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Up 64

Content r* October 2015 Vandala

8 REVIEWS & EDITORIAL

Beach House - Depression Cherry (Pop/Alternative)

NCO Stereo - 'The Struggle' (Rock)

Tamaryn - 'Cranekiss' (Pop/Alternative) Acherontas - 'Ma-Ion

(Formulas of Reptilian Communication) (Metal)

14 LIVE MUSIC & PHOTOS

Def Leppard and the American way

Three Dog Night Play Magical Melodies at Chumash Casino Resort

Sonic Boom Festival 2015

Joe Bonamassa Slays Santa Barbara Bowl

Baby In Vain End US Tour at The Echo in Silver Lake, California

Denver Riot Festival 2015

George Clinton Brings the Funk to Chumash Casino Resort Santa Ynez

58 COVER STORY "ABSOLUTE TRUTH with

FINGER ELEVEN'S Scott Anderson" Finger Elevens new album 'Five Crooked Lines' finds them with a new record label and a new

drummer, and explores the sound they call their own, pushing their boundaries while staying

true to their roots. Scott Anderson chatted with us about all of this and more much more.

50 INTERVIEM_

50 'Living Large with Exmortus' Exmortus are a bunch of fun loving and hard partying dudes who really love heavy metal. Talking with them

about the power of glam and what makes their work so potent was far too much fun.

64 'Looking at Yourself with Emil Amos of Holy Sons, Grails, and Om'

Between his 12-album solo career under the moniker of Holy Sons and his work drumming for Grails and Om, Emil Amos has been steadily prolific since first

emerging from his basement at the turn of the century. We caught up with him to find out details.

70 ‘Trippy Vibes With Ecstatic Vision' Doug Sabolik doesn't especially like pop music but he

has a great sense of his own place in the world and the power of psychedelic music. Talking to him about life

the universe and everything was a truly mind expanding experience.

EuhIONION'S Al,TIANATtVi AVLISK FISIIYAt

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wi 1

Afwir\ -61/41,;A Editors

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Ed itor 1 Henkel

Design & Layout Assistant Erin Torrance

Editorial Staff & Contributors

Dustin Griffin Freelance Journalist

Matt Bacon Freelance Journalist

Sean Barrett Freelance Journalist

Jeff Black Musician &

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Dana Zuk Journalist

Freelance Photographer Dana Zuk Photography

Michael Smith Freelance Journalist

L. Paul Mann Journalist & Photographer L. Paul Mann Photography

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Beach House - 'Depression Cherryt(Pop/Alternative) By Michael Smith- 5/5 Dragons

High expectations precede the release of the latest from the Baltimore group Beach House. Since the release of their third album, 2010's Teen Dream, the eyes and ears for this band have grown exponentially. On this album though, the band defies even the most immense of presuppositions. Still, containing the dreamy atmosphere you want from them, and unlike in past release where particular tracks or parts felt like a celestial form of filler, this entire album is a peaceful and romantic adventure through a cloudy night sky. The wind blowing through your hair, you close your eyes and let the songs take you through the night. Though the tracks on this album differ in that the sound is much bigger than any release in the past, there is so much more going on to create your empyrean journey. Listeners will instantly discover that singer Victoria Legrand's throaty, Ronnie Spector-esque vocal styling has been softened and now resembles more the likes of

Julee Cruise, which perfectly suits the theme of this album. The influence of My Bloody Valentine stands out more on this release than any of their previous ones, most clearly on the track "Spark", which would fit flawlessly on MBV's Loveless album as well as this one. Similar to their 2010 release, there are a pair of tracks on Depression Cherry ("Levitation", "Space Songs") that are masterfully created in such a way that listeners will want to replay them multiple times before letting the next track play. Beach House closes the album with a masterpiece that fuses all the themes, atmospheres, and feelings heard throughout the entire album, and leaves listeners taken with beauty and a bit misty-eyed with the emotion it can conjure. This album is a must-listen for all lovers of music, no matter the genre, and as we get closer to the end of 2015, I feel stronger touting this as the best album of the year. It will take quite an effort to create something the same level this band has this year, but there are still 3 months--we'll see. (www.beachhousebaltimore.corrs)

X0 Stereo - 'The Struggle' (Rock) By Crystal Lee - 3.9/S Dragons

LA rock trio X0 Stereo have caught my attention with their debut EP 'The Struggle'. Not only did they grab my attention with their music they made themselves known to me as an editor. Which I have to give props to them since they did it in a way that was professional and focused on their music. I hardly review albums and here I am!

Each member comes with their own previous success and talent which shows in this EP. With their first single/music video they are coming out of the gates strong as a group as many of Another Century rock acts do. 'Show and Tell' as their album cover comes with no frills and just rock. One thing that I really loved about this track was that it is a mixture of musical sounds of a strong bass tone and sound that I really like, an excellent guitar solo, clear and precise vocals. But what got me the most was the piano/keys coming in and out of the song perfectly.

08 VandalaMagazine.Com - October 2015

beach house depression cherry

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'Hatchet' was another one of my favorites because of the speed and the bass (I'm a bass player so a little biased) and the beautiful distorted sound. Yes there is a little bit of synth, but they do it well and make it flow as part of their sound.

What I would love to see is XO Stereo really slow it down with some keys and guitars along with vocal shining such as a great ballad; they obviously have that in them . Someone like Zakk Wylde who can tear the stage apart and then he is also able to blow you away with a nice slower song such as 'Angel of Mercy' thus rock royalty because of that. With an EP it has to be well rounded, most of all show case a band as a whole and I think they have done a great job on that aspect. I will be keeping 'Show and Tell' on my playlist which I admit is not easily achieved.

XO Stereo's future looks amazing, and with their drive, experience, talent and a really great label Another Century you are sure to see this band take off as label mates such as Otherwise. 'The Struggle is out October 2nd'. (www.facebook.comixostereo)

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Reiviiew

Tamaryn - TranekissF (Pop/Alternative) By Michael Smith- 4/5 Dragons

Times have changed very much in the world of this drone-heavy shoegaze duo. The musical atmosphere they once created, littered with washed out sounds reminiscent of Psychocnady-era Jesus And Mary Chain, has been skillfully replaced with a synth-heavy dream-pop sound more along the lines of what you heard from Cocteau Twins in the Late 80s and early 90s. The group appears to fully embrace this 80s inspiration on the tracks "Hands All Over Me" and "Last", both of which carry a cheery vibe to them musically, though they still carry melancholic undertones that let listeners know that this is not an album for cranking in the car, windows down, with your friends on a Friday night. Halfway through the album the mood does change, and a more directly dark and somber aura directs the album. Some fans may be disillusioned by the group's choice to expand their musical horizons. However in doing so you are

robbing yourself of hearing a stylishly made dreampop album. Instead of deriding a group trying to explore something a little different, celebrate them for not allowing themselves to become stagnant in one sound or genre, and even more so for doing as well as Tamaryn has on Cranekiss. The new sound should make the band a more approachable listen, compared to previous releases where the heavy overhang of noise could dissuade listeners not fond of the shoegaze genre. This injection of new direction to the band will equip them to create an even greater experience for their live audience. Upon even the first listen, one will know how much a song the likes of "Softcore" will add a new depth to an already beautifully hypnotic live show. (www.tamarynmusic.com)

Acherontas -'Ma-Ion (Formulas of Reptilian Communicationy (Metal) By Jeff Black- 4/5 Dragons

What a delightful mess! This album has long-ass song titles complete with parenthesis, at least four different languages, anti-cosmic woridviews and lyrics that mention some sort of pan-Eurasian demon/deity every second word. Folk already familiar

'OA with the bands previous albums will already be

. , prepped for the drawn out sections of ritual ambience,

_ heathen invocations, snare drums abuse and

i high-flying tremolo picking. But unlike 2013's Amenti, this album steps away from the dust-cloaked corridors of Set, looking instead to the stars and the ever-lasting night.. This is a great album, best as a full listen, maybe as a Hellenic black metal backdrop to esoteric literature or perhaps the soundtrack to cooking a particularly satanic casserole. There are no "stand out" tracks - its not that kind of record. Just turn the lights out, put it on, and don't even try to tell me that you weren't gibbering like a lunatic by the end

of it. Can I get a "THN ArIOTHTA ZAZ EllIKAAOYMAEOE! "? Once more, everybody, with feeling! (www.acherontas.bandcamp.com)


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Def Leppard and the American Way Article by Matt Bacon

Another day - another nutty show, this time I went out and saw Tesla, Styx, and the almighty Def Leppard for the second time this summer. An old friend tagged along and we rolled out to the Allentown County Fair to see perhaps the premier glam tour of the season. We at 19 and 34 respectively were two of the youngest people at the show, something to be expected at this kind of event. We made our way to our seats as Tesla wrapped up "Love Song" and we were given a glimpse into the magic of the SOs.

Tesla always impress me because though nowadays they are often viewed as an 'also-ran' they remain surprisingly capable as a live act despite clearly aging. Perhaps my most notable discovery during their set was that their bassist does not wear a toupee like I suspected but in fact has what I believe to be hair plugs. The point being - as glamorous as they may or may not be - Tesla seem to be on their last legs, despite their live energy. As much as we want to deny it, the bands days are numbered - and the sad realities are setting in. Suffice to say - the evening was off to a fun... but not very hopeful start, a strange reality for fans who had seen the band back in the 80s. And yet that small taste I got seeing them live tonight left me hungry for more -an appetizer for the destruction to come in the form of Styx.

And what a magnificent show Styx put on! Tommy Shaw at nearly 62 years old is still a rock god and the rest of the band remain badass motherf*ckers. How many other bands do you know that have three members taking on lead vocals? How many


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other bands can run four part harmonies with ease and work all sorts of weird time signatures into what is essentially pop music? Styx are legendary for a reason, and while yeah - there was some pitch correction on a few vocal parts, in the long run that really doesn't matter because Styx will never fail to blow you away. Bombastic and fun the tens of thousands gathered around were singing along loudly to the slew of classics the band belted out - from Too Much Time On My Hands to Renegade as well as a handful of covers (Crowd singalong to Bohemian Rhapsody anyone?). The point being - Styx used every rock trope in their performance, windmilling, playing each others guitars, and even a triumphant high kick from Shaw - and that is what makes them great.

Before I continue I would like to establish - what makes a Def Leppard show special is the people you see. Be it the guy with a hair brush that also functions as a flask, the posse of men in their 40's rocking mullets or the women running around with dyed hair and Def Leppard shirts these are the people that represent America. And here they all were - standing in the VIP section having spent hundreds of dollars on tickets using their hard earned middle class dollars hoping for a truly unique experience. The sense of camaraderie is palatable and reflects a sort of... Americanness that should never be forgotten and gives us a chance to glimpse into the eternal power of glam.

And so the hour was nigh for Def Leppard to take the stage and at 9:30 they did -blazing through 90 minutes of classics that left the gathered contingent of soccer moms and alcoholic dads in awe. The band have a fundamental understanding of what it means to rock. The fact of the matter is that Def Leppard have come into their own as legitimate rock gods and they have humbly taken this role on. There is a sense of fun and power behind their music that few other bands can ever match, it's an energy that comes from decades on the road and what appears to be a genuine passion for the music.

If nothing else Def Leppard are incredible showmen and that's what kept all of us dancing and singing for their entire set. They are fun to watch and incredibly skilled -dudes who have given everything to rock and roll, delivering every note perfectly and reveling in the attention foisted upon them. You get a sense that Def Leppard feel at ease with their position, God knows they've had enough time to figure it out. The point is though - These dudes were born to rock - not pose, and as they sent the masses off into the night it proved impossible to deny that rock and roll, in some form or another, will never die.

Def Leppard www.defleppard.comisplash

www.facebook.comidefleppard www.twitter.com/DefLeppard

YOUR BAND IS A VIRUS! Behind-the-Scenes a Viral Marketing

Strategies for the Independent Musician

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Three Dog Night Play Magical Melodies at Churrah Casino Resort Photo and Article By L. Paul Mann

One of the most successful American rock bands of all time brought their live show to another sold out crowd at the Chumash Casino Resort. The statistics are overwhelming. The band that formed way back in 1967, had 21 Billboard Top 40 hits, including three number one songs between 1969 and 1975. In 1969, the band released one of the first live rock albums, "Captured Live at the Forum" and most anyone old enough to have a rock record collection back then, had the hit laden album in their possession. Every song on the album was a hit single in it's own right and the band went on to chart bigger hits for the next six years. Inexplicably, Three Dog Night, along with some other classic rock legends, who still tour today, like Deep Purple, have never made it into the Rock and Roll Hall of Fame.

The line up at the Chumash Casino Resort on Thursday, August, 20th, featured two of the three original vocalists, Danny Hutton and Cory Wells, as well as original lead guitarist, Michael Allsup. Sadly, original keyboard player Jimmy Greenspoon passed away last year and was replaced by a veteran sessions keyboardist from Nashville. Paul Kingery on bass and vocals and Pat Bautz on drums, complete the line up, and both have been in the group for decades. In a recent interview for Noozhawk, with Jeff Moehlis, singer Danny Hutton, talked about their former fellow singer and band mate Chuck Negron, who made up the third voice in the magical hit making years, before leaving the band in 1984. Hutton likened the break up to a divorce and maintained that it was so long ago that there was little chance or need for reconciliation, but he did quip "Never say never". Negron, coincidentally played the Chumash Resort last year as part of the Happy Together tour. His own story is a fascinating one, falling from major rock star status one in the 70's, into a drug infused trip into poverty and living on the streets of Los Angeles. Thankfully he has made a recovery both mentally and musically. But Thursday night was all about the current band and they did not disappoint. It was no surprise that they played some of their most famous songs, including all of their number one hits. What was a surprise was some of the lesser known songs that they played including newer as well as older material. The new material included a guitar drenched blues song, "Heart of Blues". Wells explained that the band had been invited to a Chicago blues festival and they needed more blues songs so he "wrote this one for the new album we are working on, which will be out in about 2035. But for those who can't wait you can download it for 1960's prices of 99 cents a song on our website." Wells played bass on the song, while Al!sup played a fiery blues drenched guitar jam. The band went back to one of their 70's albums for a song they borrowed from Randy Newman, "You Can Leave Your Hat On". Hutton noted that it was an obscure release for Three Dog Night, but Joe Cocker and Tom Jones went on to make top hit versions of the song. Later in the set, the band played an extended version of one of their biggest hits, "Mama Told Me Not to Come". Half way into the song, the band paused while Wells explained that many fans commented that this may have been the first rap song, with the word speak rhythm the song incorporates. Then he asked the audience, "What would the song sound like if it was released in the new millennium?" The band proceeded to switch to a Hip Hop beat and the singers went into a rap mode complete with crotch grabbing poses, before fading back into the original beat. The band ended with a resounding upbeat anthem that has long been part of their set, "Celebrate", as the audience swarmed the stage.

The band returned to do a new archapello song that the group recorded for a


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children's charity, called "Prayer for the Children", featuring astounding vocals from all six band members. Then the band launched into the joyous upbeat pop hit, "Joy to the World" originally written by country star Hoyt Axton for a cheerful ending.

October 2015 - VandaiaMagazine.Com 17

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BORDEN PARK

Article and Photos By Danaquk

- .......... 1.

Sonic Boom Festival is exactly what it sounds like! It's a gathering in the heart of Edmonton, featuring some of the sickest bands and artists in modern rock today, all coming together to create one loud, energetic, boomer of a festival!

This was my first time shooting a music festival of this magnitude, and I can't begin to tell you how excited I was to

be there. Despite the downer overcast and rainy weather, the bands totally rocked out and gave it their all, while hundreds of people, decked out in rain ponchos with

umbrellas in band, still flocked to Borden Park in Edmonton, Alberta on September 5th and 6th to check out

what was in store over the weekend. With the announcement of the broken up hardcore-heavy weights, ALEXISONFIRE, reuniting for the summer, and as the event's main headliner, anticipation to see this band was

thick throughout the weekend among festival goers.

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October 2015 - VandalaMagazine.Com 23

24 VanclalaMagazine.Com - October 2015

EDMONTON'S ALTIRNATI V g MUSIC FESTIVAL

Saturday September 5th Day one of Sonic Boom fest consisted of a variety of interesting bands,

all delivering nothing short of epic performances, leaving their fans screaming and begging for more. Kick off talent that took the stage for day one were as follows: Young Empires, Gay Nineties, K-OS, Robert DeLong,

St.Lucia, Kongos, TV on the Radio, Brandon Flowers, Hozier, and headlined by the "foltronica" queen herself, Ellie Goulding. The energy of day one was coagulating throughout the park as day turned to night. Smiling faces could be seen in every direction, and positive vibes were

all around; Seeing this, personally, made my time at the festival even more enjoyable. Feeling the passion and love for music

abundant in the air sure makes me one happy gal. October 2015 - VandalaMagazine.Com 25

MONTOKS ALTERNATIVE MUSIC FESTIVAL

a Zuk Photography orr


Sunday September 6th Day #2 of the festival hosted a stacked bill of bands that I couldn't wait to have in front of my lens. Kicking off the rainy day with The Zolas, as the perfect band to get the crowd of early-bird festival goers warmed up (both literally and figuratively) for what was in store. The day progressed on with the talented likes of: The Elwins, Eagles of Death Metal, Big Data, Rural Alberta Advantage, Tokyo Police Club, The Flaming Lips, Mother Mother, Tenacious D, and the much anticipated, ALEXISONFIRE, as our headliner for the evening. Though the rain showed no mercy to festival workers and attendees, everyone seemed to have high spirits. Smiles were still in abundance on the many faces of people bundled up in their best weather-proof attire. Despite how energetic and dynamic the bill was for day one of Sonic Boom, day two brought the heat. Countless colourful characters stormed the stage with an appetite for the resonance of rock through the stage amps and monitors. Intensity and power flooded the stage with each act as they boomed and bashed their way through their performances. The audience went wild with the confetti cannons that the Flaming Lips shot into the rainy air, while pushing out into the crowd, an enormous cluster of balloons that were taped together to spell out: "F*CK YEAH EDMONTON".

Upon nightfall, the crowd's restlessness was gaining in the atmosphere. Excitement was stirring, and boy, it was contagious! As a black, curtain-like backing stage banner fell to the ground, revealing a heart-skull logo, ALEXISONFIRE took to the dimly lit, red cast stage, greeted by hundreds of screaming fans. Despite the frigid fall air, the audience erupted into a frenzy of worm-rolling crowd surfers, and mush-pit-maniacs; A pleasant sight for a temporarily reunited band, and heartwarming for a musician in general. The experience of headlining a renowned festival such as Sonic Boom, accompanied by the well received, purely passionate audience, who stayed tough all weekend long throughout the dreary weather, has to be something that the dudes of ALEXISONFIRE won't soon forget! Here's to more sweet reunion shows, see ya next year Sonic Boom! 2B VandalaMagazine.Com - October 2015

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Day Two

Dana Zuk Photography www.DanaZukPhotography.com


Joe Bonamassa Slays Santa Barbara Bow Photo and Article By L. Paul Mann

At the ripe old age of 38, Joe Bonamassa has become one of the premiere proponents of modern blues music. As a child prodigy, he opened for blues legend, B.B. King, when he was just 12 years old. He went on to create no less than 15 solo albums, 11 which of became #1 albums on the "Billboard Blues" charts.

So it was no surprise when Bonamassa announced that his latest tour would be a tribute to the Kings. The trio of blues greats consisting of Freddie, Albert, and B.B., were literally the kings of the blues genre. In what was most likely the longest set of the year at the Santa Barbara Bowl, Bonamassa played a fierce set of fiery guitar drenched blues covers, incorporating a massive quiver of electric guitars. The guitarist put together a masterful group of veteran musicians for the tour featuring, Anton Fig, the drummer extraordinaire for 29 years on the David Letterman show, Reese Wynans on keyboards from Stevie Ray Vaughn's original band, Michael Rhodes on bass, Kirk Fletcher on Guitar, Lee Thornburg on Trumpet, Paulie Cerra on saxophone, Ron Dziubla also on saxophone, and vocalists Mahalia Barnes, Jade MacRae, and Juanita Tippins. The veteran musicians morphed into a magical blues drenched ensemble that played a non stop set that lasted nearly three hours. The show wisely dispensed with the usual clutter of opening acts allowing the band to play a full set, even in the confines of the bowls strict curfew. Bonamassa played solo after solo full of ear piercing guitar riffs . His cover of Freddie King's "Going Down," brought back memories of Jeff Beck in his red sneakers playing the same venue in 1982. That cover was the biggest hit for the Jeff Beck Group.

Wandering backstage with my friend Anton and his lovely wife and young son, we searched the walls for some of my photos of the earliest rock shows at the bowl. My many musician friends have told me over the years that they had seen my historic images backstage, but I hadn't been invited back there in over a decade. In simpler days, I used to trade my early photographs for concert seats for my wife, with the bowl association. These included a 1977 show by Dave Mason, 1978 photos of Santana and Joni Mitchell, with Pat Metheny and Jac() Pastorius, and all the way up to an 80's show by The Clash. We couldn't find the images in what has become a cavernous back stage area. I have been a concert photographer and journalist for some forty years and was taught old school journalism, with the cardinal rule that you never insert yourself into a story. But in these days of blogging replacing the proper journalism of the past I was tempted to share my back stage story at the Santa Barbara Bowl. As we lounged in the dressing room talking, surfing, music and history, apparently someone whispered in Anton's ear that I was Paul Mann and that I was banned from the bowl. We both had a good laugh, Anton who as a musical legend couldn't care less and myself not realizing that I had become so infamous, sort of the Whitey Bulger of the Santa Barbara Bowl. But apparently there is some corporate curmudgeon who has taken it upon themselves to make me their own personal villain at the venue. To this day no one has had the gumption to actually explain to me why I might be banned from my home town venue or even what that actually means. However, I heard second hand that it dates back to a 2011 concert by Katy Perry. I shot that triumphant hometown show on my little point and shoot and gave the photos to my national and international editors along with my review. The only one benefitting of course was miss Perry. The rumor goes that her manager yelled at one of the key corporate players and that led to my banishment, sort of like a mid


-century king banishing an errant knight. Or maybe more like a child taking back his blocks. The real irony came when Miss Perry began hanging at Santa Barbara's Number 1 dance club, the Wildcat, I happen to have been the resident light and video artist for the nearly two decades that the venue has held the prestigious title. When asked about the photo debacle, Miss Perry responded something to the effect, That's silly. F—k that s—t. She became my hero from that moment on. She also went on to record two hit songs featuring lyrics about her good times at the club. But I really have to thank whoever it is at the bowl who thinks I am worth their effort to single out. I left my comfort shell as a journalist at the colloquial Santa Barbara bowl and forced myself to take on much bigger projects in venues large and small, across the nation. It was a glorious summer night at the Santa Barbara bowl and from my old friends who were ushers and security guards giving me high fives, to friends who gave me more free beer from the bar than I could possibly drink, and finally my friends in the band thank, you for a night I will never forget.

But I fully realize that the Santa Barbara bowl is not about me or the corporate minions that may happen to be in charge at any given moment. It is about the music and the fans who come to the show because they love the music. In the front row seat graciously provided me by the band, I was fortunate enough to sit next to a couple of ardent fans who flew in from Las Vegas to see their guitar hero. Across the aisle from me, there was a father and his three year old son, with a guitar signed by Bonamassa. Apparently the child has been obsessed with the guitar wizardy of Bonamassa, since he could stand and mimes his idols every move on video. Bonamassa was impressed enough to invite him back stage. Working with organizations like Notes For Notes, Bonamassa has helped keep music alive in the minds of youth across America. He even played a benefit show last year at the Lobero, for the locally based charity that continues to mentor aspiring young musicians. Bonamassa also played a benefit concert !aster year for Cadillac Zack's seventh anniversary concert at the best kept secret blues club in the area, The Maui Sugar Mill in Tarzana. The regular Monday night gig features the best in blues music, with a jar passed around for volunteer donations for the musicians. Bonamassa played along with one of the unsung hero of the blues genre, band leader Jimmy Vivino, from the Conan O'Brien show. In fact last Monday night Vivino played the eighth anniversary show with special guest Slash. It is a testament to all these great musicians that they volunteer their time to keep blues music alive and well.

www.jbonamassa.com

October 2015 - VandaiaMagazine.Com 33

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Baby In Vain End US Tour at The Echo in Silver Lake, California Photo and Article By L. Paul Mann

The all female rock trio known as Baby In Vain wrapped up a very successful US tour at The Echo, in the Silverlake district of Los Angeles, Tuesday night August 11th. The tour included opening dates for The Kills as well as a slot at the prestigious Outside Lands festival in San Francisco. Their headline performance at The Echo was their last, before returning to their home city of Copenhagen, Denmark. The trio quietly took the stage just after 11pm, on a sleepy sultry summer night, looking a bit like street kids from Hollywood. The three girls aged 17 to 20 have remarkably been making music for five years already.

Lead singer and guitarist Lola Hammerich, looking a lot like Christina Ricci's little sister, sheepishly stepped up to the microphone and spoke softly in halting English introducing the band. Suddenly the trio, consisting of two lead guitar players and a drummer sprang to life playing hard rock in the vein of the Grunge era. Lola's little voice became a vocal powerhouse as she sang frantic lyrics that sounded like they were written by an old soul, belying her youth. Meanwhile she played some lead guitar riffs that would impress the most discriminating advocates of male dominated heavy metal music. Her band mate Benedicte Pierieoni, who began the band with Hammerich as a duo, laid down a thundering drumbeat. The newest member of the band, Andrea Thuesen brings a whole new dynamic to the bands signature sound. Playing a dual lead guitar and also trading off on lead vocals with Hammerich, the two meshed together perfectly in a cacophony of slick feedback drenched guitar sounds. At one point Hammerich played so violently she broke several strings on her guitar and had to switch to a new one with no guitar strap. She didn't miss a beat, holding the microphone and continuing to sing the lead as she swapped out guitars. She finished the song holding the guitar up high without a strap like the old folky 60's style when electric guitars were first introduced to folk music.

Later Hammerich quipped "Does anyone want to buy an amplifier? We paid 300 dollars for it and just want to get our money back because we are leaving tomorrow and can't take it on the plane back to Copenhagen". Their plight elicited a chuckle from the audience, mesmerized by the bands musical prowess. The band ended their hour long set with one of the first songs they wrote, over five years ago, " Until The Day I Die". Hammerich belted out the dark lyrics of the song, with the sincerity of someone twice her age, with a wealth of life experiences to emote about. The song devolves into a guitar drenched jam that characterizes Baby In Vain perfectly.

The trio is back in Denmark ready to use the long dark winter to complete their first album. Hopefully they will return to the US soon to share their fascinating sound with their exponentially increasing American fan base.

www.babyinvain.com/ www.facebook.corn/babyinvain

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George Clinton Brings the Funk to Churrah Casino Resort Santa Ynez Photos and Article By L. Paul Mann

George Clinton, one of the original innovators of American Funk music, came to the Chumash Casino in Santa Ynez last week, with a small army of performers in tow. The 74 year old maestro of Funk looked like he arrived ready for business, in a sleek Maroon suit, as fit and trim as he has been in decades. The mastermind behind the original Parliament Funkadelic band that redefined dance music in the 70's, Clinton had seen some ragged years of late, worn down by decades of drug abuse. But it was a delight to see a sober Clinton living in the moment with his latest incantation of the P Funk sound.

The current band is astounding, including an eclectic mix of veteran jazz funk players, young rock funk musicians, Hip Hop and Soul singers (Which included several of his grandchildren), and his long time lead dancer, Sir Nose. The set opened with a 12 minute jam of ''Mothership Connection (Star Child)," a mid-70's Parliament staple, which got the sold out crowd on their feet early. Clinton has always lead his group into classic jam band territory, mashing up genres in a magnificent crescendo of sound. The song ended with an ear piercing double guitar solo. This electric jam was followed by the jazz infused "One Nation Under a Groove," which included a funky bass solo, a jazz drenched horn break and a quick drum solo. Three more hot tunes followed, including "Pole Power," "Get Low," and "Ain't That Funkin' Linda Hard on You?", coming from the first Funkadelic album in 33 years "first ya gotta Shake the Gate". The three song set featured several young Hip Hop singers offering up a modern groove to the music.

The show took a turn when the band returned to the 70's P Funk sound, with the mega dance hit "Flashlight". Still a staple in modern dance clubs, the song sent the crowd into the aisles and the front of the stage, opening the party up to dance crazed music fans. During the classic song Clinton showed he still has some funky dance moves and Sir Nose D'Voidoffunk came out dressed like a pimp in a feathery white suit and proceeded to do onstage handstands and myriad acrobatics. Next came "(Not Just) Knee Deep," which included some funky scat singing by brilliant saxophonist Greg Thomas. Clinton's granddaughters Tonysha and Sativa then got to step out front with a cover of "Vanish In Our Sleep," by former Parliament master bassist Bootsy Collins. Another mega hit "Atomic Dog," came next during which Clinton invited audience members onstage to dance, a few of whom ended up salaciously sandwiched between Clinton and Sir Nose. The near two hour set ended on a high note with "Give Up the Funk (Tear the Roof off the Sucker)," which segued into "Night of the Thumpasorus Peoples," and lots of psychedelic era guitar. The extended jam saw a euphoric crowd swarming the musicians, dancing, singing and high firing the band. Long live the funk.

George Clinton and Parliament Funkadelic www.georgeclinton.com

www.facebook.comigeorgeclintonpfunk www.twitter.comigeorge_clinton www.youtube.com/GeorgeClinton

www.soundcloud.comigeorgeclinton


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Exmortusare a bunch of fun loving and hard partying dudes who really love heavy metal. Talking with them about the power of glam and what

makes their work so potent was far too much fun. How are you guys?

Conan: We are pretty f*cking good! Mario Mortus: It's a good night, it's raining outside but inside it's cool David: Getting drunk!

To what extent does casual alcoholism impact your lives?

Mike Cosio: It helps us sleep! Conan: We flew over here and we had vodka and whiskey on the plane and it helped us sleep. The flight was a little turbulent so it helped us knock out. David: It calms the nerves and fuels the fire. Conan: Improves our playing! (Laughter)

I was thinking about that with Lemmy and what's been going down with him...

Mike: Lemmy is on a whole other level we're just drinking a PBR before we play. Mario: He probably does like a line of speed before he plays! David: If we were that old... that cat deserves it! Conan: It's part of the legend. Mario: We don't get too crazy, we have our nights and some crazy stories... One time I got pretty drunk before we were playing a show and while I was setting up our stuff I could barely stand up straight!

Did they know you were drunk?

Mario: Oh no! I told them after and they were surprised! After that I learned my lesson. You can't risk that though, people are paying money to see you. The Lemmy thing definitely is something to take into consideration. If you really want to have longevity you don't want to wreck yourself. Mike: I remember at Slide Bar in California I was drunk and did a song and a half with my bass unplugged!

What I really enjoy about Exmortus is that you build on traditional metal iconography...

Conan: Our favorite bands are indeed like 70s and 80s bands. I don't want to say we use that as a basis but naturally we do. We like the song structures, the riffs and how they did it Our parents grew up with that and showed that to us. David: We like the stage presence too and the solos. The stuff Van Halen did was what we want to emulate. Same with bands like Judas Priest who just command the stage. A lot of people just stand there but people listen with their eyes. We like to go all out and kick teeth in!

Last night I was getting so angry because it was our first time using this gear and I just wasn't feeling it so I was gritting my teeth and yelling and people connected to that.

Mario: It's metal, people come out to release aggression. When you play aggressively on stage people connect to it. Conan: I've seen the energy pour forth from us, to the audience and then back to us.


So is Exmortus kind of like a death metal glam band in a way? Mario: It sort of us. There is definitely that flash. We don't tease our hair yet though, we're too lazy! With our last album we were listening to a lot of pre-Cowboys From Heli Pantera. In some ways it's a glam band, I can see that! So when will you start adding cleans? Conan: We do the really high ones I guess. One of my favorite singers is Rob Halford and I started doing those for fun. That might be cool to add. Mario: We kind of have an idea of what we like and what people might like based off what we do. We're coming in a generation when people are just getting into metal and bands like Motorhead are still touring. David: We were just talking to Marty on the bus this morning about how there's a whole new generation of thrash kids. He was nervous about how the tour would end up but in all the major cities you have it! In Mexico that's what was happening. Even when I talk to my friends dads from Mexico they are all about Metallica and Ozzy. So it makes sense that we have all these thrasher kids now. He didn't even know he had a huge following! So do you consider yourselves a gateway band?

I think it depends on what you started listening. I know people that go right off the bat listening to Morbid Angel. But we are a gateway into the sense that we are not heavy enough to alienate more traditional dudes but not soft enough to where we can't play with heavier bands. Conan: We have trouble categorizing ourselves and that's been a good thing. I think that's a good thing. David: I think our cover of Moonlight Sonata makes it a lot easier. People will give that a chance and then maybe listen to another few tracks. Conan: We do a lot of covers live too. Like Judas Priest and stuff. That definitely shows love and connects with people beyond the modern metalhead. I've always felt bands should do more covers... David: I heard Pantera did a whole cover set one time and that's really cool. I like when bands pay homage to the bands that influence them. Mike: People know those songs so when they hear those riffs they go "Oh f*ck!" Conan: We all groove to the same shit so why not jam to all of it. Even Judas Priest do Diamonds and Rust... Mike: And then Slayer did Judas Priest! David: They dominated that cover too! Some people don't even know it's a cover. Conan: They change it up a bit and keep it heavy.

What covers are you doing this tour?

Conan: We practiced some, we did Priest, Yngwie, we haven't practiced Ozzy in a while but we could pull that off. David: That's easy► to sing for me! Conan: Of course Beethoven. Obviously the classical influence is very prevalent but is there any jazz influence? Conan: I never got as into jazz. Not because I don't like it but I just never had anyone show me stuff. I listen to jazz and I like the improvising because I improvise a lot.


Mike: I'm still trying to get these guys into blues. Mario: A lot of the shows are kind of jazzy and very free form.

So you improvise a lot?

Mario: Not major stuff but little fills and some solos.

How much of the solos are improvised?

Conan: There's usually a general idea we want to do and then we go off of that. We make trills longer and there's always licks and shit coming up. Doing our live is our way to expand it.

Mike: I've added so many bass slides to the songs!

Conan: It's like dropping the bass but actually doing it, not on a computer!

Are you trying to become more theatrical or are you happy with where it is now

Conan: There's always more we can do. David! I would love to get pyro. Mario: I think financially we are too limited. We're not using it tonight but we do have a big stage banner. I think as the band grows and the stages grow we'll get pyro and stuff even if Great White kind of ruined it. David: We played a Kiss cover at a football game one time and during the intro of Love Gun we had a massive exposion. That was really cool. Conan: The guys knew the song and I was like "You know where to do it" and he was like "I got you man!" David: That was a cool experience!

Mario: We could feel the heat! David: I like doing it without anything though. I like how raw it is. We're not using our pedals anymore. We used to use tube screamers but now we don't even want to use it. We just go out there with whatever we've got. Mario: For the most part a lot of older bands just go out and play. Growing up I always liked that Metallica just had lights and a background set up. It makes it so f*cking cool.

What do you guys love so much about music?

Mario: The emotions man. Conan: How expressive it can be. Mike: I like how it can make the hair on the back of your next stand up. It can take you somewhere. David: I listen to a lot of oldies and I love that. I love Stevie Ray, I was actually supposed to be named afer him. Conan: There is so much you can do with music it's endless.

Any final words of wisdom?

Mario: Racecar backwards is racecar!

Exmortus Online www.exmortusmusic.com

www.facebook.com/exmortusofficial www.exmortus-official.bandcamp.com

www.twitter.comiexmortusband


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Interview By Dustin Griffin

Since exploding onto the scene in 1998 with the album Tip, and the floor shaking first singles 6 Quicksand' and 'Above', Finger Eleven has been one of the best loved and most successful Canadian rock bands, delivering big hits and touring on an almost constant basis. Their new album Five Crooked Lines finds them with a new record label and a new drummer, and explores the sound they call their own, pushing their boundaries while staying true to their roots.

This new record comes after a bit of a hiatus. Was the record written during that time?

Scott: Well, from the outside, I know it looked like a hiatus, but we really didn't take too much time off from writing. I think we sort of just settled into the luxury of being home and improving on the material and then all of a sudden a handful of years goes by (laughs). But we were still writing and happy with what was coming up. We also had a label implosion and subsequently a label change and a member change and all of those things took time to get organized. So instead of worrying about deadlines, we thought 'let's just take our time and make this record awesome.'

And was the writing a gradual process or did it happen quickly?

Scott: There was definitely a phase two, after we had found a new home with the new label. That's when this new wave of music came in, songs like 'Wolves and Doors' and `Not Gonna Be Afraid.' Also we talked to a number of exciting producers over the years about the project, but for whatever reason, scheduling or for financial reasons, they fell through. And we were really lucky that (producer) Dave Cobb got excited about the project and all he had was twelve days to do it. Which was actually his vacation time, but instead we drove down to Nashville and did the record in a very quick fashion for us. Dave can do a record fast. I think the quickest record he ever did was in two or three days with Sturgill Simpson. So he's a guy that likes to work. And he really makes the studio fun.

Did you spend much time with him beforehand?

Scott: Dave is a guy who finds preproduction 'Picking boring.' Which scared me a little at first, because I'm not used to it and on previous records that's just how we did it. But with Dave we would just break open a song every day and by the end of it would all be tracked and we would move onto something else the next day. It was great. There's a lot more energy on this record than on previous records and I think that's to Dave's credit.

The record has a very raw sound. Was much of the record recorded live off the floor?

Scott: That was the plan. But some of the tones or keyboard parts we used came off the demo, because Dave felt why try to replicate it when you can just pull it off of there. But I didn't sing more than a few times, so some of the that rawness comes from that. And that creates almost instant trust between you and your producer because there wasn't any time to think about it. You just do it and do it as well as you could. And he had me record a lot of the vocals right there in the control room, rather than the vocal booth. And he was right. They sounded much more alive that way.

Did the history of the city of Nashville bleed into the sessions at all?

Scott: I wish it did, but we recoded it at Dave's house. Which is this beautiful house in a nice suburb of Nashville and then we mixed it in that same area. I mean we rented


Comer Irate-view Fimger Elemem a house that was in Opryland right off the highway, but we'd work all day and go right back to the house. We did get to go to a couple of wonderful barbecue joints. And for a laugh we went to the Dukes of Hazard museum on our one day off (laughs). We've been to Nashville before and had some serious fun, but this time it was all business. That was just the timeline.

One thing I like about this record is that it feels like you're exploring new avenues. `Come On Oblivion' for example is a seven minute opus that has a Pink Floyd feel to it in some parts. Was that a goal you set for yourselves early on?

Scott: I think it always is, yeah. I don't know if every band sits down and says 'let's try to recreate something' but the guys in the band are pretty fearless. And the songs don't usually start with me. Usually James or Rick will get a verse or a chorus together and then put the lyrics over it and find the melody. With 'Come On Oblivion' specifically, we rented this little cottage, which we always find excuses to do, to do a little bit of work and have a whole lot of fun, and it came out of that. And I think the longest song we've ever made, but it's a nice surprise for people at the shows and the impact that the chorus has live is fun to watch.

It's nice that you're trying new things without sacrificing your sound. I mean it could be easy for Finger Eleven to just sit back and write 'Good Times' or 'Paralyzer' over and over and get the radio hits and never try something new.

Scott: Thank you. The band is very proud of this record. I mean the years that have gone by and the uncertainty that life has thrown at us in this last little period with not having a record label again or a drummer again, all these elements out of our control. So we just kept being a band and writing and I'm glad this album materialized so intact. And for the most part it came up pretty organically. I mean how do you write Paralyzer 2? I'm not even talented enough to do that. We've only ever been interested in doing what we think is cool.

You've been a band since 1989 in one form or another, and had success more or less since the release of Tip in 1998. And even since then the record industry has changed a great deal. How do you keep on top of the changes and not let them sink your band?

Scott: You know, all we know how to do is write songs, play them live and stay together. I mean the good news is we like to tour. And if you're writing songs, that provides a level of sustainability to the band. And maybe rock isn't as popular as it used to be, but the audiences are still out there. And they are showing up and showing love for the new record. But the record companies have to try and figure out how to compete with a product that people are getting for free. And if you give someone a CD nowadays, it's a big hassle for them. So yeah it can be kinda scary, but we're just going to have to try and find a way to make it work.

And overcome the financial implications from those changes as well.

Scott Yeah. The good news is I didn't buy a couple yachts or anything, I live within my means. So still get to play music for a living, but you need to focus on what's important I suppose. And I mean I'm really proud of this record, but what is this, our sixth or seventh record? I don't think anybody is expecting it to be that good (laughs) you know? So I hope it's a pleasant surprise.

What does Five Crooked Lines refer to?

Other than the song itself, I guess it's just about luck and how you should never take that fortune for granted and how fragile that is. I just like that idea. I know you



Cover I tery

have to work hard and commit to your craft, but there's so much luck involved that I'm very grateful for my position.

What about the album cover. How does that tie into that idea?

Scott: James got a hold of this wonderful artist for that. It's basically our own version of Fortuna, the god of Luck and Fortuna had bashed this start shaped hole out of the sky. If you get the CD, when you open up the cover, it's lying down amongst the flames and the wreckage. And there's all kinds little vignettes that tie into every song. People who get the album digitally will miss out on those little details, but an album is a labour of love and you want that level of attention.

What excites you about creating music in 2015? Do you enjoy doing everything digitally?

Scott: As long as you don't abuse it. I've learned almost nothing about how to manipulate my voice in the studio. I know how to press record, I know how to press stop and I kind of want to keep it that way. But it is exciting where, even if you're at home, like James can work on some kind of riff and send me a file that evening, and then the song will be completely different and get to react to it and we're miles ahead of where we would've been back in the day. We used to rent these really sweaty, hot, just terrible rehearsal rooms for months at a time. And I remember going to a supermarket where we knew someone who would give us all their empty egg cartons so we could try and soundproof this piece of shit rehearsal space. So there's a few luxuries that come from cutting out some of that rehearsal time But getting together with your buddies and creating something out of thin air is as magical in 2015 as it was in 1994. That's something always look forward to.

Finger Eleven is currently on their North American Tour and their next show date is at the The Electric Factory Philadelphia, PA September 23rd and going until the end of October. Details can be found at:

www.fingereleven.com www.facebook.com/FingerEleven www. twitter.com/Finger_Eleven

www.youtube.com/FingerElevenVEVO www.instagram.comifinger_eleven www.rdio.comiartistiFinger_Eleven

Finger Eleven has just released

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Looking at Yourself with Emil Amos of Holy Sons, Grails, and Om Interview By Sean Barrett

Between his 12-album solo career under the moniker of Holy Sons and his work drumming for Grails and Om, Emil Amos has been steadily prolific since first emerging from his basement at the turn of the century. Originally a personal project never meant to see the light of day, his work is as personal, intimate, and sincere and a one-on-one therapy session with his muse. On the way to the green room, I mention that hearing his music for the first time had as powerful an effect on me as when I first heard Slint's Spiderland, to which he says that he has a personal connection to that band, at which point I start recording.

Emil: I'm from Chapel Hill, North Carolina and Slint's from Louisville [KY]. My mom was born in Louisville and my grandma was an art critic there in the fifties, so there's maybe even unconscious relationships you're picking up on if you can sense any sort of southern connection between Slint and Holy Sons.

Like I said, it's more at an emotional level than at a sound level

Emil: Right. It's an era thing too because that all comes back to certain specific roots, specific seeds of listening to SST [records] bands definitely gave birth to Slint and it gives birth to a lot of forms of particular underground music. SST was a ground floor of hybridizing. You realize the strains are in your music whether you like it or not, just by that lineage.

You don't seem to tour very often. What dragged you out?

Emil: This is a really good tour to go on, because the rooms are full and the people in Earth are incredibly nice at a one-on-one level, they're extremely nice. Everything in the circumstances is a perfect scenario. Generally, in terms of all people who wanna make music or wanna make art and realize the kind of grind it is to go out into the world and convince people to listen to that, it's really, in some circumstances, not even worth doing. This project began in a time when there was less over-saturation, but I still didn't even wanna do it, because I just didn't visualize an entertainment aspect to it; it was purely something that was supposed to be a rigorous therapeutic process, but didn't have any thoughts about audience at all I think that could sound pretentious, but it was conceived before any pretension could come into the equation because it was just a private thing; it was something I did by myself, for myself. Of course I grew up listening to people and wanting to be part of the entire dialectic of Dinosaur Jr. and all those great bands, of course I wanted to be part of that, but I just was so incredibly depressed in a few different ways. I just didn't see myself doing it; I didn't feel comfortable with the idea. It wasn't really a stage fright thing as much as...I just didn't visualize it; I just didn't see myself entertaining people with my problems. That's what I wanted to work through.

On this last album [Fall of Man], you don't sound any, um, happier.

Emil: [laughter] That's awesome.

Are you at a point where you're afraid of not being depressed?

Emil: Well, although it seems like an absurd idea, on the one hand, I've been through enough emotional crests and ups and downs, but I'm relatively - I'm much more stable than I ever thought I would be, but I think your job in art is to - at least traditionally - is to unstable yourself and see what is at the bottom of the animalistic


Interiview

aspect of yourself and ask yourself things like...go to places that are extremely disturbing, squeeze the orange and get everything out of what poetry is supposed to do. Why do we do it? Why did we always do it? What were we trying to do? It's, in a way, maybe a form of science, a form of looking for something, a curiosity, and trying to wrench it into a form of knowledge. I think there's a lot of people out there just muddying the waters, because their curiosity is not very genuine or very deep, but the original purpose is kind of a experimentalism and discovery, just like taking LSD. A lot of people are trying to uncover and unlock this secret world of the cogs behind the surface of everything. That's really a pretty lofty job, in theory.

Yeah! So much of human endeavor is built around avoiding pain. How do you get yourself to a place where you willingly seek out this pain, in the way a body-builder would?

Emil: I think if you grow up around people in your family, people who are...you start to discern that a lot of the people in the world are incredibly busy trying to escape pain. That's one of the fundamental motivations in most people's lives. There's this massive network and system of avoiding pain. In a way, as an artist, I think it's about doing less and actually just seeing things in their raw form, because you're really taking away the conditioning. Your job is to take away the conditioning, which can be extremely complex. A lot of people go to therapy for the rest of their entire life, because they're trying to see something about themselves that they can't see. That's incredibly complicated shit, and most of those people don't ever get there. They keep saying the same f*cking thing their whole life. They keep wondering why what they're doing isn't working, why people won't respond to their methods. Using art, I think you can actually perform those therapeutic rites. It depends what level of honesty you're willing to go to. How dark do you wanna go?

I've heard you say that this music is about "facing your personal reality" and I was wondering in the "your" refers to Emil Amos's, the listener's, or both?

Emil: Well, at some point, I became - in college, I would read a lot, and I became - I think I forgot that I built a really hardcore philosophy out of a few pieces of things, and I think I kind of forgot what I borrowed it from, so I stopped reading Nietzsche and I stopped reading Dostoyevsky and all that stuff. It just became a part of everything, and, when I look back now, I'm like "Oh, yeah, I got that there -" I forgot. There's a really - I don't know how famous it is - but a to-me-legendary essay by Tolstoy called "What is Art?" and it's pretty much where I've always come from. It basically says that art is made, ultimately, in private, and then brought to people, and then they relate to it and see themselves in it, but if art is made with the audience in mind at any point, you start to realize they're there, it becomes entertainment, and it [snaps fingers] flips over immediately. It's not like I read it and I was like "Oh, yeah,


that sounds good", but I read it and I was like "Exactly, that's what I've been doing, and that's what I am." That's why it was such a private thing, and that's why all this jargon like "facing your personal reality" and all that stuff, because it's just a way to say "Why do we all really do this" Maybe kids think they do it cause they saw this cool guitar riff on TV, but I think the reason that you really do it, is that you're trying to uncover your own uniqueness, and that's what we're exchanging with each other in this kind of obsession with great artists who did that. You're seeing this raw shape of what they are, just this super-complex design, this really fascinating person with fascinating ideas. Of course most of our day, most of the people taking up the airwaves are not that fascinating, but when you go down that road, it's kind of up to you where you think that ends, because that shit can go forever. That's my job is to see how far I can go, and I think most people are just generally happy with being on stage. I don't really have any interest in being on stage compared to what my real job is, which is finding out what's behind all of this, this entire pursuit.

In the past you've had concepts and themes that have run throughout your albums. What is the personal reality behind Fall of Man, if it is so organized?

Emil: Yeah, it's weird. I always say in interviews that I don't really believe in concept albums, but it kind of - and I work on records every day, so how could they all be concept, because it's just a constant stream of work that you're categorizing and packaging for someone else to digest. A lot of that's just blatant consumerism and there's some aspects of that that are total horse-shit. That's just completely engineered for someone to make it friendly. It's like a pill with a candy outer-shell, but, inside, you either love what you're listening to or you don't, and what's gonna make you care about it. If you said that Dark Side of the Moon was a concept album about, y'know, there's an alien in an asteroid, who f*ckin' cares? That seems very Styx, the trappings of prop, to push music into a shape that can be digested like a broad way play. In the end, I wish the answer was fancier and a little catchy, but it's basically a chapter of your own diary. That's the most honest response is that it's the most recent updated version of your worldview. Ironically, people think it's the most cohesive record I've done and I think that's kind of true, but I think it's all arbitrary. Maybe it's because I've done it so long I can do it a little easier, cover up the jagged edges, but I think a lot of that is in people's minds, when they bring so much to music.

It's hard not to project things.

Emil: Yeah, totally. I did it. I believed so many crazy ideas about Syd Barrett or whoever and I spent probably countless hours arguing in detention about "Oh, this is really the true spirit of Pink Floyd" but that's something you do to pass the time when you're young and the day comes when you're supposed to make the shit yourself, and if you never get past that halted consumer zone, what are you doing but endlessly theorizing about other people's products they've sold you? The Beatles kind of said it, and Jesus said it, but the point is: it's beckoning you into yourself. The idea is you have a job to do, and The Beatles being good was kind of like "Look at yourself", whereas The Stones, it was kind of like "Lemme have your money", y'know what I mean? There's a spirit in the Dalai Lama or the great spiritual thinkers that's just like "Come to yourself. Don't listen to me. Look at yourself. Deal with yourself." I think it's a delicate line. I don't really feel like I'm trying to sell people something like a lot of podcasts and world-views kind of suggest, but it's the attempt to be like "Deal with this landscape that you're trying to avoid every day, and ask yourself if you can actually be happy, because the answer is like an endless riddle" Not that that's some


Interivriew, Eel Amos

great and lofty pursuit to try to be happy, but I think everything we do is probably secretly trying to achieve that, probably secretly looking for this thing, like Alan Watts says of the ego, you're feeding an invisible head that's not giving you any nutrition. That's what most people's lives are spent doing, wasting their f*cking time. It's about getting back to who you really are and trying to dissect what you aren't. These things never end, so it seems like good album material to me.

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EVERT TIME I DIE & STIC IC TO YOUR G1.7 ARE NOT PERFORMING

Interview By Matt Bacon

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Interview -estatig Visicim

Doug Sabolik doesn't especially like pop music but he has a great sense of his own place in the world and the power of psychedelic music. Talking to him

about life the universe and everything was a truly mind expanding experience.

How are you?

Doug: I'm great! How has the tour been?

Doug: It's awesome! I just love playing shows so when we're out and about it's a good thing.

It's been a whirlwind year for you guys between touring with Enslaved, Uncle Acid and the new record. How do you keep hooking this up?

Doug: We put together an album people connect with and that's it. We don't have a manager or a booking agent so it's just people who dig the music. There's no politics involved. I like to keep that out of music.

It must be really encouraging to do stuff like that with no politics involved...

Doug: Definitely. Its a good place to be. Obviously we're on Relapse and I don't think I could ask to be on a better label. They took a band that had nothing out there except a demo, saw us live, wanted to put out our record and once we agree to do that let me do a record. They knew it was going to be cool.

I was really charmed by the record because it's so unique... how does the composition process for that go?

Doug: well with Sonic Praise it was more an abstract vision and fleshing that out. I started writing the record without a band and I would jam with myself doing other instruments. I never knew what the next part would be until I picked up an instrument and built off of it to make it a long streamlined thought and not just a pop song.

So it's an organic thing?

Doug: I wanted to bring you on a trip. I wanted to get away from pop music. There are a couple songs on there with that because I wanted a bookended album but the further I get from that the happier be.

So how will it work that you have a band now?

Doug: Well I've collaborated with some of the guys before. They add their flair to it. You need those people who are really great players.

How do you see foresee the songwriting process changing?

Doug: Well we've already started writing the next record and it's more recorded jams and taking bits of that. Its easier because you have all the instruments going at once. We don't necessarily know what it is going to sound like. We just build a whole lengthof something out of one thing.


IA...kriviiew Doug Sabo

Could you see yourself doing a one song record?

Doug: Maybe. But I think I'd be more likely to do a record where each side is just one song. I could see myself doing that, but I don't want to nail myself to that. Personally I like that.

Well what do you not like about pop music?

Doug: Well I like certain pop music but I don't like how contrived most of it is. I'm not talking shit, it's my personal opinion. I like the Uncle Acid stuff and I'm not saying I don't like stuff that has pop song structures but for me personally I like to get lost in records, I don't listen to lyrics, I just listen to the music. I know a lot of music is all about the lyrics today and that's cool but I like that I'm doing my own thing. The more people that feel that way and know about it the more bands who will do it and there will be more bands doing it and then all of the sudden... you never know!

If you don't listen to lyrics where do your lyrics come from?

Doug: I try to make them as simple and to the point as possible. A lot of my lyrics are inspired by the first Stooges record, it's almost broken English. It might not make sense or even seem wrong but it's deep and to the core.

So it's sort of like the haiku thing...

Doug: Maybe it is. I just trying to take whatever vibe I'm getting from that. Some of it comes from stuff I was going through at the time. But most of it is just supposed to be to the point.

So you talked about the vibe... do you have synaesthesia?

Doug: Well when we're constructing songs and stuff like that it's a long process. It's hard to really say how it is. Basically you have to get to a certain mind state where you can listen to something over and over again and wonder "what am I getting out of this?" I also do the soundscapes behind the music and I try to make a whole scene.

So you're painting with sound?

Doug: Maybe. That's kind of how it works. We're trying to get to that point but we're still a new band and we're trying to get to where we want to be, which is unrestrained.

Would that also be free of harmony?

Doug: No. I use a lot of harmony in music, that's how I draw feelings out. I use all kinds of different stuff though. I'm a crate digger and DJ and I do not like scene music. I like some pop music but some of my favorite psychedelic albums are field recordings of tribes. We try to do a take on that. Obviously we're not nearly as oppressed but in certain ways everyone is oppressed.

You were talking about how you had to get in the right mind state to do this thing... how do you achieve that state?

Doug: There's substances involved. I'm not pushing any one thing. I don't want to push anything. What I'm saying is that there's a lot of inner reflection going on to get to the point where you can feel something from music. You have to let your ego go. You can't say "This is the best thing out there!" you have to let that go and not be afraid to say "I need to change this part!"

Philly locals know you for bartending at the legendary metal venue Kung Fu Necktie. What's your craziest bartending story?


Doug: There was one time when I got really hammered and I fought two people after I was done bartending and when I had the one guy on the ground he was like "I love your band!" and I had the wrong idea of what was going on because I was f*cked up. I don't drink liquor anymore because of stuff like that. I'm trying to do this - do music and not ruin my life. In the past I've f*cked up my trajectory by being an asshole and drinking had a lot to do with that so I try to curb it.

What do you love so much about music?

Doug: It's the only passion I have. My dad is a one man band that's his career. So I was exposed to a lot of music from a young age. I don't know if it's in your genes since my brother is also a musician. But to be honest I'm 32, I make zero off of music but I know I will still bartend so I can go on tour. I don't give a shit I just want to spread the word and play music with my band mates. If someone tells me my music touched them then my job for the day is done. Music to me is not about fashion. Maybe you don't want to look like a dufus on stage but I'm just saying it's about the music man.

Also Ecstatic Vision is so out there that it can't be associated with any fashion.„

It's a good place to be and a hard place to be. Like... where do you go? You have to start your own scene. I can't just say we're psychedelic because that's a big trend right now. Maybe in the 60s having a wah pedal made you psychedelic but I've heard Hawkwind, I know true psychedelic music! I have such a love for the players of music that its almost more of a trance vibe. I like a lot of kraut rock and shit like and older electronic music like Kraftwerk. With newer stuff the production is a problem because it's too high end. Any final words of wisdom?

Doug: Keep the dream alive! The older you get you see scene after scene and people trying to impress you. But no matter what you do never give up and keep pushing!

Trippy Vibes With Ecstatic Vision www.facebook.comiecstaticvision wwwitwitter.comi EcstaticVision


AUG 2ti • scants. WA • EL CORAZON

AUG 29 ■ &OISE. THE SHREDDER

MIG 30 * SALT LAKE CITY, III • CUM AREA 51

AUG 31 • CHEYENRIE, WY • ERNIE NOirT_NeLii SEP 01 • IXNVEFL CO • MARCUM THEATRE

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SEP U0 • 110ST Ord, MA • MIDDLE EAST

SEP 10 • BROOKLYN. KY ST VITUS

SEP 11 • rim out icKseisen. CAFE 611

SEP 12 9 PHIRAIKLPHLA, PA • VOLINGE LOUT/GE

SEP 13 • CHAPEL HILL, rIC • THE LEGAL 505 5E1'1 5 • ASHEVILLE NC • THE SE P 16 • MUM. GA • THE EARL

SEP 17 • JACKSGMILLE. FL • 11904 MUSIC HALL

SEP 10 • ST. PRERSOURG, FL • WWII 662

SEP t9 • MIAMI. FL • CHURCHILL'S PUB

SEP 20 * DRLA//013, FL • THE HAM

SEP21 • /JEW ORLEANS, IA &SIBERIA

SEP 23 • ALESTIN.14. • RED 7

SEP 24 SAM ANTONIO, TX * KOROVA SEP 25 • DALLAS, TX • IRKS SEP 2U • HOUSTON. Ix 9 INIALTEFt'S

SEP 27 • EL PASO, TX • MICKY FALLS

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2015 NORTH AMERICAN TOUR

WITH SPECIAL GUEST

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FRI, OCTOBER 9 HARTFORD, T. • WEBSTER THEATER SAT, OCTOBER 10 • WORCESTER, MA. • PALLADIUM

SUN, OCTOBER 11 - POUGHKEEPSIE, NY. - THE CHANCE TUES, OCTOBER 13 BROOKLYN, NY. • ST. VITUS

WED, OCTOBER 14 • AMITYVILLE, NY. • CLUB REVOLUTION FRI, OCTOBER 16 • DETROIT, MI. • TOKEN LOUNGE

SAT, OCTOBER 17 - CHICAGO, IL. • REGGIE'S SUN, OCTOBER 18 • CLEVELAND, OH. • AGORA THEATER

TUES, OCTOBER 20 ALTOONA, PA. - McGARVEYS WED, OCTOBER 21 • DAYTON, OH. • ODD[ ODY'S

WITH SPC1At OAST

VANallual FRI, OCTOBER 23 • DALLAS, T. TREES

SAT, OCTOBER 24 HOUSTON, TX. • SCOUT BAR SUN, OCTOBER 25 • SAN ANTONIO, TX. • 210 KAPONE'S LIVE

TUES, OCTOBER 27 - DENVER, CO. • THE ROXY THURS, OCTOBER 29 • MESA, AZ. • CLUB RED

FRI, OCTOBER 30 COSTA MESA, A. • TIM BAR SAT, OCTOBER 31 • SAN JOSE, CA. • ROCKBAR

SUN, NOVEMBER 0! - LOS ANGELES, A. • THE WHISKY MON, NOVEMBER 02 • RAMONA, A. - RAMONA MAINSTAGE

10.10 10.14 10.15 10.16 10.17 10.23 10.24 10.25

FEATURING

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IN ALPHABETICAL ORDER

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SETTElt NGHTMRE 9.03 9.04 9.06 9.10 9.11 9.12 9.13 9.17 9.18 9.19

MONTREAL, QC TORONTO, ON MINNEAPOLIS, MN WORCESTER, MA SYRACUSE, NY PHILADELPHIA, PA PITTSBURGH, PA CHICAGO, IL MILWAUKEE, WI DETROIT, MI

9.20 9.24 9.25 9.26 9.27 10.01 10.02 10.03 10.08 10.09

INDIANAPOLIS, IN HOUSTON, TX DALLAS, TX SAN BERNARDINO, CA OKLAHOMA CITY, OK LAS VEGAS, NV SACRAMENTO, CA DENVER, CO TBA TAMPA, FL

BOCA RATON, FL BOISE, ID KANSAS CITY, MD CALGARY, AB SEATTLE, WA SAN JOSE, CA SALT LAKE CITY, NV WASHINGTON, DC

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LEVON HELM TRIBUTE - IIIDUBIOUS • USEFUL JENKINS • HENHOUSE PROWLERS

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EUROPE WINTER 2015

TOUR NOV 05 • BREMEN, DE • TOWER

NOV 06 • AALBORG, DK • AALBORG METAL FESTIVAL

NOV 07 • GOTHENBURG, SE • STICKY FINGERS

NOV 08 • COPENHAGEN, DK • BETA

NOV 09 • KONGSBERG, NO • ENERGIMOLLA

NOV 10 • STAVANGER, NO • FOLKEN

NOV 11 • BERGEN, NO • GARAGE

NOV 12 • OSLO, NO• JOHN DEE

NOV 13 * STOCKHOLM, SE • DEBASER STRAND

NOV 15 • HELSINKI, Fl • TAVASTIA

NOV 16 • TALLINN, ES • TAPPER

NOV 17 • RIGA, LT • NABAKLAB

NOV 18 • VILNIUS, LT • KABLYS

NOV 20 • WARSAW, PL • HYDROZAGADKA

NOV 21 • KRAKOW, PL • ZASCIANEK

NOV 22 • BRATISLAVA, SK • RANDALL

NOV 23 • BUDAPEST, HU • DURER BERT

NOV 25 • BUCHAREST, RCS • FABRICA

NOV 26 • SOFIA, BCC • MIXTAPE 5

NOV 27 • BELGRADE, R5 • DOMOMLADINE BEOGRADE

NOV 28 • SARAJEVO, BA • AG CLUB

NOV 29 • ZAGREB, HR • KLIJB ATTACK

NOV 30 • NOVA GORCIA, SI • MOSTOVNA

DEC 01 • VIENNA, AU • ARENA - 3 RAUM BAR

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13/10 INNSBRUCK, AUSTRIA WEEKENDER CAFE Et CLUB 14/10 BUDAPEST, HUNGARY BARBA NEGRA MUSIC CLUB 25/10 GRAZ, AUSTRIA PPC - PROJECT POPCULTURE 16/10 VIENNA, AUSTRIA SZENE WIEN 27/10 BRATISLAVA, SLOVAKIA MAJESTIC MUSIC CLUB 28/10 KRAKOW, POLAND FABRYKA KLUB 19/10 POZNAN, POLAND LSKULAP 30/10 WARSAW, POLAND PROGRESJA MUSIC ZONE 31/10 GDANSK, POLAND KLUB B90 01/11 VILNIUS, LITHUANIA FORUM PALACE 02/11 RIGA, LATVIA MELNA P1EKTDIENA 03/11 TALLINN, ESTONIA ROCKCLUB TAPPER 04/1_1 JYVhSKYLA, FINLAND LUTAKKO 05/11 TAMPERE, FINLAND KLUBI UM HELSINKI, FINLAND TAVASTIA CLUB

07/1110ENSOUJINLAND RAVINTO LA KERUBI 09/11 STOCKHOLM, SWEDEN DEBASER STRAND 10/11 OSLO, NORWAY JOHN DEE 11/11 GOTHENBURG, SWEDEN STICKY FINGERS 12/11 COPENHAGEN, DENMARK PUMPEHUSET 14/11 GLAUCHAU, GERMANY ALTE SPINNEREI 15/11 ZLIN, CZECH REPUBLIC WINTER MASTERS OF ROCK FESTIVAL 16/11 NURNBERG, GERMANY HIRSCH 17/11 SOLOTHURN, SWITZERLAND KULTURFABRIK KOFMEHL 18/11 BRESCIA, ITALY CIRCOLO COLONY 19/11 LINUAU, GERMANY CLUB VAUDEVILLE 10/11 STRASBOURG, FRANCE LA LAITERIE 21/111-IUY, BELGIUM ATELIER ROCK 22/11 EINDHOVEN, NETHERLANDS EPIC FBI

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WED 18 THU 19 FRI 20 SAT 21 suet 22 Mop! 23 WED 25 THU 26 SAT 28 MON 30

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