottonmouth Kings, you
mentioned there is a lot of diversity on our album, I think there is a lot of diversity
on all our albums. We might have some mellow acustic stuff and hip hop songs
and punk songs. For some people it might sound weird having all those styles on
the same record, but for us those are all styles we love and all part of the Southern
California culture, down here living by the beach.
D: Yeah, thats what Abort Magazine is all about, that mixing of styles, expecially
the punk rock- hip hop connection. Any bands in particular that were a big influence
on you growing up, the punk rock bands expecially from that region, Southern
California.
Brad: I grew up in Fullerton, and I remember riding my bike as a kid to a warehouse
in Placentia, in P Town, I remember riding our bikes there on Friday nights and
hanging out outside and listening to punk rock parties, Adolescents, the Vandals, all
bands from our area, Orange County, the of course Minor Threat, Black Flag, Circle
Jerks, that era of punk rock, for me that was the golden era.
D: So this is your tenth studio album, and its entitled the Green Album, obviously
you’re holding true to the weed flag, how does it feel any different on your tenth
release, whats new on this album?
B: I think that being our tenth full length studio album as a group, being together
for 13 years, its kind of a mile stone for us, we never thought when we started that
we’d be here, we went in and we really just tryed all kinds of differnt songs, we just
wanted to make a great record that would be a good imprint in our legacy, I think we
accomplished that, I think it’s a solid album, lots of different styles on there, lots of
different songs.
As far as the green theme to the album, obviously the Beatles had the White Album,
Metallica had the Black Album, and other bands, Kottonmouth Kings, the epic, the
Green Album only made sence, expecially with the environment, everyone’s thinking
green, and obviously the marijuna thing so we thought that was a great concept for
the record.
song right now called Babylon Fall with Hed Pe. I did another song on the record
called Higher Ground on the New World Orphan album. All the bands kind of work
together, and do songs together, its usually Sub Noize artists who work together
although we have done work in the past with Tech N9ne and other bands outside the
label but for the most part we deal with albums of Sub Noize groups.
D: So I wanted to ask you a bit about touring with your band, given the weed focus
of the band and the lyrics, first of all what do you find are the best locations as far as
your following outside of California, where do you find you get the best responce?
B: Its so tough because you can go all over the country, there is pockets of the
country, like
Chicago, the mid west, Mineapolis, the east coast, Boston, Detroit, Texas, Arazona,
Vegas, Colorodo, Denver, its all over, its crazy, we go to Japan, Australia and get
great reactions, for some reason Kottonmouth Kings seem to connect with a lot of
people, I know its not for everybody but the people who do like it, like it a lot.
D: As far as weed, whats the best chronic outside of Humbolt California?
B: We got to Amsterdam but I’ll hold up the California weed to any weed that I’ve
ever smoked. The green crack, skunk one, kush, are some good strains now in Cali.
D: What about outside of California?
B: Colorado always has good weed, Porland, Seattle area, they take their weed
pretty serious.
I’ve always said that if you’re going to take the risk to grow weed, you might as well
grow good weed, because its the same offence if you grow bad weed or good weed.
D: So you guys must be involved on some level with the activisim and the politics
of decriminalization, obviously you advocate for that, for our everyone up here, what
are the legalities of weed in California, I know you have medicinal cannabis.
B: Its called proposition 215 in California where you can get prescribed cannabis
for medicinal use. And of course it’s pretty easy to get it down here, its like the wild
west there seems to be a dispencer on every corner so it’s definatly a great time if
you’re a weed smoker to be in California, expecially if you have your 215 card which
I would pretty much recommend getting, most people get it, unfortunatly behind the
guise of a medicinal reason but for the most part they just don’t want to be fucked
with and be arrested for smoking weed. There is people who do suffer of course and
it alleviates suffering from cancer patients, people with injuries, glocoma, the obvious
ones, but for the most part people I know with 215’s are really just getting it to avoid
any trouble from the law.
With that being said I’d like to see it get to a point where it’s just decriminalized, so
D: Dope, you were also on the latest Sen Dog album, any other notable collab’s
we don’t have to go through all this red tape
that you guys are involved with or groups that you’re working with in the California
scene?
The bottom line is whether its decriminalized or not people are going to smoke weed
period, you can’t stop it. It’s a plant, just let it grow naturally, that’s what I say.
B: Well we have our own label called Saburban Noize Records and Sen Dog is one
of the artists on the label, we’ve worked with him in the past, Kottonmouth Kings
It can have so many benifits to the environment, the economy, so may pluses and
with Cypress Hill. Right now I’m in the studio with the Tater brothers, who play in
bonuses of it if they just legalize it and decriminalize it, at this point it’s just ludacrous
the band D.I. a legendary punk band. They are on the label too so we make music
that it is outlawed.
together. We usually do collabos with artists who are on the label. I’m doing a

Currently on a World Tour with with Metallica,
Richmond Virginia’s Lamb f God have kept
their heads above water in a sea of download-
ing madness to strike gold their latest Gold
DVD - Walk me With Me in Hell “which is a vi-
sual documentation of the Sacrament world
tour. The band is gearing up to drop their new
album “Wrath” in February which we discuss
with LOG vocalist Randy Blythe.
E.S. Day : Can we see Lamb of God doing any
charitable work in 2009? given the time in be-
tween touring and recording
Randy: Yes, actually I used to work with an orga-
nization called “Food Not Bombs” here in Rich-
mond (Virginia) which feeds homeless people,
they’re vegans, and I’m a carnivore, but it was
feeding homeless people with access to food
from a local markets and restaurants, Chris(Adler)
is pretty involved with animal right stuff, he’s a
bunny lover.
E.S. Day: (laughs) Right…
Randy: I love them as well, PETA: People Eating
Tasty Animals (laughs)
E.S. Day: (Laughs) Oooohh I haven’t heard that
one yet Randy, I’m stealing that one! (laughs)
Randy:Yes, also Mark ( ) has donated some
guitars for a Music For Ids organization as well,
for one thing I’ve been thinking about lately have
been talking to my wife about as well and you
would understand ask as we talk about books in
the last interview, I would like to go and volun-
teers had an adult literacy project of some sort.
E.S Day: Yes that a great idea.
Randy: I mean people ask me if Ihad a cjoice
woulm I rather lose my ng my sight or my hearing,
I mean music I got to hear, but I mean I gotta be
able to see, I gotta be able to fucking read!, and
for me to think about an adult in this world and ex-
ist cannot read and I love books so much, so after
I get this record done, I mean for me…. it’s hard
to commit to long-term volunteering, because
I’m always on tour, but what if I can find a way
to commit to an adult literacy literacy program I
certainly would.
E.S. Day:You mentioned something else of major
importance that you’d like our readers to know
about please explain?
Randy: Yes will there’s one charity that I have to
use my powers....
E.S Day: The powers that be?
Randy: Yes! my “evil heavy metal powers” if you
will, a good Friend of mine named Todd Stone
who had helped me out years before, has two
sons who have whats called Myotonic Muscu-
lar Dystrophy, and they both have it, now it’s a
relatively new strain of MD which can be fatal,
eventually, and it debilitates the muscles and the
nervous system and inhibits development of the
brain at times, now there is some good news on
this and that is that they have found that there
can be a cure for this..
E.S. Day: Oh well thats good
Randy: Yeah, and its feasible that within eight to
ten years that it could be cured,so of course Todd
has become involved in raising awareness for
this not and just because the sons have it, not to
mention the top researchers in this field happen
to be based here in Virginia, and he has worked
closely with these people, I’ve already donated
some money, but I thought what can I do to help
the cause a little more
E.S. Day: Sure why not.
Randy:...and as you probably know now, we were
nominated last year for a Grammy®, for the “Red-
neck” video, now we didn’t win, Slayer won, and I
really don’t give a fuck about the Grammy’s, so….
we never got the statue but - we got these really
neat Grammy nominee medallions that all the
nominees get, so my friend Todd set up this auc-
tion, and I will be auctioning off all my Grammy®
memorabilia, which will be auctioned off by be-
lieve starting to 51 days before the next Grammys
in February 2009,
E.S Day:: ….I see
Randy: Yes , And the Grammy’s I believe are
going to start on the eighth [of February] that for
the 51st Annual Grammy Awards so we wanted
to start the suction 51 days up to the date of the
show.
E.S Day: Perfect!
Randy: so to find out about this auction or to do-
nate which is for a worthy cause and you should
do it anyway you can go visit the site at : www.
stonecircleoffriends.com, and you can find out
more about the disease at the site and the auc-
tion hasn’t been quite set up yet so check back in
may be December, so please let everyone know
that the quicker we try to cure this the quicker we
can end it
Sounds good Randy and everyone reading
please do your part and visit
Donations can be made through the website at :
www.stonecircleoffriends.com
Lamb of God’s new album ‘Wrath” hits stores in
February
photo by Scott Alexander
Confessions of a Protest Junkie
Tossing Molotov Cocktails,
bricks, rocks, smashing store
windows is not hardcore
protesting. Clowns handing
flowers to a row of riot cops
protecting President Bush
requires more chutzpah than
ass clowns tearing up shit.
Oh sure riots are a grand old time.
Youth donning all black garb or
their favorite football, hockey or
baseball team jersey while breaking
stuff makes for great media and
YouTube footage. Up until the
Athens riots, Greek to me had
everything to do with sex. Possibly
involving Mounting Olympus. But
tipping over a bus or smashing in
the sporting goods store because
your favorite sport team just won the
big championships is not the same
thrill as spontaneously peacefully
photo by Matt M
protesting the tourist travel. Ruining vacations for
actions of oppressive thousands of people, who complained
government overlords. to international media, occupiers
were ruining their vacation. Before
Though it appears worrying about a full-scale coup
the Greek police are happening right before their eyes in
grossly unarmed the airport lounge. Crazy! Trapped
compared to Western tourists pleaded to their government
democracy spouting to get them hell out of Thailand.
nations. Their riot Creating international headlines like
police look less armed their Greek counterpart without the
than cops on a beat violence.
patrol in L.A.’s Watts.
A peaceful protest in Watching the scenes unfold on BBC
North America allows World News, pot loving inhaler
police to bring out all Madd Chronic quipped to me about
their favorite toys. On the peaceful colorful airport sit in,
grounds a riot, like “We need more that at our smoke
those taking place outs.” Referring to all the colorful
in Athens, may flare banners and dress of the protestors.
up.Their intimidation The airport occupation was peaceful
gear makes peacefully and orderly. Definitely something
occupying so-called you would expect from an Asian
public space via country. For now I noted. Somewhere
hardcore tactics of a memo about opening fire on the
sit-ins, smoke-outs, occupiers’ ala Kent State had been
or nakedness that more challenging. typed. Waiting to be issued. But not
The police vibe is menacing, adding until international media heat turns
a dark vibe to an otherwise joyful down and focuses itself elsewhere.
street theatre day. Police don’t want to appear to be
bullies against defenseless protesters
Not that the cops will use pepper on 24-hour news channels.
spray, tear gas, or rubber bullets
on public pot smokers or nudists Even the mighty China fears
demonstrating against government international exposure when it
tax hikes. That’d be akin to cracks down on peaceful protesters
bludgeoning a baby seal with a club. occupying public space. Not only
However, dressing to intimidate does the hardcore protester openly
peaceful dissent does have its defy laws peacefully, but they also
advantage. By keeping the number add a sense of street theatre to their
of protesters from attending down actions to make the broadcast footage
because they fear shit might go entertaining for the folks watching at
down.It’s still rare governments fall home around
because people peacefully protested the world.
their unjust actions. But there are
numerous success stories of hardcore By Matt Mernagh
protesters (Gandhi, Suffragettes, Matt Mernagh contributes the weird
Chicago 7) getting what they want. and crazy to Toronto alt-weekly
NOW, weed articles to Cannabis
While Athens burns, Thailand Culture and his own site www.
became awash in colorful banners. Mernagh.ca
The protestors peacefully interrupted

E.S. Day: In this latest album are you kind of going
back to your roots, or would we say this is just another
chapter in the Soul Assassins book of rhyme, so to
speak?
Sen Dog: No this record right here is more based on
my roots, my experiences and my personal thoughts
on things. I definitely wanted to do something that was
going to stand apart from Cypress, stand on its own feet
and could survive by itself.
E.S. Day: One of our writers Dave McCallum just did a
review, and he said that “Sen’s lyrics are more personal
and sometimes brutally analytical.” Would you agree
with that?
Sen Dog: Yeah, yeah I do. I didn’t really...You know, I
just did the record and I didn’t really–
E.S. Day: Yeah you didn’t set out to do anything.
Sen Dog: No, and then later on when people started
hearing it, I remember one of my sisters heard the song
called “Fumble” and she was like “Damn big bro, that’s
kind of personal isn’t it?” And I was like, “You know
what, I think it is!” But I think that’s why it has its own
identity and whatnot, because I really wasn’t holding
anything back in the studio.
E.S. Day: The album just came out September. 30th?
Sen Dog: Yes, September 30th.
E.S. Day: Now of course, I’ve got to ask. New Cypress
Hill album in the works, you’ve got Tom Morello and
Slash. Did you bring in anything like that on this album
as far as heavy stuff, or is it just the SX-10?
Sen Dog: No, actually on this album there is one song
called “Hell and Back.” And I had one of my friends
his name was Roy Lozano he played in a band called
downset. a few years ago–
E.S. Day: Oh downset, no way! I remember them, yeah.
Bit of a hip hop metal mashup type thing.
Sen Dog: Yeah definitely. So I brought Roy in for guitar
on that. I really wasn’t trying to go really rock and rap
with it because I have a killer album with SX-10 in the
wings waiting to come out and I’m going to get close to
that with that record. So, for the most part I wanted to
keep it a hip hop record, but I wanted to experiment a
little bit. That’s why I got into other electronic beats and
the house sound that “Fumble” has.
E.S. Day: Right yeah, I read in the review it mentioned
something a little drum and bass kind of sounding thing.
Are you open to doing more experimental stuff like that
beat-wise in the future, or is it just for this album?
Sen Dog: No, no in the future I definitely plan to get
more experimental with it and go out there and test the
outer limits, if you will. I wrote that song “Fumble” that
was uh...I had a good part of the record done when
that song came about, and I was like, “Damn I wish I
would have had some more of these beats,” you know?
I wouldn’t have minded making a whole album based on
that concept, on those kinds of beats.
E.S. Day: Sub Noize seems to be treating you really
well. How’s that relationship working out, and where
label-wise is Cypress Hill right now?
Sen Dog: Yeah Sub Noize is really great. I’ve been
there with Kevin Zinger – the owner of Sub Noize – I’ve
been there for quite some time with him. He’s been my
personal manager and now that I’m actually an artist on
his label it’s a great situation for me to be in, because
I don’t really want to go shop shit around. It takes
forever–
E.S. Day: Good, good you’re comfortable there.
Sen Dog: Yeah I’m comfortable there. It’s great as a
label, and as far as Cypress we’re free agents right
now. We’ve got thirty new songs for a new album and
we plan on doing about ten or fifteen more just to have
a good abundance to pick from. We’re not on any label
right now, but there is a lot of major label interest that
my manager has told us about. It’s not going to be a
big deal getting a record deal, it’s going to happen fairly
quick once we’re finished. Cypress “the machine” needs
to be on a major.
E.S. Day: How about some non musical ventures for
Sen Dog right now, anything outside of music that you’re
doing?
Sen Dog: I just fired up a T-shirt line called “Latin
Assassin.” I work with one of my partners, his name is
Luke Beret??, he owns a company called Silver Star.
Me and him have been good friends for a long time
and we’ve always wanted to do something together
but didn’t know what. He does clothing and I do music
so we got together, we picked out the name “Latin
Assassin” ‘cause we’re representing out the L and the
A. It’s been probably about a year now and we’ve sold
a good amount of shirts for our first year, we made a
statement. I was out in Europe recently, as far as Tel
Aviv and Romania, all kinds of ill places like that, and
I see kids out there walking my T-shirt line, so that’s
good.
E.S. Day: Nothing, so then no collaboration maybe with
Estevan Oriol??, Joker brand and all that stuff?
Sen Dog: Um, no.
E.S. Day: You guys got your own separate things going
on there.
Sen Dog: Yeah, yeah I learned from Joker. We helped
make that brand successful. You know, we wore it all the
time.
E.S. Day: So same clique?? different product, how
about that?
Sen Dog: Yeah exactly.
E.S. Day: So how did the VH1 Hip Hop Honors go for
you?
Sen Dog: Yeah, it was great, it was great man. Being
around all those great artists, a lot of them who are
_____?? and guys that I’ve bought their records and
supported them were there, like Chuck D and Flavor
Flav, EPMD?? Scarface, the list goes on and on. Busta
Rhymes was there with Spliff Star, man it was just you
know, this is incredible. The Gym Class Heroes did
really good, Fat Joe, Jim Jones, Mack 10, it was like a
hip hop all-star game.
E.S. Day: (laughs) Wicked, so you guys had a good
time with that. What about -I’ve got to ask again about
the rap and metal collaboration. Our reader is all about
that, we’ve found so many similarities between the
same aggressiveness and rebellion, I mean, I grew up
listening to Cypress, in “Judgement Night” soundtrack
and I always loved metal and rap and I’d get the shit
beat out of me for it. You know what I mean?
Sen Dog: (Laughs)
E.S. Day: When I saw the`“Insane in the Brain” video
and I saw a white boy stage diving, I said “Well fuck
what’s wrong with this?” There’s a perfect example
of what I’m talking about. Do you think Sen Dog or
Cypress Hill could bring all of that back and make that
legit again? And I don’t mean – no offense to the bands
– I don’t mean what Korn and Limp Bizkit tried to do,
but you guys were pretty well the original rapcore for me
at least, when I was still hitting the clubs and stuff. Do
you think you could be bringing that back again?
Sen Dog: Yeah definitely man, you know music and
fashion and other things always go 360, you know what
I mean? From Run-D.M.C. and Aerosmith to Anthrax
and Public Enemy.
E.S. Day: But I mean for that next generation, ‘cause
you know, Cypress–
Sen Dog: Oh yeah, yeah. That’s why we got cats like
Tom Morello and Slash on the album.
E.S. Day: Exactly, ‘cause cats these days, they don’t
get it still, I don’t think. Some of the kids they’ve got to
kind of go dust off their history books and figure out who
started this stuff. It’s just kind of a drag. Oh by the way
SX-10 – when are we looking at a release date for that?
Sen Dog: That’ll be February, that will also be
on Suburban Noize. It features Zakk Wylde, and
Starscream the DJ from Slipknot, he’s on that record,
Eric Bobo, B-Real.
E.S. Day: Oh Bobo is on there, wicked! I’ve got to say
I’m embarrassed to find this out, this is the fourth SX-10
album correct?
Sen Dog: The third.
E.S. Day: Oh third, ok, I thought it was the second
(laughs). I’m missing one.
Sen Dog: Well, actually there’s one that never came out,
the very very first one for this band. That’s why I say
there’s three because one of them was like, ok we left
that one, wrote the second one and now we’re on some
way new highly improved stuff.
E.S. Day: Well we’re definitely looking forward to that,
we’ll be pushing the shit out of it when it comes out, by
all means. Now I’ve got to bring this up of course, I had
a couple of staff members bug me and ask. You recently
had some health problems there.
Sen Dog: Yeah, yeah I had what they refer to as a
slight heart attack. Even though it hurt like hell they call
it a slight heart attack. That was basically the result of
my life being upside down at the time. Going through
a messy custody battle for my daughter, and then my
girlfriend at the time that I was with we separated, and
Cypress was being sued and whatnot, and everything
just seemed to go wrong. I just let that dominate my life
and I was drinking a lot, smoking a lot, not eating right
and not sleeping right and eventually my heart was like
“Ok, ok that’s how you want to do it? Alright, well check
this out.” (laughs)
E.S. Day: (laughs) Fair enough. Smoke Out Festival –
no more?
Sen Dog: Yeah next year we’re going to come back
with that one.
E.S. Day: Oh, no way! Wicked!
Sen Dog: Yeah we just wanted to wait until our new
album was out because we want to perform at it too,
and we want to perform new material. We’re definitely
coming back with that one.
myspace.com/sendog
E.S. Day: Are you going to be coming to Canada, and
Vancouver specifically?
Sen Dog: Yeah, when the new record comes out we
definitely plan to come to Canada.
E.S. Day: Are you lying? Don’t lie to me, I’ve got you on
tape! (laughs)
Sen Dog: (laughs) No, as long as the immigration lets
me and B go.
E.S. Day: Up-and-coming
artist, unsigned, Sen Dog’s
recommendations from your
hometown.
Sen Dog: Young DE. He’s originally
from Philadelphia, he moved to Cali,
that’s where me and B-Real met
him. This guy is just an incredible
lyricist, an incredible writer, he learns
really quick and I think he’s going
to be one of the best rappers in the
near future.
E.S. Day: Where can we find him on
the web?
Sen Dog: You can find him
at MySpace under Young DE
(myspace.com/youngdetho) or you
can find him on B-Real’s MySpace
also.
E.S. Day: More importantly where do
we find Sen Dog’s presence on the
web right now?
Sen Dog: On MySpace. (myspace.
com/sendog)
E.S. Day: And of course suburbannoizerecords.com/
sendog.php. we can find you there too and people can
also order the album from there I believe.
Sen Dog: That’s right you can get it sent right to your
house.
E.S. Day: Ok perfect. The album is “Diary of a Mad
Dog,” currently in stores and on iTunes. By all means
go visit the man, and more importantly buy some
merch. Help support the cause. Soul Assassins 2009
going to be ripping it up, looking out for new tours from
Sen Dog, SX-10 and of course Cypress Hill. It’s been
an absolute pleasure, thank you very much for your
time.
Sen Dog: Thank you.

No it’s not the dope dealer, and no
not the big ugly galoot from the rap
world this is the original RR currently
handling biz for Delicious Vinyl the
groundbreaking label that spawned a
slew of chart- toppers from the likes
of Young MC,
Tone Loc and
The Pharcyde to
name a few
“Gee Your Label Tastes Terrific!
20 Years Of Delicious Vinyl
We caught up with Rick in L.A. and
let him drop a dime on the latest
release “RMXXXOLOGY”which
features some revamped classics
that have been given a once-over
by the likes of Eminem, Hot Chip
and more.
ES: Rmxxology The new album is out from The
Delicious Vinyl All Stars. When is that released?
RR: The record is out digitally right now and in stores.
The vinyl came first and the CD after.
ES: Same for Canada?
RR: Yup
ES: And this is no Wal-Mart exclusive I hope?
RR: I wish it was an American Apparel exclusive.
ES: ….Fuck it, have them tape a copy to a pair of
jeans.(laughs)
RR: Thats the deluxe edition.(laughs)
ES: A quick run-down on this please. Who are the
Philippians anyway? They are doing their version
of The Pharcyde’s “Runnin’” drop a dime on the
Philippians.
RR: They are killing it. The Philippians is a guy
named Cory Nitta from the Mojave Desert. He is
a genius jazz classical trained funk wiz keyboard
genius.
Cory, I gave him that “Runnin’” as the first thing to do
and he just killed it. That is an original JD production.
He replayed all those things, he had to shift the whole
key of the song to match vocally.
The instrumental of that and the remix are exactly the
way I want to hear hip-hop right now. What I call Flip-
hop. A little bit of electro and a little bit of turn tables.
ES: Are you listening to stuff that Canada has been
turning out. Like MSTRKRFT?
RR: There is a lot of stuff out of Canada that I check
out all the time.
ES: Name a few.
RR: I’m kind of into the funk of Chromeo. That to me
is the Rick James and stuff from the 70’s when my
brother and me fell in love with funk. And somebody
like Chromeo is pretty fun.
ES: We have Eminem doing up “Slaughterhouse”.
Is Delicious doing him a favor? We haven’t heard
anything from Mr. Shady for a while. Why did he pick
Masta Ace or did you assign that to him?
RR: Eminem is a huge Masta Ace fan. When he was
growing up in Detroit he listened to Slaughterhouse
the album, a lot, while he was driving around with
his friends. He has always said that Masta Ace was
one of his favorite MCs. Ace is such a stellar MC,
so much class and integrity. He will still meet me
in London to do shows with us. I still want to make
another record with him because he is open to cool
collaborations and he brings it. And it was great
because Eminem blessed that track, it was a natural
thing.
ES: The Brand New Heavies, will we be seeing
something coming out again? Are you still involved
with them?
RR: We actually put them back together about a year
ago for a record called Get Used to It. They went
their different ways in 1998 but they all belong to
each other, they should be doing that, touring, they
toured in England and Japan. It is good to see them
getting back together, and I think they are going back
into the studio for another record.
ES: Born Jamericans and Mr Vegas, can we still see
some more reggae and or dance hall stuff coming out
of Delicious Vinyl in the near future? Please?
RR: Absolutely, I know how important this is in
Canada. Born, they split up and they are both doing
solo work. Its too bad because they were really
ground breakers in the style they brought. I would
love to put a greatest hits record or something special
in the next year. Mr. Vegas is like a family member of
Delicious Vinyl. He trots around the globe doing gigs
from here to Africa, he is just a great sing-song show
man.
ES: I was going to ask about Delicious “Gutter”.
RR: It is for more edgy, hard-core, grimey, hip-hop,
dance hall club music. Anything that is a little more on
the bleeding edge, that doesn’t make complete sense
for Delicious, we will go there.
ES: Rmxxology is the name of the album. It’s in
stores now, available now on iTunes. Speaking with
Rick Ross, I want to thank you so much for your time.
RR: No problem, thank you.

(Photo- Chris Webber)
Live Review – The Sisters of Mercy with The
Vincent Black Shadow
Monday, November 24, 2008
The Commodore Ballroom – Vancouver, BC.
The Sisters of Mercy is an unmistakable icon
of goth music and movement and no doubt
a legend. With an impressive avid-fan base
and a cult following, lead by the sole constant
member Andrew Eldritch, the band’s numerous
reincarnations have been touring well into
the new millennium. The history of the band
and the way it came to this point is long and
perplexed and the fans’ attitude to what they
are doing now is rather diverse. Talking about
history, the intricate events around recording
company deals in the past might be the only
thing that tells us that touring on constant basis
for more than 10 years without new releases
is not just making money on people who have
nostalgia.
Two years after their last visit, behold: the goth
gods (or whatever’s left of them, if anything)
are back in Vancouver. The opening band for
the night was the local alternative/punk-rock/
cabaret band, The Vincent Black Shadow.
The vocalist Cassandra Ford didn’t seem
cheerful in the first place and her mood got
settled right after the first song, which began
with the microphone not working. A very
unpleasant thing to happen, but not something
a professional band should dwell upon for long.
They play positive music and they do it well
and it was a little strange to observe the kind
of attitude from the vocalist. Unless it’s an
image they mean to carry, the stage behavior
is something to work on. Nevertheless, they
did a very good job, complete with energetic
performance from Rob Kirkham and many
good songs from their most recent album, El
Monstruo.
Back to The Sisters of Mercy
and some remarks about the Live Review- The Black Dahlia Murder, Soilent Green definitely worth seeing. It’s hard to believe that after
sound quality. A couple of and Misery Index twenty years this was their first Vancouver show. Well,
facts: Andrew Eldritch is Sunday, December 7, 2008 they definitely made up for lost time. From the first
older thus his voice is too, the Richard’s on Richards- Vancouver, BC. note played, vocalist Ben Falgoust (also the vocalist
Commodore Ballroom is not for Goatwhore) was already running around the stage,
particularly famous for good Who’s up for a kick ass metal show on a Sunday night? jumping up on the monitors and basically making sure
vocals rendering, during TVBS Well judging by the horde of metal heads pouring in to everybody was paying attention. It was impossible not
the vocals very unusually OK. Richards on Richards last night, it turns out that many are to. Though they mainly played tracks from their newest
Something doesn’t add up. willing to risk no sleep and a shitty Monday to slam some release Inevitable Collapse in the Presence of Conviction
During the first songs the first beers back and enjoy three great sets of neck-breaking (2008), they also threw in some older material including
fact was totally speaking for metal. Misery Index, Soilent Green and The Black Dahlia “Sewn Mouth Secrets” and “It was Just an Accident”
Murder made the ‘sacrifice’ worth it; all three bands from Sewn Mouth Secrets (1998), as well as “Slapfuck”
itself and it felt awful. It included “Ribbons”
and “Mariann” to get the picture. Yet, it must playing flawless sets with excellent sound and non-stop from Pussysoul (1995).
energy. If only all Sunday nights could be like this one.
be fare to say that by the end of the show the
combination of the first two facts seemed Despite a recent upset with the sudden departure of lead
Misery Index got things stirred up straight away. A four guitarist John Kempainen, The Black Dahlia Murder
closer to the truth. It was interesting to hear
“Detonation Boulevard” live, a song they, for piece based out of Baltimore, members Jason Netherton made the decision to continue on with their tour. It
example, didn’t play in Moscow two years ago (bass/vocals), Sparky Voyles (guitar), Adam Jarvis must’ve been a tough decision to follow through without
(drums) and Mark Kloeppel (guitar/vocals) owned the a full line-up, but the strong turn-out and positive
during one of their longest performances. There
was some new but unrecorded material played, stage. The quiet turnout at the start of their set didn’t feedback (besides a few grumbling fans) proved that The
seem to phase them at all as they tore through tracks Black Dahlia Murder made the right choice. Although
which proved to be impossible to identify
though. from their newest album Traitors (2008) with the same some tracks felt a bit empty with the lack of solos,
intensity and solid Brian Eschbach (guitar),
musicianship Bart Williams (bass) and
The public, who came to the show was very
diverse, with a sufficient amount of people found on the Shannon Lucas (drums) did
recordings. an admirable job of filling
over 30. The numbers were good enough, the
Commodore looked neither full nor empty. The Although they out the sound, while Trevor
don’t seem to Strnad (vocals) belted out
density and the response increased gradually
toward the end in tune with some songs, that have quite the his screams and growls with
fan base (at least the same power and range
got the attention – “Flood I,” “This Corrosion,”
“Dominion: Mother Russia” etc. By the time of in Vancouver) found on their studio albums.
that they really Although it might not have
encore the crowd became more cheerful, and the
last four songs of the evening turned out to feel deserve, Misery been ideal circumstances, the
Index proved boys showed that they are
better: “Vision Thing,” “Lucretia”, “Tope Nite
Out” and “Temple of Love”. that they are determined to put on a great
both entertaining show and persevere in spite of
showmen and pretty major setbacks; props to
While The Sisters of Mercy are still very much
recognized and loved by their fans, Eldritch’s exceptional them for not letting their fans
musicians. We down.
disappointing lack of communication and
attitude to the crowd keeps proving that even will definitely be
hearing more from myspace.com/miseryindex
though the main purpose of the show is to feel
good about the old times, a genuine gothic these guys in the
near future! myspace.com/soilentgreen
sadness is actually summoned. And this in turn
shows, that no matter how much all of us and,
possibly, Eldritch himself want to deny this, The By the time myspace.com/
Soilent Green hit blackdahliamurder
Sisters of Mercy are dying if not completely
dead already. This band needs a miracle, and, the stage, most of
the stragglers had By Alxs Ness
well, they have at least one member that has
proven to be capable of doing that before. finally lurched in.
Good thing too, (Photo - Chris
because these boys McKibben|ABORT)
myspace.com/TVBS
from Metairie,
Louisiana were
The-Sisters-of-Mercy.com
By Arceon

(ABOVE: Sodom -Photo by Samira Alinto)
Live Review - Screamfest 2008 feat. Sodom,
Candlemass and more
November 07-08, 2008
Betong, Oslo, Norway
Exclusive Live Review from our UK
correspondent - John Norby on Location in
Norway
Another edition of Screamfest gets underway
with overwhelming excitement at the prospect
of catching demons of the frozen north,
Immortal, on stage in the 1000 capacity
amphitheater later in the evening. For now,
though, throngs of people roll in to catch
UK black/death crew Bal-Sagoth, who put
on a decent show despite battling with a
pretty dodgy sound. Shortly afterwards
everyone crams upstairs to catch the soon-
to-be-legendary Immortal performance. And
legendary it has become – for all the wrong
reasons. We head up to the sound of the
fire alarm and proceed to be shifted outside
while the fire brigade arrives. It’s Immortal’s
larger-than-life pyro show that has set off
the alarms and, after a wait of
around 15 minutes outside, the
announcement is made that the
show must NOT go on! A fair
portion of disappointed – and
pissed off – heads have to make
do with Norway’s golden boys
Keep Of Kalessin who do a
sterling job and belt out their
particular brand of vehement
black metal amid a barrage
of blastbeats and windmill
headbanging. Lethal stuff indeed!
In the absence of Immortal,
German stalwarts Sodom steal the
night. It’s great to see pensioners
blasting out a heap of oldschool
blackened thrash that just never
gets tiring. An inspired, energetic
set spanning their career finds a
fairly mad pit up front and a great
sound to boot.
Saturday night kicks off with
The Batallion, Norway’s newest
oldschool thrash crew. Vocalist
Stud Bronson (what a name,
eh!?) has the crowd eating out
of his hand while guitarist Lust Kilman
offers his usual onstage poses amid a frenzy
of intricate guitar savagery. An awesome
show that paves the way for Finnish Vikings,
Moonsorrow and their highly entertaining set.
With a pristine sound, they emerge as one of
the best bands of the festival. Borknagar are
distinctly average tonight but all is forgotten
when doom legends Candlemass hit the stage.
Vocalist Robert Lowe never fails to deliver
and tonight is no exception. The sound is
awesome, the set is awesome and to see Lowe
prowling around the stage as he does in his
Solitude Aeturnus persona is an absolute
delight. He remains one of the best vocalists
in the scene today. With the close of a highly
successful set it’s off to the bar to make up for
many hours of lost drinking time. Amazing
fest, just a shame about the fall of Immortal.
Screamfest.no
By John Norby
in unison and giving tremendous support, beautiful visuals
Live Review – ohGr with American Memory Project and and great overall sound quality. For many people it was like
Left Spine Down going back in time. Thank you ohGr and Vancouver will be
Sunday, November 23, 2008 waiting for your return very soon.
The Red Room – Vancouver, BC.
An event that was greatly anticipated in Vancouver, the ohGr.org
return home of one of the most renowned figures in the city’s
musical history, ohGr! A show of high visual, sound and AmericanMemory.net
emotional quality, an absolute blast for some and definitely a
night to remember. myspace.com/LeftSpineDown
The crowd patiently stood through a short delay to be By Arceon
met with Left Spine Down, a frequent performer on the
Vancouver scene this autumn. The band has it’s trademarks
and peculiarities and delivers a solid performance time after (Photo - Arceon)
time. Kaine made a point running around the venue with his
megaphone, trying to wake up some of the people at the far
tables. Left Spine Down can’t seem to find the right audience
for their music here though, but they sure try.
American Memory Project was mostly a mystery
and virtually unknown for many of us, but it’s quite
understandable, since they are very young. The
amount of information that constitutes their visual
show is overwhelming, having gathered together
random videos and snapshots of American history.
The story behind it, believe it or not, is pure sci-
fi and more info can be found on their website
(see link below). The music goes along with the
video stream just fine, ranging from experimental/
industrial to psychedelia with a touch of drone.
On to the glorious return to “the second home” of
Nivek Ogre. It’s been 7 years since his last tour with
ohGr, such a long break due to touring plans falling
through in the past. OhGr’s performance was highly
anticipated and by the time he came up on stage the
Red Room was packed. Before the show there was
a question of how he was going to combine the old
material with his most recent release, Devils in My
Details. The amazing visual art show he is known
to throw was especially good tonight, backed up
by the atmospheric D.I.M.D. songs with which he
began. In the light of that, the special effects and the
horror makeup were very impressive and completed
the ambiguous feeling landscape. “Psychoreality”
surely was something. The second part of the show
lasted even longer and consisted of songs everybody
knows and loves. It was all there, “Devil,” “Water,”
“Lusid,” etc.
It was a great night at the Red Room. Fans singing

(Photo- Grimm Culhane)
Live Review – Left Spine Down,
Ninjaspy, Noize Tribe Zero
Sunday, November 9, 2008
The Media Club – Vancouver, BC.
On Sunday evening the Media Club
hosted the Left Spine Down American Tour
homecoming party. A number of industrial-
music fans showed up to see a rather
diverse and interesting show. Obviously,
every small local show like this has it’s pros
and cons and this time the cons almost
held the winning hand.
The event began without haste with Noize
Tribe Zero, while people were still gathering
at the venue. The band addressed a
little older audience and was generally
welcome with the crowd, you could hear
occasional cheering. Here I’d like to send
my best regards to the sound engineer,
who, for instance, made absolutely sure
that the Judas Priest cover was barely
recognizable.
The following act, Ninjaspy, your local
tutors in genre mixing and experimenting,
hit the audience with an overwhelming
combination of ska and hardcore. The band
has charisma and style and they play damn
well. Not only do they make professional
music, the concept and the lyrics are
definitely worth looking into, especially if
you don’t understand the “Out of Tampons”
song. The new song “The Skank” was a
kick-ass addition to their set. Ninjaspy’s
performance got the best feedback of the
evening, complete with a non-stop moshpit,
and a circle-pit close to the end. Some
small lapses were
present, but otherwise
the band was great,
leaving the crowd
blazing hot.
Blazing hot cannot stay
that way for long, so
by the time Left Spine
Down appeared on the
stage the audience
was ice cold. Their set
was oh so very intense
and should have made
everybody jump all
the way through it,
but, alas, what actually happened was
a complete lack of response from the
audience. The few people on the dance
floor didn’t make up for the difference.
Some began leaving in the middle of
the show. Boosted by a ton of energy
drinks and having delivered a blasting
performance, Left Spine Down actually had
to cheer up the crowd for the encore and
not otherwise. One could speculate that
the previous act drained all the energy or
maybe that it was already a little too late
for a Sunday evening show. Personally, I
would like to say thank you to the sound
engineer again for the virtually non-existent
keyboard and sample rendering, which
is of the utmost importance in this band’s
music. It was very unfortunate that an
industrial/metal headlining group did not
attract enough of the right audience in
their hometown. This band would do well
in Europe and would be at home on any
festival stage.
There’s one really good thing with the
show – all the new songs presented were
great. Left Spine Down’s next release
sure looks very promising. The event was
interesting and something you would not
want to miss in retrospect. But no matter
how hard you try to point out the pros, the
cons were hard not to notice, that being the
simple lack of support.
myspace.com/NoizeTribeZero
Ninjaspy.net
myspace.com/LeftSpineDown
By Arceon
(PHOTO - Scott Alexander|ABORT)
Live Review –Metallica w/ Lamb of God and The Sword
Monday, December 02, 2008
GM Place – Vancouver, BC.
Some say it’s been 10 years, others – 15. That’s how long it’s
been since Metallica made a good album. Since 1996 fans
seemed to have lost faith in them, and to make things worse, St.
Anger turned out to be the worst possible attempt to reclaim the
legendary status for the band. Only now, in 2008, Metallica are
trying to give it another shot and damn the gun is huge. Death
Magnetic is nowhere near as good as the albums that made them
famous, but it’s certainly the best thing they’ve done after The
Black Album and a giant leap over St. Anger. They’ve been
preparing for their “rehabilitation” long beforehand, touring
around the world with good old material for a couple of years.
So now to make the picture complete, they are on tour yet
again with Death Magnetic and a set-list that allows us to say:
Metallica is back!
While there was little advertising for the show, everybody
knew and it has been the main topic for the music community
in Vancouver for months. A sense of intrigue was hanging
over the concert right from the start. What will the set-list be?
How will they mix the old and the new tracks? The answers to
those questions were to be found on Monday at GM Place with
opening acts The Sword and Lamb of God.
The Sword released their last album, Gods of the Earth, in
April of this year, right after the single with a memorable name,
“Fire Lances of the Ancient Hyperzephyrians.” Stoner metal
is not a mainstream genre at all, nonetheless the band has a
strong following, mainly because their music has a unique style
influenced by other styles. The Sword sometimes sounds as if it’s
the 80’s – raw and ground-breaking. It’s the 21st century though,
and opening for Metallica is exactly where they are supposed to
be. They played a set to a half-empty stadium with occasional
fans here and there grooving into oblivion.
Lamb of God was eagerly expected and they left no one
disappointed. Randy ran rampart across the stage and was the
devil of the hour, wildly cheering up the crowd and encouraging
an impressive circle pit. Hitting with songs we all know and love
from their latest release Sacrament, Lamb of God
effectively proved a legendary status of their own,
well deserving a solo concert. That fact is only
worth mentioning because the rampaging audience
must have already been exhausted even before the
headliner. What a blast it was! The bouncers and
even the police had work to do. And by the way,
the new material we heard leaves us counting days
before Wrath hits the shelves. Way to go, Lamb of
God!
The tension in the minutes before Metallica hit the
stage was overwhelming. An almost full GM place
is over 13 thousand people and every single one of
them was on their feet and screaming, adding up to
a thunderous roar. Finally, the lights went off and
the traditional “Ecstasy of Gold” began. “That Was
Just Your Life” was, predictably, the first song and
featured an impressive laser show. The set-list is
different in each city and the main question usually
is which old songs will blend with the new material. Metallica
certainly has enough hits to play a 5-hour show, so a hard choice
always has to be made. The set for Vancouver featured the
traditional “For Whom the Bell Tolls”, “One” and “Master of
Puppets” along with “Ride the Lightning” and “Battery.” The
crowd went wild even before they started, and it stayed that way
up until the end, singing and headbanging extra hard. Songs from
Death Magnetic felt fine, but, naturally, didn’t receive that much
attention.
Metallica threw a great performance, both from visual and
musical standpoint. It all felt like the gap between 1991 and 2008
had vanished and we had our good old icon back again. Going
back in time always feels so good, even if only for a little while.
Vancouver sure does love Metallica and will be waiting for their
return. After all, they promised!
That Was Just Your Life (2008 – Death Magnetic)
The End of the Line (2008 – Death Magnetic)
For Whom The Bell Tolls (1984 –Ride The Lightning)
Ride The Lightning (1984 –Ride The Lightning)
One (1998 – …And Justice For All)
Broken, Beat & Scarred (2008 – Death Magnetic)
Cyanide (2008 – Death Magnetic)
Sad But True (1991 – Metallica)
Wherever I May Roam (1991 – Metallica)
No Remorse (1983 – Kill’Em All)
The Day That Never Comes (2008 – Death Magnetic)
Master of Puppets (1986 – Master of Puppets)
Battery (1986 – Master of Puppets)
Nothing Else Matters (1991 – Metallica)
Enter Sandman (1991 – Metallica)
- Encore -
Am I Evil? (1983 – Kil l’Em All)
Stone Cold Crazy (1988 – Garage Inc.)
Seek & Destroy (1983 – Kill ‘Em All)
SwordofDoom.com
Lamb-of-God.com
Metallica.com
By Arceon
Live Review - Ill Bill, Sean Price, R.A. The Hour of Reprisal,” the highlight being “My
Rugged Man w/Snak the Ripper, Quoted Uncle’, a song about his (formerly) drug-addled
Motives and Neato Uncle to which he pays homage via the name of Before we move on to All That Remains, it’s
Monday, October 13, 2008 his label imprint- Uncle Howie Records. The important to mention the sound quality. Well, to no
Richards on Richards, Vancouver BC second half of his set was mostly Non-Phixion big surprise, the sound quality in the venue was far
tracks like “The C.I.A. is trying to Kill Me”, from perfect, although the only noticeable problem
Monday Night was indeed live as the ABORT Cult Leader and Black Helicopters, then he was bad vocal rendering. It became apparent during
sponsored show featured R.A. The Rugged returned for an encore with “The Anatomy of All That Remains. You couldn’t hear Philip Labonte
Man, Sean Price and Ill Bill graced Vancouver a School Shooting”. Ill Bill is most impressive well. And the mosh pit shrink to a rather small size.
with their unorthodox flows. Opening was in his ability to retain a consciousness to his Well, instead, half the crowd sang along and a forest
local acts Neato, Quoted Motives and Snak the lyrics without coming off as a tree-hugger of horned hands grew within moments when the band
Ripper, after which R.A. The Rugged Man took and Anatomy is a prime example: “Smalltime began playing. “Undone”, “Not Alone”, “Chiron”,
the stage. killing-spree that’s organized by the youth/ “Forever in Your Hands” - they didn’t forget anything
Fuck the media, them fags be disguising the good. Philip talked a lot about Vancouver, pot
And Rugged he was. From his sweaty stripping, truth”. ( Must be in reference to me- Ed) smoking, and history, which, ironically, repeated itself
to his inappropriate comments to the audience with beer being poured over him again. Although this
- “If you were 17 I would’ve had you, I don’t Each performer brought a distinct character (Photo- Sergii Kurstak) time it was really funny; like he said, “we were a lot
fuck with no 19-year old shit” - the man is a bit to the night, be it Rugged Man’s disregard for worse back then.” By the time they finished, the Commodore
of a brute. Nevertheless, he can sure spit. R.A. etiquette, Sean P’s legendary gun rhymes or Ill Live Review – In Flames, All That Remains, Gojira, 36 was already flooded in sweat and utter satisfaction.
the Rugged Man rhymed with such eloquence Bill’s aggressively conscious words NYC’s Crazyfists
it was easy to forget the crudeness of his words. presence was certainly felt here on “The Left Monday, November 17, 2008 Roughly three hours after beginning of the show, In Flames
Performing such cult classics as “Stanley Coast”. The Commodore Ballroom – Vancouver, BC. appeared on the stage and engaged what seemed to be a state
Kubrick“, “Lessons”and his verse from Jedi of pure ecstasy for hundreds of people, who, five minutes
Mind Tricks’ “Uncommon Valor (A Vietnam By Amalia Nickel What a night! Almost too much to handle at one time. Sweat before that, were already fit to collapse. Swedish melodic
Story)” R.A. sent the crowd’s testosterone poured, crowd roared, pit circled and lights flickered. There death metal icons gave a blasting performance, boosting what
levels through the roof. He even convinced (Photo - Scott Alexander) was no bad music tonight and not a single bad performance. was to become the strongest feedback of the evening. An hour
some girls to show off their tits on stage then I doubt some people would find it easy to walk tomorrow. An and a half of pure massacre satisfied fans of both old and new
had the audacity to ask if there amazing event that will leave a long-time memory. In Flames. There was no time to catch your breath, except for
were any prettier girls around. when Anders was communicating with the crowd on matters
Their first time in Vancouver, 36 Crazyfists were the opening like playing the “old shit”, which, of course, everybody
Sean Price’s set was less riot band and they gave the crowd a hell of a jolt, hitting hard wanted. Having played half of a Sense of Purpose, they also
inciting but still hype. Backed by with songs from their latest album The Tide and Its Takers. covered lots of older stuff from Come Clarity to Reroute to
Ruste Juxx and DJ Eclipse, Price A remarkable modern-metalcore band originating from Remain to Clayman and even all the way to The Jester Race.
performed from his extensive Anchorage, Alaska is surprisingly underrated or even There were so many happy faces there during that magical
catalogue including “Everything unknown. Brock Lindow and company made it clear that hour and a half, so many people singing in unison. I think it
Is Heltah Skeltah”, One Question there will be no prisoners taken and played an intense set, would be fare to say that In Flames keeps getting their fans
and BCCC. Sean P’s gravelly making the public go wild. In fact, their performance featured what they want and they do a damn good job.
tones were complemented by the biggest mosh-pit of the evening, which, directed by Brock,
catchy and sometimes pretty started with people clearing the floor to form a maple leaf In conclusion, a show never to forget. Something everyone
beats, like the “fur elise” sample figure. A really nice gesture I must add. should have seen. Whatever your taste is, if you were there,
in Heltah Skeltah, or the delicate you know you got more than enough. The emotions flying
melody of “Leflaur Leflah The break took quite some time, so people got a chance to around were so intense, like an invisible bond between all the
Eshkoshka” (to which, strangely catch their breath. It came in handy, because mighty Gojira people (good example is In Flames‘ “Alias” - you had to be
enough, Price enacted the was about to make a stunning performance. French death there to feel it). The special thing about this show is that even
transformation of a caterpillar to metal was expected and you could hear people chanting their though some people came to see only a particular band, they
butterfly). name. What might not have been expected, was just how good all gave amazing performances. This does not happen often,
they are. The music, the onstage image and behaviour… oh and it’s something to remember and look forward to.
Ill Bill headlined the show and what the hell – they are just sick. Period. First time for them
represented La Coka Nostra with in Vancouver too and boy they were happy with the feedback. inflames.com
Big Left. His sound filled the Circle pit was huge and during Gojira’s performance, the allthatremainsonline.com
venue as his presence filled the surfing started. The set was mostly comprised of songs
stage: his music is saturated with from their new album The Way of All Flesh, which, by the gojira-music.com
heavy, dragging basslines and way, is very cool and can rip your head off if you don’t take
low synth chords but his jilted precautions. The most heavy and teeth grinding performance myspace.com/36crazyfists
flow contrasts the weight of his of the night. Thumbs up to you guys, you are amazing!
beats. Ill Bill performed some By Arceon
tracks from his new album “The
Live Review - Eagles of Death Metal w/
The Duke Spirit.
Sunday, November 2nd, 2008
The Commodore Ballroom - Vancouver
To put it simply, plainly and succinctly…
WOW! What the fuck else can you say
about a show that easily blew all other
shows at The Commodore this year clear
out of the water? J. Dilla (the Ladykilla)
and the rest of his southern fried, crotch
rock posse known as the Eagles of Death
Metal rode into Vancouver last night and
proceeded to rip this town several new
ones. Backed by Brit-Rock range riders
The Duke Spirit, this show proved that rock
and roll may be getting older, but there’s
still plenty of fire left in its belly.
The Long Blondes and Yeah Yeah Yeahs
partying at Thom Yorke’s house is probably
the best way to describe show openers
The Duke Spirit. Straight forward grooves
kept it real as lead singer Liela Moss and
the rest of the band slowly worked the
crowd over to the “Duke” side. Although
they didn’t stray too far away from familiar
Brit-Alt-Rock territory, this band certainly
has the chops to play with the big kids
and they proceeded to show the crowd
why. Leila’s singing and harmonica playing
was a refreshing diversion, and with Luke
B Ford and Dan Higgins on guitars, Toby
Butler on bass and Olly The Kid Betts on
drums, if you aren’t familiar with The Duke
Spirit at this point I’m sure you soon will be.
Standing ovations and thunderous cheers
are usually reserved for after a show, but
fuck that, this is Vancouver and these are
the Eagles of Death Metal! After several
minutes of wandering the stage and
shaking hands with the frenzied audience,
Jesse Hughes (aka: ‘J. Dilla / The Devil /
Boots Electric’ on guitar and vocals), Dave
Catching (aka: ‘Darlin’ Dave’ on guitar),
Brian O’Connor (aka: ‘Big Hands’ on bass)
and Joey Castillo (aka: ‘The Sexi Mexi’ on
drums) proceeded to work the crowd like I
high priced porn actress works a… um…
contract negotiation, yeah.
Ripping into songs like “I Only Want
You,” “I Gotta Feelin (Just Nineteen)” and
“Wannabe in LA,” (from their latest slab
entitled Heart On), Eagles of Death Metal
are the premier crotch rock party band
presently in existence and I defy anyone
who follows music to refute this claim.
J. Dilla’s stage presence, Darlin Dave’s
cheeky guitar solos, Big Hands’ bass
mastery and The Sexi Mexi’s skin pounding
prowess were nothing short of amazing!
Combine all that with the audience’s well
founded worship of these guys and the
bond that formed between us and the band
and the Church of the Eagles of Death
Metal was definitely in session. A-fucking-
men bothers and sisters, a-fucking-men!
Nothing even comes close to last night’s
performance as far a pure adrenaline
pumping, dance inducing good times
go, and even that is an understatement!
Playing before the largest audience
they have yet experienced (according
to J. Dilla), the Eagles of Death Metal
overwhelmed the crowd with tune after
tune of infectious brilliance while the crowd
returned the favour with overwhelming
gratitude and a shit load of love. If love is
the ‘tie that binds,’ then everyone present
became an “Eagle of Death Metal” for one
truly unforgettable night.
DukeSpirit.com
EaglesofDeathMetal.com
By “Gorgeous” Grimm Culhane
(Photo - Chris McKibbin)
Live Review - Digable Planets w/Na Rai With a mix that hearkened back all the way to
Tuesday, Nov. 11, 2008 ‘82, with vocals saturated in reverb and the beats
Commodore Ballroom, Vancouver BC inexplicably washed out, it was at times hard to find
the down beat amid the congas and muffled thuds.
Local opener NaRai warmed up the three-quarter All three MC’s were fully legible and in fine form,
capacity crowd with a competent set of funky R&B/ but the DP’s could benefit from an up to date remix
Hip Hop styles, fairly lightweight but catchy and to add some punch to the beats.
enough to get a generally older crowd of scenesters
moving jerkily in anticipation of mid 90’s greatness. While Butterfly spit politics in his distinctive,
Q-Tip-esque patter, and Ladybug maintained the
It’s been almost fifteen years since the release of squeaky NYC vowels that make her flow instantly
“Blowout Comb”, and when Butterfly, Doodlebug recognizable, it was the previously laid back
Doodlebug (AKA
Cee Knowledge)
who supplied
the real crowd
motivation and
animated flows,
asking the audience
to “show some
love” to the jazzy
thump of “Nickel
Bags” (remember
when there was
such a thing?),
until a fat sack was
finally thrown on
stage and promptly
rolled, lit and
blazed.
In all, the new
material sounds
like it would be
quite banging
with a better mix,
rocking a new,
more electro sound
and Ladybug Mecca hit the stage with a new, double- and some quick and catchy flows. Clearly the DP’s
time crunk type joint, it was good to see that they still have that old chemistry that produced two classic
have not only kept their skills intact but have been albums of Golden Era Hip Hop, with a refreshingly
working on bringing them into the 21st century. laid back and attitude free vibe. Representing for a
Following with the smoked-out bass of “May 4th flavour of Hip Hop some forgot ever was, the Digable
Movement”, the DP’s had the audience right back Planets maintain the jazz element and intelligent cool
in ‘94 with them. Bouncing back and forth between that set them apart way back in the early 90’s.
“Blowout” and 1993’s “Reachin’ (A New Refutation
of Time and Space)”, they hit all the right notes with Digableplanets.org
“Rebirth of Slick (Cool Like Dat)”, ‘Where I’m
From”, “Highing Fly”, and what has become the myspace.com/naraimusic
theme song of this tour - “Dial 7 (Axioms of Creamy
Spies)” By Dave “Corvid” McCallum
(Photo- Sarah Hamilton)
Live Review – DevilDriver w/ Snot and
Guests.
Saturday, October 18, 2008
The Red Room – Vancouver, BC.
Once again the crowd in black headed
downtown for what promised to be another
melee of metal madness as DevilDriver
packed them into the Red Room like an
early morning cram session on the Skytrain.
Backed by the likes of Straight Line Stitch,
Instinct of Aggression, Rosengard and the
newly reformed Snot, you’d be hard pressed
to find a better show than this on a Saturday
night… or any other night for that matter.
Impressive sets by Straight Line Stitch,
Instinct of Aggression, Rosengard (including
some of the most innovative hair swinging
yet witnessed) paved an interesting way for
the long awaited return of L.A.’s own Snot.
Formed back in 1995, Snot’s foray onto the
realm of fused Metal, Rapcore, Punk, and
Funk was unfortunately cut short with the
death of lead singer Lynn Strait in 1998.
With the addition of ex Divine Heresy lead
singer Tommy Vext ten years later, Snot is
back and eager to regain their hold on post-
modernist metal mash-up music.
Leaving no doubt in anyone’s mind whether
they could still pull it off ten years later,
Snot ripped through their set, commanding
the stage and the audiences’ attention like
the last ten years never existed. The duel
guitars of Sonny Mayo and Mike Doling, the
crazy-man bass stylings of John Fahnestock,
the drumming/arm ballet of Jamie Miller
added to the vocals and stage presence of
Tommy Vext (eerily reminiscent of original
singer Lynn Strait) all added up to one
insane moshing, bouncing, head banging set.
Stand out songs were old favourite ‘Snot’
and a new track ‘The Band Plays On’ from,
according to guitarist Sonny Mayo, their
forth coming album.
As if that weren’t enough, headliners
DevilDriver packed such a huge force of
sound with their set it was like standing
behind the jets of a Grumman F-14 Tomcat
as it accelerates towards take off. Once fully
airborne, DevilDriver did not let up for the
duration, bombarding the crowd with song
after song of pure metal fury. The might
they put behind their music (on their albums
and especially their live show) can not be
understated, it was unbelievably powerful!
Pushing the audience to their fullest extent
is what these guys do and they do it fucking
well.
Five bands, one night and a mosh pit/dog
fighting ring that never quit equalled one of
the better (and heavier) shows to hit town
in a while. For those heavy enough to be
in attendance, you know what I’m talking
about. For those who missed it, better luck
next time.
myspace.com/snot
devildriver.com
By Grimm “Ow, My Ribs!” Culhane
(Photo - Scott Alexander)
(PHOTO - Scott Alexander|ABORT)
Live Review – Cheech and Chong Light Up
Canada
Friday, December 5th, 2008
Queen Elizabeth Theatre – Vancouver, BC.
Bored and wanting to get stoned on a Friday night?
Hey, let’s hot box the Queen Elizabeth Theatre!
Yes, that’s exactly what happened when close
to 3000 potheads piled into the QE, rolled up all
the windows and commenced to spark up a few
hundred phatties for a sold out performance by
none other than Pedro and The Man themselves,
Cheech and Chong.
What would a “Cheech and Chong Appreciation
Night” (oh, and “Reunion Tour”) be without a
few minutes with Tommy Chong’s lovely wife
Shelby? Shelby opened the show by regaling the
audience with stories of how she and Tommy met,
the infamous “bong” bust and some well placed
one liners before almost being heckled off stage by
impatient fans. After an impromptu vote and a well
deserved “fuck you” to the hecklers, she continued
telling hilarious stories that only Tommy Chong’s
wife would be privy to.
With absolutely no “to do” or lengthy wait for the band to set up (cuz there wasn’t any), Cheech
wandered on the stage to a standing ovation and began recreating the memorable scene where he
and Chong first meet in the movie Up In Smoke. Seeing this scene and several others recreated
on stage was rather odd, but there was enough new material mixed in with the familiar to keep
things from being completely predictable. The scene where they played dogs and mimicked their
actions was quite hilarious and would not have worked without the visuals provided.
This evening seemed like not only a stop on their reunion tour, but also a chance for Tommy
Chong to vent his displeasure at being busted for something as innocuous as selling bongs.
Between skits he commented on just how fucked society can be in this regard and, to an
auditorium full of lighter flicking pot smokers, his opinions were right on the money.
Cheech seemed to be having the most fun, livening up the evening with his energy and
suppressed laughter. Concluding the show with a lengthy version of “Mexican Americans”
(from Cheech and Chong’s Next Movie), was completely unexpected and a stroke of brilliance.
With heartfelt thanks they left the stage and as the lights came up the audience moved towards
the exits in a sort of fog like state. That fog of course was generated by the two solid hours of
pot smoking and the bliss of spending time with the legendary Cheech and Chong. Skits, songs
and stories, regardless of whether or not you could remember any of it once you left the QE, this
night truly had it all.
CheechAndChongTour.com
By Grimm “Pendejo” Culhane

Live Review – Anvil with Flood of Fire
Friday, November 14, 2008
Pat’s Pub – Vancouver, BC
Holy fuck, it’s Anvil! Yes, legends of the
Canadian Metal scene (and Heavy Metal
in general), Anvil arrived in Vancouver
to pound out some truly classic material
for the “just this side of rabid” crowd that Hard N’ Heavy to 2007’s This is Thirteen
converged on Pat’s Pub Friday night. With (and everything in between), sounded so
Flood of Fire warming things up, Pat’s
Pub definitely did not see this coming.
Musicians Mark, Alex, Justin and Sean
are quickly making Flood of Fire one of
the premiere metal acts here in Vancouver. slightly possessed smile on his face) to
Their sound includes all the best aspects
of Progressive Rock Metal, with a health
dose of “in your fucking face” fury when
unleashed live. Catchy, but never kitschy,
Flood of Fire show more seasoned ability
in the few short years they’ve been
together than a lot of live acts show over
an entire career. A lot of live acts that is… be done you need to start with one thing,
and then there’s Anvil.
Formed in the bowels of Toronto in the
early days of Heavy Metal (circa 1978),
Anvil have become synonymous with
all things hard and heavy. With thirteen
albums and a feature length documentary
under their belts (entitled Anvil! The
Story of Anvil) Anvil Mania landed in
Vancouver and commenced to bust some
well deserved heads.
Lips, Geza and G5 gave those in
attendance exactly what they came for, a
lesson in how to forge steel directly from
the pages of the Old School Metal manual.
The lesson did not stop with pure Metal
though, for Anvil’s song catalogue ranges
from Thrash to Speed to Stoner Metal
and beyond. Songs ranging from 1981’s
good and blended so well together it’s
absolutely baffling why these guys aren’t
still playing arenas and festivals world
wide. From Lips and his superlative
axe-wielding solos (with that infectious,
Geza’s stick twirling mastery to G5’s
thunder-bass, I mean fuck people, what
else could you ask for from a Metal show?
Heavy Metal has been forged into many
shapes and sizes in its relatively short life,
but for the truest and smoothest work to
Anvil!
myspace.com/FloodofFireband
AnvilMetal.tk
By Grimm “Metal on Metal” Culhane
(Photo by Grimm Culhane)
but every band playing this night proved.
Finally The Hanson Brothers took the ice… er, the stage, dropped
the gloves and commenced to punch everyone present right
square in the face from the first note. Starting out as a Ramones
cover band back in the early 80’s (NoMeansRamones) Robbie,
Johnny, Tommie and latest “draft pick” Mikey Hanson have been
pummeling audiences across the globe with some of the best
“puck” rock you’re ever going to hear.
The appreciative hometown crowd (close enough) ensured the
referees weren’t overly busy during their set, but at one point
local punk rock icon Wimpy Roy did take the stage in an attempt
to bust up the festivities, but he was quickly and unceremoniously
hustled off the stage, before escaping and trying again of course.
Consummate professionals, hockey aficionados, home brew
practitioners and fucking amazing showmen, The Hanson
Brothers thrilled the crowd with songs from across their
discography at break neck speed. If the music of this night was
measured by sheer brute force, this baby would have been off the
fucking charts!
- Hanson Brothers Set List -
(Photo- Grimm Culhane) Total Goombah!
Everything I Wanted
Live Review – The Hanson Brothers with Guests My Game
Thursday, November 27th, 2008 My Girlfriend’s a Robot
The ANZA Club – Vancouver, BC. Duke It Out
Stick Boy
Went to a fight and a gig broke out! What else would you expect Commando
when The Hanson Brothers hit town? 100 + 10%
A Night Without You
Yes sports fans, the irrefutable, the indisputable Hanson I Know You
Brothers made a welcome and long overdue visit to our fair Tranquil
city on Thursday night at the ANZA Club with what can only Sabrina
be described as a rousing set of puritanical puck passing punk Comatose
perfection. Dragging along with them The Isotopes, The Spinoffs Jack-Off
and The Hits, you’d be hard pressed to find anything half as No Emotion
entertaining as this night’s falling, sprawling, brawling bonanza. It’s A Secret
Danielle (She Don’t Care About Hockey)
The Isotopes blasted through a short set to get things going. Hockey Song
Featuring members of Vancouver’s The Badamps, The Spinoffs Bad
and The Jolts, their Ramones-like punk excursions with Jam-tastic - Encore 1 -
vocals were the perfect way to start off the evening’s festivities. Made Her Mine
These boys are well worth checking out, especially if a whole set Let’s Go Out
of their songs is involved. We’re Brewing
- Encore 2 -
Next up were The Spinoffs. Short, fast and to the point, these Get It Right Back
guys (also from Vancouver), cram more songs into a set than Road Pizza
sardines crammed into a 45 gallon drum. Fuzzy guitars and Sudden Death
angelic vocals (swaddled in leather… of course) combine to make
The Spinoffs definitely worth checking out. Think The Ventures
on way too much coffee, throw in some Buzzcocks style vocals myspace.com/IsotopesClubhouse
and you’re starting to get the point TheSpinoffs.com
myspace.com/The_Hits
Groove oriented wonders The Hits shoot straight from the crotch NoMeansWhatever.com
of the 1970’s as they proved next. With songs more infectious
than typhoid Mary, they sped through their set like they had to By Grimm “The Hammer” Culhane
rush home to catch a game or something, not missing a beat
along the way. Vancouver seems to be solely responsible for the
resurgence of fuel injected classic hard rock as not only The Hits,

(Photo - Grimm Culhane)
Live Review - SNFU with Left Spine Down
and Last Plague
Saturday, November 15, 2008
The Red Room - Vancouver, BC.
Opening band Last Plague made sure we’d
remember their contribution to our ringing
ears long after the show ended. With a sound
somewhere between metal and modern
hardcore, they wooed the sparse crowd to the
front with screeches and growls aplenty. The
sounds emanating from singer Heath were
nearly demonic at times, making us wonder
what exactly was hiding behind his untamed
curtain of hair.
Left Spine Down were impressive as hell.
When lead vocalist Kaine began by singing
into a megaphone, he quickly established
that this was no ordinary band. Their
cyberpunk sound is a fusing of many genres,
those being mainly metal, industrial, punk
and electronica. Having Denyss and Jeremy,
formerly of The Black Halos and Front Line
Assembly among their ranks makes it clear
how they’ve managed to craft such a unique
sound. Sadly, despite the best efforts of the
band the crowd never gave them more than
the standard head-nod. Most were probably
standing back to avoid unsightly face melting
from the sheer force of their
performance.
As we listened to the Dropkick
Murphys for the third and final
time, SNFU’s Mr. Chi Pig unpacked
his tickle trunk. He was outfitted
in what was easily the shiniest suit
known to man. It was clear we were
in for quite a show. Completing his
ensemble with an Elvis mask, he
strode onstage and launched into
“I Forget,” beginning what would
be an unforgettable performance.
SNFU was really on their game,
the set list laid out like a “best of”
from the band’s wide repertoire.
Donning a headdress for “Buffalo
Jump” followed by the famous pig
mask, frontman Mr. Chi Pig kept
the audience engaged the entire
set. “Don’t Have The Cow” was
dedicated to Wendy Thirteen, who
left The Cobalt for a few hours to
catch the show. The song was a
favourite of the crowd, who sang-along so
enthusiastically that they easily drowned
out the band. “Cannibal Café” was the last
song of the 40-minute set, leaving people
so content that they started filing out before
“This Is The End” drew them back in for the
encore. This show was easily one of SNFU’s
best local gigs this year, the energy likely
derived from a new album in the works and
extensive tours planned for the new year.
myspace.com/LastPlagueMusic
LeftSpineDown.com
SNFU.com
NearlyFamousMusicFestival.com
By Nara A.
At this point in the apocalypse, where we’re beating on each
other with sticks and rocks, the appropriate music to play will
echo exactly what we’ve reverted to… Early Man. These “both
coast” Thrash Rockers set forth to conquer the lesser of us with
a bombast (or is that bomb blast?), of thick, sonic brutality.
Knuckle draggers they aren’t, as their musicianship proved
through their hair swinging, stick flailing, all too short set.
Finally, as the dust settles, the smoldering crust cools and those
of us sturdy enough to last this long seek refuge, the night and
everything around us became Iced Earth. Formed from the
ashes of Purgatory in 1984, Iced Earth are five men who set
out to pave the planet with Heavy Power/Thrash Metal and,
for all intents and purposes, they have done just that. Stoically
standing before the crowd before bursting forth “In Sacred
Flames,” the power and might of Iced Earth came across
brilliantly as they kept the crowd enthralled, letting up only
long enough to allow the audience to cheer their brains out
between songs!
This may have been Scrape Records 11th Anniversary bash, but
(Photo - Grimm Culhane) the people in attendance acted like it was “their” birthday party
and they weren’t leaving until all the cake was eaten… or at
Live Review – Scrape Records 11th Anniversary with Iced least mashed into a pulp. Great show!
Earth and Guests
Wednesday, November 19, 2007 - Iced Earth Set List –
The Commodore Ballroom – Vancouver, BC. In Sacred Flames (Intro)
Behold the Wicked Child
Scrape Records sure knows how to throw a party, and it only Invasion (Intro)
took them eleven years to put this “End of the World” spectacle The Motivation of Man
together!
Setian Massacre
Burning Times
You can rest assured that when our planet decides to call it
Declaration day
quits, sputtering and coughing up its dead on the last day of our Vengeance is Mine
parasitic existence; the soundtrack to our annihilation is going Te Thousand Strong
to sound something like the night of November 19th at the Stormrider
Commodore Ballroom. For Scrape Records 11th Anniversary Pure Evil
they could have done a hell of a lot worse than inviting Over Watching Over Me
the Coals, Magnus Rising, Early Man and Indiana’s own Iced Coming Curse
Earth to celebrate. Just as this night’s Metal diversity showed, I Walk Alone
when the inevitable apocalypse comes it’s going to be fucking Dracula
loud! High Water Mark
- Encore –
It starts with Over the Coals, when the Earth heats up to Melancholy
temperatures beyond reason and the sea becomes the sky, My Own Savior
raining down with merciless force and fury… just like the Iced Earth
band! Local boys make good on their promise to kick some
supreme ass with a set of Metal/Thrash that left those in myspace.com/OverTheCoals
attendance screaming “HELL YEAH” at louder volumes than MagnusRising.com
usual. Definitely a force to be reckoning with on the local EarlyManArmy.com
scene, Over the Coals set forth to entertain and that’s exactly IcedEarth.com
what they did.
ScrapeRecords.com
Magnus Rising was the next step in this evening’s pursuit
of annihilation. It was good to see these guys “rising” to a By Grimm “Horror Show” Culhane
stage they truly deserve, pumping out the Metal like so much
molten lava spewing from the innards of the Earth. Hellbent
and determined, they put their hearts and souls into every
song, which reverberated through the crowd and left no one
untouched. High energy and catchy songs sure don’t hurt
either!

ABOVE: Genetics | Photo-Amalia Nickel
Live Review: Monday Night Live’s
“WOMEN IN HIP-HOP” Event
Monday, December 2, 2008
The Modern, Vancouver BC
Monday Night seemed extra live this week
with its “Women of Hip-Hop” show at The
Modern in Gastown. Emotionz, who puts
the Monday Night Live showcases together,
admitted that this all-female show was in
fact something he did with his “little sisters”
The Genetics in mind. Even so, a wide range
of hip-hop artists proved their skills and
gave a uniquely feminine touch to a largely
masculine genre.
Among the most impressive DJs were DJ
She and Nina Mendoza; their styles were
truer to old school hip-hop than some of the
other, more clubbish sets. The DJs played
late into the night, at which point the crowd
was restless for some emcees.
And the performers delivered…eventually.
Brittany sang off-key and without much
presence. Shay Faded did an acoustic set
accompanied by guitar and drums, and
although she and her musicians put on
a good show it wasn’t something to
Top of the fucking
get up and dance to. First Ladys Crew
began with a Cosalish acapella verse
and then went straight into a few high
energy songs; it would have been nice
to hear more from them.
The Genetics’ particular brand
of bubble gum hip-hop was what
finally got the crowd moving. The
young twins rapped, sang, danced
morning to you
and spoke their minds. The Genetics
are hard to define; they come off as
pure party and it’s tempting to peg
them as superficial. However, both
women have a lot of genuine talent
and seem to be hustling their shit
effectively. Being hit in the face with
a Genetics t-shirt and being narrowly
missed by a flying Genetics CD
brought the realization that they are
businesswomen as well as performers.
Kia Kadiri and Ndidi Cascade were
the peak of the night. The women have
amazing chemistry together and both are
trained musicians whose talent cannot
be contained by genre. Reggae, Jazz and
Hip-Hop came together for a short burst of
eclectic beats, rapid rhymes and powerful
stage presence. Kia and Ndidi have become
young veterans of the west-coast hip-hop
scene and it was truly entertaining to see
them perform together.
The night closed with the always classy
NaRai Dawn. Her pure, strong vocals stood
by themselves, her only accompaniments
a b-boy and a drummer. She has the ability
to take the energy wherever she wants it to
go; an acapella opening left the crowd rather
stunned, while her straight-up R&B brought
them back to reality.
Abort Apparel
It was a treat to see so many talented female
hip-hop artists at one show. It would, of
course, be even better to see these women at At Abort Magazine we are not
more shows altogether but progress comes only peddling smut, we are also
slowly.
peddling t-shirts. For $15.
Myspace.com/Freshcoastbookings
By Amalia Nickel

CD Review - The Almighty
Self-titled
BabyGrande
Very few can touch on what this Hip Hop
supergroup are reaching for, and with the
combined powers of Killah Priest, M-Eighty, Bronze
Nazareth, Son One, C Rayz Walz and 5-Star in
full effect on this eighteen track magnum opus, the
solar rays projected are astronomical. With the
ineffable balance of street knowledge and sacred
wisdom casting modern life in true apocalyptic
vision, The Almighty is a collection of sonic-lyrical
sculptures of impeccable clarity.
After “The Saga Begins” featuring the appropriate
Prodigy vocal sample, Canibus and Keith
Murray drop venom on “Handle the Heights”.
“Obey” features Planet Asia spitting the type of
righteous street knowledge that has made him an
underground legend. Killah Priest’s smoked out
baritone paints pictures in the mind over the next
four selections of dark and morbid sounds. “Think
Piece” takes C Rayz, Killah and Bronze Nazareth
on a dark and meditative journey through the
strange mental terrain of true lyrical swordsmen.
Standout track “Now Or Never” features Solomon
Childs, Son One, 5-Star and M-80 over a gut
wrenching soul loop that makes you just feel the
cold winds and pain of ghetto struggle.
Throughout, DJ JS1 of the Rock Steady Crew
provides tasteful scratches over beats from Bronze
Nazareth, Maja 7th, Kevlaar 7 and others over
soundscapes of bright sunshine and bitter chill.
With a large and diverse group of minds united
in one common purpose, The Almighty fulfill the
promise of groups like the Wu-Tang where minds
both gritty and brilliant, spiritual and disturbed peer
down from treacherous heights at the ruination
of society to shed solar beams of light. Deep
Shit that’s dirty enough to mean something, The
Almighty have crafted a modern classic.
ihiphop.com/thealmighty
myspace.com/TheAlmighty6
Babygrande.com
By Dave “Corvid” McCallum
CD Review - Bring Me the Horizon CD Review – Combichrist
CD Review- Amon Amarth
Suicide Season Today We Are All Demons
Twilight of the Thunder God
Epitaph Metropolis Records
Metal Blade
Bring Me the Horizon’s sophomore Andy LaPlegua’s energy and creativity
Two years since the release of With Oden
release is metalcore at its finest. No one seem to be limitless when it comes to
On Our Side, the Viking Death Metal
is safe when these Brits decide to unleash creating masterpieces, considering he’s
quintet, Amon Amarth, are back with their
their fury. Hang on to your guts people, constantly working on projects somewhat
latest offering Twilight of the Thunder God.
they might get rocked right out. The band different in concept and style. While one
This album is epic from start to finish and
recorded Suicide Season in Sweden, may argue that not all of his works are
features the powerful, trademark vocal style
joined in studio by the legendary Fredrik pure diamonds there’s no denial to the
of Johan Hegg, anthemic choruses, tights
Norstrom (Arch Enemy, In Flames, At the fact that from the moment of conception
riffs and the overall commanding sound that
Gates) whose expertise allowed for such Combichrist has been rich on hit releases.
we’ve come to expect from these Swedish
a finely crafted album. In fact, every single one of them shook the
metal warriors.
dancefloors all over the world and left the
First track “The Comedown” wastes no overcome bodies begging for more.
Stand out tracks include “Guardians of
Asgaard” and “No Fear for the Setting Sun”. time getting fast and heavy, giving a clear
indication of what one should expect from Since The Joy of Gunz in 2003 Andy
“Guardians of Asgaard”, with its Dethklok,
this album. What one should not expect doesn’t leave us any time to catch our
“Duncan Hills Coffee”-sounding intro is one
is cliché metalcore screaming on every breaths, hitting with brilliant music as
of those straightforward tracks that will have
track. Oliver Sykes’ vocals are varied often as twice per year. His unmistakable
you pumping your fist and screaming along.
enough to keep the listener interested, style is forever carved in all-time-hits
It’s definitely not the most musically intricate
and they don’t overshadow the rest of from Everybody Hates You and What
song on the album and the solo doesn’t
the band. The riffs provided by guitarists The Fuck Is Wrong With You People?.
really do it much justice, but it’s a song
Curtis Ward and Lee Malia are allowed Furthermore, there’s always a progression
that carries a lot of power in its simplicity.
to shine through nicely. “Chelsea Smile” in Combichrist’s music – it keeps getting
Definitely one of those tracks that will get a
has a more hardcore feel, whilst “No better and better. And whether you like
live audience riled up and throwing back the
Need for Introductions” and “Sleep with to dig into the concept and find yourself
beers. “No Fear for the Setting Sun” takes
One Eye Open” showcase the heavier in a deep dark place full of questions you
us into the depths of a battle, describing
side of BMTH. Title and final track don’t want to think of, let alone answer, or
the final fight of a warrior facing sure death.
“Suicide Season” clocks in at just over you note the remarkable connections to
Doomed but unyielding, the warrior will not
eight minutes, changing so drastically art, including works of Stephen King and
back down and unwaveringly accepts his
throughout the song that it is almost a Stanley Kubrick, or even if you just enjoy
fate. Musically, Olavi Mikkonen (guitars),
showcase of the band’s range. From the amazing aggrotech/industrial sound
Johan Soderberg (guitars), Ted Lundstrom
growling to singing to screaming, this has – Andy has already set your expectations
(bass) and Fredrik Andersson (drums)
it all. The slowed pace and interludes of high. And the coming up album, Today
create a relentless, driving rhythm that
this final track make it possible to recover We Are All Demons has to be the first big
supports and enhances the story being told.
from the sheer ferocity of the previous intrigue of the next year.
nine songs, and brings the album to a
All in all Amon Amarth did a great job of
natural, satisfying finish. Well done. combichrist.com
bringing us the elements that we’ve come
to expect over the years, without ripping
myspace.com/BMTH By Arceon
themselves off or becoming predictable.
Bringing in Roope Latvala (Children of
Bodom) for a guitar solo on the title track Epitaph.com
and Apocalyptica on “Live for the Kill” not
only added variation to the tracks but also By Nara A.
made for an interesting collaboration. Be
sure to pick up a copy of Twilight of the
Thunder God and catch Amon Amarth live.
amonamarth.com
metalblade.com
By Alxs Ness
 CD Review – The Haunted
Versus
Century Media

Since early 1990s the Gothenburg

death metal scene has been rich on
CD Review- Dimmu Borgir
icons and good music. Bands like Dark
Enthrone Darkness Triumphant- Reloaded
Tranquility and In Flames pioneered
Nuclear Blast
the genre, generated a cult following
and influenced a huge number of CD Review - Jedi Mind Tricks
Enthrone Darkness Triumphant was Dimmu Borgir’s
bands around the world and in Sweden CD Review - Illa J A History Of Violence
first release with Nuclear Blast and essentially the
itself. In 1996 members of the major Yancey Boys Babygrande/Fontana North
album that brought them major attention from melodic
pioneering act in Scandinavian death Delicious Vinyl
black metal fans worldwide. Subsequent releases
metal, At The Gates, formed what was Mining deep in the vein of angry, apocalyptic
charted the band’s evolving sound and lineup, to their
to become an award winning act, The As the 21 year old younger brother to the horrorcore, Jedi Mind Tricks have dwelt in the darkside
present-day status as one of the most well-known and
Haunted. The Björler brothers, Adrian legendary J Dilla, Illa J’s debut release is for a minute, while remaining incisive, intelligent and
respected Symphonic Black metal bands around. Now
Erlandsson and Peter Dolving released a unique fraternal collaboration across the yes even spiritual throughout their gravel throated
11 years later Dimmu has released Enthrone Darkness
their first self-titled album in 1998 which boundaries of time. After relocating from rants. On their sixth full length release, they present
Triumphant-Reloaded; giving us a prime opportunity
was praised by the press and made a Detroit to LA and building a studio with the same doctrine of violent knowledge of self with
to revisit the early days when they were still cultivating
reputation for the band. Dilla’s gear, he was gifted a CD by Delicious greater fervor, tighter flows and slicker productions than
their sound and reputation.
Vinyl founder Michael “Mike Floss” Ross of before. Their usual relentlessness is more focused
The old-school trash metal sound of previously untouched beats that Dilla had and topical, with a diverse range of productions from
Musically, the reloaded version is not much different
the album turned out to be a one time created for the Pharcyde’s 1995 release Stoupe.
from the original, with the exception of a bonus track-
occurrence. The significant line-up “Labcabincalifornia”. Named after the studio
“Raabjorn Speiler Draugheimens Skodde”. For those
changes marked a more “Gothenburg- he built in honour of his big brother, “Yancey Tracks like “Trail of Lies” weave a continuous narrative
who have not yet heard either version, imagine deadly
melodic” direction in their style. While Boys” is a subtly bumping, brilliant debut of paranoid conspiracy theories and off kilter religious
black metal riffage, accompanied by the brilliant
two consequent albums were recorded combining free flowing abstract raps with references, culminating in the ascendant brutality of
keyboard work of former member Stian Aarstad with
with a different vocalist, Marco Aro, soulful hooks, over Dilla’s moody, bare “Godflesh”. The sadistic violent imagery of “Butcher
the occasional breakdown into romantic, melancholic
the original front-man Peter Dolving bones, jazz based productions. Knife Bloodbath” emphasizes the normalization of
melodies. “In Death’s Embrace” and “Entrance” are two
returned to the band in 2004 and since murder in American society, finishing with the final
particular tracks that bring in some very soft, musical
then appeared on all albums up to date. Opener “Timeless” starts the joint slowly with testament of “Death Messiah”. Throughout, Vinnie Paz
elements. While this move may confuse some and bore
The most recent effort of “The Haunted”, some blue note keys and Illa’s musings on manages to balance his morbid imagination with loving
others, it can be somewhat reflected in the band’s later
Versus, is another significant mark of time and inspiration. “We Here” comes the sentiments for his family and crew, with a depth of
choice of including ICS Vortex’s beautiful, clean vocals
their own style, hailing in the vein of The closest to a club track with it’s “this is for my consciousness not normally found in a mind so twisted.
when he joined the band for Puritanical Euphoric
Dead Eye and rEVOLVEr. That being people with ice to rock” hook. Fellow Detroit With his monochrome flow balanced by Jus Allah’s
Misanthropia. In addition, besides the classic tracks,
said, the heavily melodic approach MC Guilty Simpson drops his laconic swagger hypeness and killer cameos from the likes of Block
Enthrone…Reloaded carries some nice multimedia
is well blended with trash-influenced on “R U Listening?”. Frank Nitty breaks down McCloud and Demoz, the texture is varied enough to
surprises for all the collectors and diehard Dimmu fans.
elements and stunning riffs overall. the extraterrestrial origins on the Yancey Clan sustain Jedi Mind Tricks’ often monotonous aesthetic.
These include a video for a live version of “Entrance”,
on “Alien Family”. “DFTF” stands out as a laid
a few cool band photos (although pretty poor quality),
It’s not a mystery that The Haunted back make out track, and “Air Signs” gets into Personally, Vinnie’s cartoonishly gruff vocal register
some screensavers/backgrounds/winampskins and
play a little by the book. At first sight, some deep astrological science as Illa gives has never really caught my ears, as deft and full of
a nice custom touch on the CD case itself; rounded
there’s nothing to point out – all tracks props to his extraordinary family. content as his flows can be. His unique interpretations
corners.
are good. Solid listening material, high of Islam and violent disposition at times take on an
quality of mastering, and editing, good The entire effort has a very introspective, almost fascist tone of fundamentalist fervor, and to me
For fans who love Dimmu for their intense symphonic
artwork, all that you can expect from somewhat melancholy feel which is smack of the typical American cock-swinging, gun-
characteristics and the brilliant vocal work by ICS
Swedish death metal. But if you look understandable given the circumstances, toting bullshit in the guise of revolutionary Hip Hop.
Vortex, and do not lean towards the melodic side of
closer, the underlying content that but Illa J’s swagger and motivation make for Can’t you guys see that this is why the rest of the world
things necessarily, this album may not do it for you.
makes their work unique will become an uplifting vibe throughout, great for spliff thinks you’re all so fucking crazy ? If Vinnie’s really
That being said, although the tracks carry a more
seen, be it the evil and social-oriented sessions and chill enough for entertaining the puffing as many trees as he claims in his lyrics, maybe
standard melodic black metal sound, they are still
hardcore/crossover influence of the ladies. A very solid debut from a distinctive it’s time to cut out the pure sativas.
solid and make for a great listen; especially with the
lyrics or the “in-your-face” concept of talent that will undoubtedly continue to bear
knowledge of how far the band has come and how
some tracks, especially “Iron Mask” and fruits from the prolific Yancey family tree, jmthiphop.com
they’ve since managed to essentially rewrite both black
“Moronic Colossus”. Year after year The “Yancey Boys” with it’s vintage beats and left- jedi-mind-tricks.com
metal subgenres.
Haunted prove that, opposing to what field lyricism has the makings of a modern ihiphop.com/jedimindtricks
often happens on the icon metal scene, classic. No Doubt Dilla is smiling up there.
dimmu-borgir.com
experience doesn’t trade novelty for By Dave “Corvid” McCallum
quality. They give us both. myspace.com/illajmusic
nuclearblast.de
deliciousvinyl.com
the-haunted.com
By Alxs Ness
myspace.com/thehaunted By Dave “Corvid” McCallum
centurymedia.com

By Arceon

CD Review - Kardinal Offishall
Not 4 Sale
Konvict/UMG
“The Kardinal’s” fourth album, Not
4 Sale, comes with a hint of irony.
Already Canada’s hip-hop darling, the
quintessential T-Dot rapper now reaches
across the falls to the much more potent
market of the U.S: “if you’re looking for me,
I’m three hours from Michigan.”
The album features everyone from Akon
(the executive producer of Kardi’s first
full-length album on Konvict Muzik) to
Rhianna to The Clipse. Although some of
the collaborators overshadow him, Kardinal
Offishall generally stays true to the Toronto
sounds, which he helped create; heavy
dancehall synth beats, drawled rhymes
and distant religious connotations.
The first song on the album is perhaps the
best: Burnt’s surprising contrast of melodic
synth-string and Lindo P’s aggressive
vocals create a tension of the sweet
and the bitter. Ill Eagle Alien updates
Sting’s “Englishman in New York,” instead
being “An illegal alien, I’m a rude boy in
T-Dot.“Due Me a Favor” features Estelle
singing the hook and Kardinal getting
sentimental “Thinking how my son look
when he full grown, will he be raised right
or another street clone?”
Nina slows everything down for a Supa
Dubs track with a great dub beat and the
story of a pretty girl who “I first met…when
I was a little youth.” Conversely, “Numba
1” features Rhianna (Keri Hilson in another
version) on an interesting variation of
Blondie’s “The Tide is High”; it’s a catchy
but cruel track about “a part time lover,
pretty little thing, nothing I would ever think
about giving a ring.”
In general, the album is honest, creative
and relatable. Kardinal Offishall proves
that, regardless of whom he works with
and who is buying his albums, he still
speaks the voice of the people and he is
not for sale.
kardinaloffishall.com
By Amalia Nickel
CD Review – Krisiun
Southern Storm
Century Media
Almost two decades old and they ke
ep kicking our asses. Krisiun are back with
a new album, ready to shatter our brains
into pieces yet again. So what do you do
if you keep playing brutal/technical death
metal for 18 years? It’s the same shit over
and over again, big people in the genre are
getting old already, not to mention the new
generation of fans getting hungry. How
do you keep it going? Krisiun can teach
a lesson here. They do it straightforward,
skillful and merciless. No chance to escape
the wrath of Kolesne brothers. And was
there a chance ever?
Southern Storm features super thick guitar
sound, amazing riffs and in every possible
way proves that Brazilian death metal is
alive and blooming. Burning hot to be more
precise – a total “Combustion Inferno”.
From “Slaying Steel” to “The Whore of the
Unlight” this album is a massacre, intense
and soul-devouring. Straight-forward, by
the way, doesn’t mean simple – not with
Krisiun. The experience and skill can be
literally felt in the breath-taking solos and
flawless playing technique.
The topics brought up on the record aren’t
tender raindrops on strawberry leaves
either. “Contradictions of Decay” brings you
into a world of bitter truth where “there’s
no true gain when there is no war and
pain”. The lyrics are very different, deep,
evil and sometimes hit below the waist.
Nothing unusual for brutal death you say?
There’s certainly something that makes
the album special, like the excellent cover
of Sepultura’s “Refuse/Resist” with a little
rhythm guitar magic from producer Andy
Classen himself. But there’s no need for
“special” here – all the songs are very good
and that makes it one of those albums
that you never turn off until the very last
track. Masterful, competent, wall-crushingly
brutal and heavy – Krisiun at it’s best.
krisiun.com.br
myspace.com/krisiun666
centurymedia.com
By Arceon
CD Review – KYPCK
Cherno
Century Media
KYPCK (pronounced “Kursk”) is a strikingly
good and extremely unusual band for the
Finnish metal scene. When you talk Finnish
doom-metal, the first thing that comes to mind is
Spiritus Mortis, Wormphlegm and to some extent
Sentenced. Spend some more time and you just
might not think of any other names. Only three
bands total and Sentenced are disbanded by
now. That being said, the totally stunning doom-
metal from KYPCK is unusual in its own self,
complete with Russian lyrics and concept.
A marvel carefully devised within Sentenced
back in 1999, KYPCK was formed in 2007 and
consists of guitarist Sami Lopakka (Sentenced,
Northern Tribe), drummer/producer Hiili
Hiilesmaa, Jaakko Ylä-Rautio on the bass guitar
and vocalist Erkki Seppänen, who speaks fluent
Russian and worked in the embassy in Moscow.
They call themselves “Fast Russian Doom
Metal From Finland,” although “fast” doesn’t
completely apply here. Cherno is without a
doubt one of the best epic/classical doom metal
releases recent years have seen. The sound,
the artwork, the content – it’s all fantastic and
will blow you away.
The booklet contains English translations
and opens the gate to the realm of diverse
emotions, hitting you like a crushing wave,
ceasing you with an agonizing grip, and yet
doing it slowly and dreadfully calmly, like a
feeling of impending doom you have no power
over. The helplessness and despair encrusted
in Cherno point to some Soviet realities, but
there is a deeper meaning to all this. “Christmas
in Murmansk” doesn’t seem jolly at all and
“Stalingrad” gives you the creeps literally but
it’s when the “Do Not Forgive” sinks in, you feel
the long-lasting impact. And when all hope is
gone comes the “Demon” from the renowned
Lermontov poem and all is lost.
An all-time hit.
kypck-doom.com
By Arceon
CD Review – The Vincent Black
Shadow
CD Review – Last Plague
El Monstruo
Self-Titled EP
Independent
Last Plague Music
Guilty as charged, El Monstruo is the first
Take five scientists from differing
thing I ever heard from The Vincent Black
backgrounds; put them together on a
Shadow. The first time you listen to the
research project and syphon the results
album you get this strange “mainstream”
down to one comprehensive thesis and
feeling, only to find yourself mistaken later,
what you are left with is either the ruin of
because it’s not. Why do you get that kind
mankind or the premier EP release from
of feeling you ask? It took me a while to
Vancouver’s aptly named Last Plague.
figure it out because, honestly, I’m not a
Unlike the research project however, the
big fan of the genre. The answer is that
five musical scientists that make up Last
TVBS music is not tiresome. All the songs
Plague are gonna knock you on your ass
are original and good in their own way. It’s
and let you live to tell about it.
a 12-song long streak of pure talent.
The shear complexity of this EP makes
There are no hits on the album, all songs
describing it almost impossible. If post-
are hits. There was no need to put “better”
post-post-post hardcore includes a bit of
songs in the beginning of the record
Black Sabbath, a smidgen of Deftones,
to strike the listener. It all falls in place
some Fugazi, Clutch, Valient Thorr,
magically and keeps you occupied. In
Pelican and Intronaut all mixed together
fact, you don’t really know what to expect.
into something indescribably unique, then
If you think otherwise, just wait for “Never
Last Plague fucking nail it!
Met Another Woman Like Me.” Also,
this is the track where the cabaret part
“Piston Cider” and “God Damned Good”
of alternative/punk/cabaret shows itself.
are the standout tracks here, but there
This is an independent recording and you
is absolutely no slack on this EP at all.
can’t tell the difference even for a second.
Solid musicianship and resonant vocals
This is a mature and a professional band,
make this “research and destroy” project
fronted by Cassandra Ford, a voice you
something utterly unique and give Last
will remember.
Plague (as Ninjaspy and Man Made
Mountains before them), an assured
The unusual turns, the samples and the
place in Vancouver’s divergent music
overall impression is very good. Although
scene.
this is definitely a band that makes positive
music, there is a tiny trace of melancholy,
LastPlague.ca
as if meant to be left unseen. In a universe
of uniform alternative/punk rock bands
By Grimm “Pestis” Culhane
it feel good to have something like The
Vincent Black Shadow. Hope their music
will get only better. They are on the right
track anyway.
Make sure to catch them live with Sisters
of Mercy on November 24th at The
Commodore Ballroom - Vancouver, BC.
myspace.com/TVBS
By Arceon
CD Review - Mudvayne
The New Game
Sony/BMG Music
Mudvayne return with their fourth studio
album; The New Game. On it, the boys from
Peoria introduce a rock vibe that strays from
past material. Chad, Greg, Matt and Ryan
have gone from a rap/metal group to wearing
makeup to now embracing blues inspired hooks
that give the album an older sound. No doubt
there will be cries of sellout, but if a band can’t
develop their sound then what the fuck are
they doing as artists anyway? Mudvayne have
shape-shifted with the state of metal over time
and The New Game offers a more complete
sound than anything that was presented back in
1998 when they first signed with Epic Records.
Gray and Tribbett’s time with Vinnie Paul and
Hell Yeah was huge in the recording process.
The album is soaked with heavy southern metal
blues riffs that Paul brought to Hell Yeah, Rebel
Meets Rebel and Pantera. Gray’s “outlaw”
vocal-stylings, under-utilized on previous
albums, are now the centrepiece. Combine
the vocals with the subtle change in sound
and Mudvayne brings the bad ass to a new
level. While thrashers still long for the severed
monkey head days of years ago, they shouldn’t
accuse this band of softening. Mudvayne still
tears shit up all over this fucking disc.
A New Game and The Hate in Me are pounding
and violent while A Cinderella Story and Scarlet
Letters demonstrate Gray’s introspective
songwriting and have a more melodic vibe.
Same Ol’ is drenched with textures and layers
and includes some killer guitar work from
Tribbett. Even with the sophistication of the
fusion of genres, the album still satisfies the
hardcore fan with heavy doses of raucous rage.
So relax, this is still a metal album by a metal
band. The rawness still bleeds through on
every decibel. There is plenty of room on
The New Game to run around breaking shit,
lighting random objects ablaze and committing
debauchery. However, there is also the
opportunity to sit back, (perhaps light something
else ablaze) and listen to the growth of a group
that is a at the top of their game.
Mudvayne.com
SonyBMG.com
By Gavin Reid
CD Review - Mulatto Patriot
Sonic Visuals
Mulatto Patriot Productions
Chicago-based producer Mulatto
Patriot’s debut album Sonic Visuals
infuses jazz, soul, blues and house into
a coherent and affective piece of work.
The album’s vibe is light; Ras Kass,
Casual, CZAR Absolute all contribute
to a diversity of sound with the common
threads of musically innovative beats
and simple, old-school rhymes.
Patriot’s major achievement on this
album is the scratchy and nostalgic
“Cadillac Vinyl” with CZAR Absolute and
Maggie Vagle. The swelling jazz strings
and horns accompany Vagle’s breathy
hook of “play that old school record for
me baby.” Another memorable track is
Showtime 1 Down 1 2 Go; its stacatto
vocal loops and party-time rhymes get
under the skin and stick in the mind.
Swordfish, featuring Prosper Jones,
is a sexy, quick-paced soliloquy to the
“woman of my dreams.” Although the
connection to swordfish is a little weak
(the rapper is tired of chasing chickens
and fishsticks), the romantic declaration
is clear: “I don’t know what you’ve been
through/ But the previous man is not
me, boo.” Everybody’s Crazy features
CZAR Absolute and a softly swinging
piano beat. The rapping matches the
laid-back groove with its slow rhythms
and soulfully sung hook: “I decline to
walk the line, they tell me that I’m lazy/
Wordly-wise, I realize that everybody’s
crazy.”
Sonic Visuals is an album worth listening
to: Mulatto Patriot’s eclectic beats are
complemented by quality vocals and
honest lyricism.
MPTracks.com
By Amalia Nickel
CD Review - Punisher: War Zone (OST)
Various Artists
Lionsgate
Punisher: War Zone is the most gore-
filled, brutally violent film portrayal of
the comic series yet. With scenes of
exploding heads, disembowelment,
cannibalism and countless other methods
of butchery, this adaptation is one
badass story of vengeance. Likewise, the
soundtrack leans towards the more brutal
side of things, distancing itself from the
metal/hard rock theme of its most recent
predecessor. Although there are a variety
of bands and musical styles (concurrent
with most soundtracks’ aims at mass
appeal) featured bands such as Slayer,
Slipknot, Hatebreed and Rob Zombie
make sure that the overall feel of this
album is sinister.
The album opens with the title track;
a song written and performed by Rob
Zombie specifically for the film. If you
are a fan of Zombie’s solo work you are
going to love this one. With a wicked
chorus, awesome main riff and Alice
Cooper inspired ending, “War Zone”
acts as a fitting omen for the dark tone
of the movie. Also, the ending coincides
perfectly with the melodic intro of the next
song, Slayer’s “Final Six”. Taken from
Christ Illusion, this track starts off quite
serenely but doesn’t take long to build
into full, thundering Slayer mode. Other
favorites include the spastic “Lunatic”
by Static-X and the calm but strange
“Butterfly Wings” by Machines of Loving
Grace.
Generally speaking, soundtracks offer
a convenient method of listening to a
compilation of bands that might not
otherwise be grouped together. This one
is no exception. While many of the songs
relate to the film’s themes of revenge and
destruction, the album also stands on its
own without depending on the film for
justification.
Lionsgate.com
By Alxs Ness
CD Review - Rise Against
Appeal To Reason
DGC/UMG
Rise Against is a melodic hardcore band from Chicago that
has been touring relentlessly since the release of their first
album The Unravelling in 2001. They have gone from playing
small bar shows to stadium concerts, but haven’t lost the
sense of outrage that fuelled them from the very beginning.
The band continues to voice their opinion on political and
environmental issues, reaching a larger audience than ever
before. There is no doubt that this talented group deserves
every bit of the success they currently enjoy. Unfortunately,
such success often comes at a price for punk bands.
Appeal To Reason is a considerably different album for
Rise Against. While the lyrics are as politically charged as
ever, the delivery is noticeably watered down. There is a
seemingly endless supply of “whoa ohhs” and “ahh ahhs,”
as well as overabundant harmonies which sound too pretty
for the messages they contain. The softer sound comes as
no surprise to fans of the first two albums. Along with the
burgeoning popularity of the band came the gradual decline of
their aggressive sound. This album is similar to The Sufferer
and the Witness, except that Tim McIlrath’s familiar shouting is
now all but gone.
The album starts off nice and fast with “Collapse (Post-
Amerika)” but quickly shifts into different territory. “Re-
Education (Through Labor)” is the first single, and is
unbearably radio friendly. It sounds more like a mainstream
rock song than anything remotely hardcore. Longtime fans
will experience a sinking feeling, culminating with complete
heartbreak by the time they reach “From Heads Unworthy.”
Luckily the very next track “The Strength To Go On” will give
them just that, sounding a little more like the glorious Rise
Against of old despite a healthy dose of “Whoas” and “ohhs.”
“Hero of War” is a haunting acoustic track with such vivid
lyrics that it is almost uncomfortable to listen to, delivering its
message loud and clear. “Savior” is indeed the saviour of this
album, sounding more like the aggressive Rise Against that
has kept fans coming back for all these years.
Appeal to Reason is a solid, well-produced album, but is
uncomfortably much too close to the mainstream rock sound.
Recent fans of the band will be satisfied with this release, but
the rest will be left wondering, “How could something so right
turn out so wrong?”
RiseAgainst.com
By Nara A.

CD Review- Satyricon
The Age of Nero
Indie Recordings/ Roadrunner
Satyricon’s back with their seventh full
length album The Age of Nero. Written
by core members Satyr (vocals, guitars,
bass) and Frost (drums) in a cabin tucked
away in the Norwegian mountains, this
album is a perfect blend of intensity,
gloom and wicked prophesy. While
“Commando” starts things off with an all-
out “take no prisoners” approach, The
Age of Nero sees Satyricon continuing to
transcend their peers by making depth
and natural progression a priority over
constant speed.
While three, seven minute long epic
tracks “Die By My Hand”, “The Sign of the
Trident” and “Den Siste” take up half of
the album’s forty-two minutes, each song
has enough variance and complexity to
keep the listener engaged. “Die By My
Hand” , even with its possible “Creeping
Death” (Metallica) appropriation, is a solid
example of Satyricon’s evolved sound and
proof that intensity can also be achieved
through detail rather than volume and
density exclusively. In addition, Satyr’s
effort to articulate each growl makes his
poetic lyrics clearly audible. Although not
much has changed vocally from previous
album’s, his choice to double up the
vocals on “Black Crow on a Tombstone”
adds to the strength of the chorus and
really complements the lyrical force of
song.
Satyricon will be joining Cradle of Filth
and Septic Flesh for a North American
tour January/February 2009. With all three
of these kick ass bands touring to support
brand new albums, this is definitely a
lineup/tour that you do not want to miss!
satyricon.no
roadrunnerrecords.com
indiedist.no
By Alxs Ness
CD Review – Scott Weiland
“Happy” In Galoshes
Softdrive Records
Mr. Weiland has hung himself out to dry again… so
to speak, on this his latest CD entitled “Happy” In
Galoshes. Without the safety net of Stone Temple
Pilots or Velvet Revolver to relapse on, he’s on
his own here, calling the shots and playing them
as he sees them. What he seems to see with this
release is the mellower parts of his career swirling
before his eyes like some slow motion Technicolor
dream. Once every ten years he crawls away from
the confines of a band and puts forth his heart and
soul onto so much polycarbonate plastic. This is a
curious mix of mellow and mellower, some almost
‘countrified’ song arrangements (including a banjo of
all things), and enough somber lyrical content to suit
any pouty, snivelling mood you may find yourself in.
The sheer length of this CD virtually guarantees
there’s going to be something here you’ll like, but
hearing Scott come across like Bob Dylan is a
little off putting. Nothing against either artist mind
you, this is just a side of Scott Weiland that’s a bit
incongruous with the rest of his work.
Scott co-produces “Happy” In Galoshes with Doug
Grean, who has worked with the likes of Sheryl
Crow, Ricki Lee Jones and Glen Campbell (as well
as Velvet Revolver, Stone Temple Pilots and Crystal
Method). Although the production values are solid
and well orchestrated, the contrast of artists and
productions Mr. Grean has previously worked with
and on may explain the length and somber tone of
this album.
Opening track “Missing Cleveland” is as rocking as
things get here, sounding straight off of Tiny Music…
Songs from the Vatican Gift Shop. The glitched out,
up tempo version of David Bowie’s “Fame” is an
interesting diversion; while songs like “Pictures and
Computers” and “Be Not Afraid” are downright sleep
inducing. If that is what he was shooting for he’s hit
the nail square on the head!
Perhaps the contrast between this album and work
he’s done with bands in the past may reveal more
about Mr. Weiland’s true nature and the challenges
he’s faces in his personal life. The real challenge
with “Happy” In Galoshes however, will be finding an
audience who can stay awake long enough to listen
to the whole album.
ScottWeiland.com
SoftdriveRecords.com
By Grimm “Yawnsville” Culhane
CD Review- Six Feet Under
Death Rituals
Metal Blade
Ever since Haunted (1995), Six Feet Under have
been very consistent in producing and releasing new
material. Their steadfast presence in the death metal
scene, in combination with Chris Barnes’ distinctive
vocal style and their overall sinister, low end sound
has earned them status as a classic death metal
band. While SFU has always had a reputation as a
sort of underdog- you either love them or you hate
them- they continue to have a strong underground
following and don’t look to be backing down anytime
soon. As further testament to their perseverance
they have just released the thirteen track epic Death
Rituals.
While it’s not likely that Death Rituals is going to
change your life, it’s a solid album that is worth
checking out. Low, heavy, repetitive- many of Steve
Swanson (guitars) and Terry Butler’s (bass) riffs are
predictable, but still wicked enough to induce some
serious head banging. Swanson deserves props
for throwing down some quality solos throughout,
which undeniably work to break up the riffs and
keep monotony from creeping in. Additionally,
drummer Greg Gall holds everything together with
his solid, clean style while also making his mark
with some nice fills, particularly in the intro to “None
Will Escape.” Other highlights include the brilliant
answering machine message on the track “Shot
in the Head”, as well as great song titles such as
“Involuntary Movement of Dead Flesh” and “Killed in
Your Sleep.”
After fifteen years in the game, it’s great to hear
these guys putting out music that’s still true to what
they have been doing since the beginning. While
some will criticize them for repeating themselves
throughout their discography, at least they’ve stuck to
the music they enjoy playing rather then selling out
by trying to please everyone. Despite the fact that
Chris Barnes has become somewhat legendary as a
“founding father” of death metal style vocals (as we
now know them), SFU don’t seem to take themselves
too seriously. At this point they’ve paid their dues and
developed a strong enough foundation that they can
afford to fuck around a bit on their albums- let them
fuck around!
sfu420.com
metalblade.com
By Alxs Ness
CD Review – Various Artists
The Music of Artisanship & War: Vol II
Diminished Fifth Records
There’s too much good music around
to keep track, let alone listen to all of
it. While we come back repeatedly to
our favorites, we keep digging through
endless names and albums, dividing
sparrows from the nightingales. It takes
a humongous amount of time and the
task itself is of gargantuan proportions,
even though we like it. This is true for
any genre, but Diminished Fifth Records
proves that even in such a particular
case as the East Coast metal scene,
there’s a lot to look into.
A compilation of songs, labeled “The
Music of Artisanship & War: Vol II”, is
the second in the eye-opening series
and contains 19 songs from bands
the world is missing out on, as the
label put it. The CD presents a rather
diverse metal landscape, ranging from
thrash and death to power and even
doom. Some of the bands are young
and maturing, others are more than a
decade old like Cephalectomy. Their
song “The Igniting Tempest” is one
of the records that have never been
released before, so fans can get their
hands on some exclusive material
here. The overall quality varies from
song to song, same can be said about
the genres. Check out Something
Delicious, who have a very unusual mix
of funk and hardcore. Tempting Tragedy
presents an early-90’s style epic doom
metal with additional stylistic changes
worth attention.
Some of the music is relatively novel,
while the influence of some famous
bands can be felt in general, be it hard
rock or sludge. This compilation would
be interesting to just about anybody
who likes metal, giving an insight into a
vast number of genres and East Coast
bands, which are still in the shadows.
It’s all very different, but damn if it ain’t
heavy. If you want to get into the very
underground metal world – this is your
ticket.
DiminishedFifthRecords.com
By Arceon

DVD Review – Dimmu Borgir
The Invaluable Darkness
Nuclear Blast
Following the release of the long-awaited album In Sorte Diaboli in 2007
Dimmu Borgir went on a prolonged Invaluable Darkness tour. Whether you
caught them live during it or not – the spectacular two DVD live set, which
followed the tour, is a must-have for any fan. Not only it presents a series of
brilliant performances in Europe, it also features a ton of unique material, old
and new alike.
You will find video snapshots from shows in Berlin and London as well as an
image and video gallery, accompanied by a recorded session in NRK Studio
19 in Oslo and footage from Gold Awards. That, and of course a full show in
Oslo and their hilarious performance on Wacken Open Air 2007. The amount of
material is huge – the band hasn’t released a DVD in 6 years and they totally
made it up for the break. A good 5.1 system with a huge TV will teleport you
right to Germany and you will find yourself seeing the Kings of Black Metal live
along with 20 thousand metalheads from all over the world watching in awe.
That show alone is worth it.
But it’s not *live* that makes the release special. The 50-minute Behind the
Scenes compilation footage is just about the best ever. The tour bus part, of
course, features vodka drinking, mayhem and ripping on Bon Jovi, don’t-care-
as-long-as-it-burns drinking, trying on speared flip-flops, scaring rural European
elderly with morning hungover metalhead images and stuff you’d have to see
for yourself. There’s also apparel and show preparation sections with equally
interesting and unique details about the life of band members and the team.
It’s fun to the point of belly aches. It’s a great way to find out more about
Dimmu Borgir, maybe it can even give you a view on the side of their lifestyle
you would have never suspected in a black metal band. All-in-all, it definitely
deserves praise for being able to capture the most important part: the transition
of these “funny people on tape” into Dimmu Borgir, that takes place again and
again to bring us the music we love.
dimmu-borgir.com
By Arceon
DVD Review - Static X
Cannibal Killers Live
Reprise/Warner
As far as concert DVDs are concerned, one might procure a live
collection based on the extra content. In the case of Static X , Wayne
Static and crew have left us in the dust with the brutality and energy that
could only arise from the ashes of the their traveling sideshow tour to
support their latest studio release “Cannibal.”
Shot in Spokane, WA. during their 2007 tour, they kick into gear with the
title track and the boys are off and running. Wedged in a pit of dancing
and moshing, we are exposed to the sheer diversity of their audience,
ranging from Metalheads, Punks, Hip-Hoppers and Goths. As far as
genre-jumping goes, you can’t ask for much more in the way of musical
camaraderie.
Massive camera angles and what seems like some fan footage tossed in
for good measure, the 4 piece self-proclaimed kings of “Evil Disco” can
rest well knowing that their fans will be content with this collection until
the next string of live dates. Produced by Wayne himself, the package
comes with a bonus audio CD of the live tracks, which in turn is almost
as enjoyable minus the visuals, and of course the Wayner’s haystack
hairdo
Not one for any concise form of audience interaction, the band in fact
has no intention of doing anything other than belting out classics like
“Bled for Days”, “Shit in a Bag” and newer rompers like the Roller-manic
“Destroyer” and “Behemoth” taken from the aforementioned studio
release.
Toss in a visual history of what seems to be every studio video they have
made and you have more static then you could ever wish for.
Order the Web only Version with even more bonus goodies at:
Static-X.com
By E.S. Day
DVD Review – The Fantômas Melvins Big Band - Live from London 2006
Directed by Douglas Pledger
Ipecac Recordings
There is beauty in chaos and to the casual observer, spoon fed on the
mediocrity of present day popular music and stunted by a less than
informed view of the industry in general, this is the chaos you need!
Teaming up here for a visually stunning and aurally amazing DVD offering
entitled Live from London 2006, The Fantômas Melvins Big Band are at
their absolute peak, captured live at the Kentish Town Forum in London.
Starting with his best Roger Whitaker impression, front man Mike Patton
whistles his way through the haunting cover of the Flipper song “Sacrifice”
before maniacally conducting the band through a veritable “what’s
what” of the Fantômas/Melvins song library. Initially accompanied by
indecipherable subtitles and shot from enough camera angles to catch
all the action, calling this an impressive live set is like calling the Grand
Canyon an impressive pothole.
There are some truly amazing moments on this DVD, jam packed with the
spontaneity and chaos only a Fantômas Melvins Big Band live show can
convey. King Buzzo playing in his jammies, the dueling drums of Dale
Crover and Dave Lombardo, bass experimentation via Trevor Dunn, David
Scott Stone’s guitar, bass and electric “long thin wire” work and, of course,
Mike Patton in all his screaming, grunting, groaning glory.
Lengthy drum intros give the audience plenty of time to shout their
favourite song requests before the boys burst forth with the chaos that
only The Fantômas Melvins Big Band can provide. Mike completely owns
“Night Goat;” while Buzzo’s backing vocals add a whole new dimension
to the song. Their version of the War song “Low Rider” is gonna make
you forget everything you previously knew about war, (the pointless act of
human aggression, not the band).
With more than enough weirdness to intrigue fans old and new, what more
could possibly be added to this DVD to make it any more complete? Well,
how about a commentary track with members of the band and none other
than Danny DeVito himself? Yep, it’s all here, everything your mediocre
spoon fed mind needs in stunning, maniacal, chaotic beauty!
BUY IT HERE!!
Ipecac.com
By Grimm “Pig of the Roman Empire” Culhane
DVD Review – Vision of Disorder
Dead in New York
KOCH Records
Vision of Disorder is largely credited with founding metalcore. Having been
born and for six years now “Dead in New York”, the band is reunited again
to record a new studio album. They have a very strong following, especially
with the Long Island’s hardcore community, where some fans have been into
V.O.D. for more than ten years. “V.O.D. is my fucking life!” is what’s common
to hear down there.
This is not just a live DVD. The band seems to want to make sure both for
the fans and for themselves that the reunion is for real. They are back. A
little older, maybe a little less energetic, but definitely full of enthusiasm and
full of life, backstage hilarious “naughty ass slapping”, beer drinking, plastic
bottle pissing and rocking hard enough to shake the walls. Two recorded
gigs in 2006 from Long Island and Worcester, Mass show just how strong the
atmosphere is on their live shows. The bond between the fans and the band
is something very special and it is always there. See for yourself.
There’s some unique stuff on the DVD. The history of V.O.D. is a quick look
back to the past only to turn to the future. Some of the old footage has never
been shown before. Operator and director Bill Yukich had full access to the
band and was able to compile some pretty amazing details, enough to satisfy
the most demanding viewer. You get to see mayhem on V.O.D. live shows,
insane emotions of fans, band member memories, rare footage and so much
more. It’s kick-ass material, interesting for everybody, whether a fan or not.
Put the DVD in and prepare to jump along.
myspace.com/VisionofDisorder
Kochcan.com
by arceon

DVD Review: Talib Kweli
Live At the Shrine
Fortress/MVD
As one of the most lyrically skilled and critically acclaimed MC’s of this era,
Talib Kweli represents the best qualities of a true master of ceremonies, with
verbal dexterity and crowd control in equal measure. With due respect to the
Masters who laid the foundations of Hip Hop, Kweli merges a soul searching
introspective beauty with fierce East Coast Boom Bap and gritty, cinematic
lyrics. In this, his first live concert DVD, Kweli sweats out a near perfect set to
a West Coast audience who seem only moderately impressed.
Despite gripping performances of classics like “Say Something”, “Get Em
High” and “Get By”, as well as stellar appearances by Res on “Too Late” and
Strong Arm Steady on “One Step”, and even a crazy back and forth freestyle
with the Blastmaster KRS-ONE, the crowd remains stone faced and immobile
for most of the set, except for the few dedicated fans shouting out every word.
Combine this with poor lighting and a massive venue, and one can’t help but
wonder why Kweli’s first live DVD wasn’t filmed in Brooklyn.
Extras include interviews with Kweli and KRS, uncut full rehearsal footage
and behind the scenes. The interviews are mostly the two MC’s bigging each
other up and the rehearsal rather lackluster. Perhaps Talib Kweli should
exercise the same quality control on his video output as he does with his
lyrics.
TalibKweli.com
fortressdvd.com
By Dave “Corvid” McCallum
DVD Review -Young People Fucking
Directed by Martin Gero
Maple Pictures
Despite the controversial title, and admittedly steamy subject matter, “Young People
Fucking” offers less on screen flesh than most Hollywood drama, and the real focus
here (like in a lot of good sex) is on the conversations between the five couples (well,
four couples and one threesome…) whose unconnected stories weave back and
forth in tandem towards the group climax (jesus…).
What results is some entertaining, not too profound banter that pokes holes in
myriad aspects of modern sexual relations, from the couple whose sex life is
agonizingly awkward to the one night stand trying to be all sincere. Writer/producer
Aaron Abrams casts himself in the ballsy role of the longtime platonic friend trying
to get it on with his oh so hot (but all too familiar) chum, and the extreme lengths of
on screen humiliation that he puts himself through make for some of the most gut-
busting moments in the film.
Of course, given the range of couples and their preferences, it could pretty much
be called “Straight People Fucking” or even “White People Fucking”, but hey, with
an official bull from Pope Stephen Harper himself prohibiting all Conservative
Party affiliates from attending screenings, “Young People Fucking” gets the official
Abort seal of approval as representing for the good of Canadian culture worldwide,
reminding everyone that we are just as down lowdown and dirty as everyone else.
The voiceover commentary by Abrams and Gero provides a window into their twisted
parallel world where one often finishes the other’s thoughts, obviously this is a
writing team to watch for with future gems surely forthcoming.
I just want to know why the French title isn’t blocked out by a condom, “Jeunes
Adultes Qui Baisent”? - in Quebec I bet they’ll call it “Young Anglos Fucking”!
ypfthemovie.com
maplepictures.com
By Dave “Corvid” McCallum

Book Review - Deviant Behavior
By Mike Sager
Grove/Atlantic
As a former Washington Post reporter
and contributing editor for Rolling Stone,
Mike Sager must have had plenty of
opportunity for excursions into the seedy
underworlds which he so aptly depicts in
this bleakly funny first novel.
This is the story of one Jonathan Seede,
himself a writer for a Washington daily,
and his descent into addiction and vice,
as well as the pimps, prostitutes, pot
messiah, reclusive millionaire and crystal
skull that somehow get roped into this
bizarre meditation on sexuality, society
and human instincts. Sager portrays a
vivid panorama of the American capitol,
from self-righteous anti-vice yuppies
to pure ghetto squalor, constantly
juxtaposing the characters and plotlines
to depict a synchronous view of social
life and destiny.
With some semi-profound truths fleshed
out in a rollicking storyline where stark
realism is fantastic enough, “Deviant
Behavior” makes for a very entertaining,
quick read with lots of laughs and gut
churning tragicomedy. Definitely leaves
one fiending for more.
By Dave “Corvid” McCallum
Book Review - All Access: The Art and
History the Backstage Pass
By Martin Popoff
Cleopatra Records
From the man who brought you the
most explanatory and historically correct
anthologies of heavy metal, Martin Popoff
- Editor for Bravewords Magazine and
known for books such as Judas Priest:
Heavy Metal Painkillers, and of course his
definitive collectors guides to heavy metal,
a series of chronologically ordered history
lessons into the world of loud music.
At this point, Mr. Popoff takes his turn at
showcasing something that should have
been done quite a long time ago in the
publishing world, focusing on “Stickies”
otherwise known as the backstage pass.
Popoff explores every nook and cranny
available, in order to get an insight into
obtaining these gems. Especially when
it comes to interviewing backstage pass
collector Alan Poulin of Land A Collectible.
From Woodstock to Ozzfest, hundreds of
images are gathered and nestled amongst
the pages, which brings up not only some
fond memories, but laughs as well . Check
out Van Halen opening for Black Sabbath
and for the avid fans of backstage passes,
especially as an art form, we get the silly
stuff like Metallica’s “Captain Crunch”
laminate and Meatloaf’s childhood photo
pass (he was much thinner, trust us)
Scams, schemes and a million other ways
to try and get backstage, are also let out of
the bag here, well worth it as a gift - this is
pure classic rock nostalgia, recommended
for artists of all types this is an all around
A+ , or “AAA “as it says on a few of the
staff’s passes, proudly displayed on the
ABORT office wall.
By E.S. Day
Book Review - A Devil on One Shoulder and an
Angel on The Other:
The Story of Shannon Hoon and Blind Melon
by Greg Prato
A story can be told from an omniscient perspective.
It can be colored with adjectives and presented as
a translation of the truth. But the real truth is the
collaboration of not just one, but many voices, many
human experiences. This is what comprises our
history and reality, a metaphysical library of human
memory.
This entropic concept has been ordered and presented
poignantly by Greg Prato in the story of Blind Melon.
The book is laid out as a series of transcriptions from
personal interviews with all the people involved in the
whirlwind that was Blind Melon. For those who enjoy
colorful novels rife with standard descriptive prose,
this may prove to be a difficult read, as it is 300 plus
pages of people remembering their past. Once you
put the book down after a time, you may find that you
hear many voices in your head as you try to absorb
all the different characters and their views, getting to
know them by their words alone. The beauty of this
book comes not from linguistic embellishments or
contrivances, but from pure memory.
Blind Melon formed in a time when the fabled world
of rock and roll excess still existed in its fairy tale
manifestation. Read and be shocked by the swiftness
of their rise, the candid bewilderment they experienced
at their success, and the chaos of drugs, recording
and touring they endured. Blind Melon exudes a
tumultuous and beautiful realness that can be sensed
by their listener, even through a pair of headphones.
Their music is hailed as some of the most prolific,
heart felt art ever put to tape. As you will discover, this
does not come from musical talent alone or a shrewd
marketing ploy. The people in this story went through
some of the most outrageous and riveting experiences
imaginable.
One can garner a full understanding of the people and
events that shaped this story by witnessing the pure
spoken words of those who were there. Even if you
are not a Blind Melon fan, Prato gives you an excellent
glimpse into a world that no longer exists as it did in
these pages. Nostalgic and shocking, he has done
his homework and made sense out of the hearsay.
He is both bold and humble to release a book without
a single sentence of his own in its pages, and his
approach has done a great justice to the story of Blind
Melon.
By Joel “ninjoelspy” Parent
Book Review- Classic Rock Revisited
From the Vault Series I: Stadium Rock
By Jeb Wright
Jeb Wright, creator of www.classicrockrevisited.com has
interviewed hundreds of 1970’s and 1980’s Rock heroes
since the formation of his website ten years ago. Jumping
into the industry without any experience in journalism, Wright
has built this site (which now sees millions of visitors each
year) purely out of a love for rock music. His down to earth
interviewing style provokes candid conversations and allows
him to be direct in his questioning, while always maintaining
a level of respect. From the Vault, Series I contains
interviews that Wright has conducted from 1999-2008 with
rock icons such as Joe Perry, Ted Nugent, and Steve Miller
to name a few.
As a fan, Wright asks questions that many fans out there
are curious about, some concerning difficult situations. For
instance, in a 2005 interview with Sammy Hagar, he does
not shy away from asking about the frontman’s possible
future involvement with Van Halen. This line of questioning
prompts Sammy to disclose details about the difficult reunion
tour and the ongoing conflict between himself and Eddie Van
Halen. Similarly in an interview with Kansas drummer Phil
Ehart, Wright questions him on the purity of the sound from
their “Live at the Whisky” album and how much overdubbing
they used. He also delves into their constant lineup
changes and the circumstances of the departure of original
vocalist Robby Steinhardt. This straightforward, unabashed
interviewing style remains consistent through all twelve
interviews and makes for an interesting read even if the
reader is not a fan of the particular band being interviewed.
What makes this book unique is that it acts as a sort of
final resting place for material that would otherwise be lost
forever, since Wright created this series in order to free up
some space for more current material on his website. While
this compilation focuses on rock music, keep your eyes
peeled for From The Vault, Series II: Heavy Metal.
ClassRockRevisited.com
By Alxs Ness
versus ... pitting famous people against eachother

Buckcherry

Chuck
Berry
The founding father of Rock n’ Roll and the radio friendly bad boys
seem to a have one thing in common: the law.
• In 1959 Chuck had hired a fourteen-year-old waitress from Mexico to work as a hat check girl in
his club - bad move. She was eventually arrested and charged with Prostitution, Berry went down
with her (no pun)

• In 2006 Buckcherry and their label were slapped with a lawsuit pertaining to a a sixteen-year-
old girl who claimed she was coerced into appearing topless and in various sexual scenarios at a
concert while the band was playing a sexually-related song.

• Chuck won Grammy Lifetime Achievement Award in 1984.

• Buckcherry have only been Nominated for a Grammy

WINNER: Chuck Berry - The Chess Records legend and one the most iconic musicians of our time, still
kept his head above water and on the charts even though he was a hellraising son of bitch.God love ya!