Letter From The dEaD
With the summer upon us, the festival season gets underway and nobody’s safe from the evil promoters lurking in the shadows, waiting to sign up your band to play some side stage freakshow. Ah...the side stage, the haven for the obese teenager who can’t quite catch their breath long enough to hike it over to the main stage, they are better off anyway; less chance of heatstroke, they are closer to the concession stands for the watered down water and of course, the comfort of knowing Mom is in the parking lot watching over you to make sure you are not mistaking Sherm for Reefer. Or is that the other way around? I’m not too sure as I just indulged in both. Major label, corporate sponsored “Independent Music Festivals’ featuring “Indie” bands is also big business this year. It’s funny how in 2009, that “Indie” bands are signed to “Major” labels. You show me a band that doesn’t consist of 2 guys 1 girl, draped in sweater-vests and black and red checkered Lumberjack shirts, holding a Casio CTK-2000, who don’t have a moniker involving Birds, Wood, names of a month, Panthers, Wolves or Tigers and I’ll show you an act who can simply...play music. Have a great summer fuckers. We hope you enjoy this issue as much we did, regardless of the fact that we don’t know what the fuck we are doing.
E.S. Day, Publisher/Editor-in-Chief, ABORT Magazine | ABORT TV
There’s no fucking way these go to 11
Bill Moseley
The ABORT Interview: Part II
In part two of our Bill Moseley interview, Grimm gets Bill to open up about writing for National Lampoon magazine, his musical collaborations with Buckethead and oGhr, working with noted directors Sam Raimi, Tobe Hooper and George Romero and the likelihood of bringing Chop Top to Broadway. Throw some insights into his friendship with Timothy Leary on the pile and you got yourself one fucking wicked read! Enjoy!
Grimm Culhane: Changing gears here Bill, I understand you were once a journalist yourself. Bill Moseley: Yeah, I was an English major in college and my first job was with an ad agency in Boston so I started out as a copy writer and went from there to working on a presidential campaign in ’76 for Frank Church, democrat from Idaho for President. Frank needless to say did not become president, but no fault of mine. Both: (Laugh) Bill: I eventually wound up in New York writing for several magazines as a freelance writer. I wrote for Omni, Psychology Today, Rolling Stone, a lot of different mags. ABORT: And also National Lampoon, one of the greatest publications of all time? Bill: Yep. ABORT: What did you write for them? Bill: Most of the stuff I did was for the “True Facts” section and photo essays. Back then I’d spend time in the photo libraries of The Associated Press, United Press International. In the center of Manhattan they had these old, musty photo libraries and I would go there with different ideas of funny photo essays and get lost in the stacks. I had this idea one day, probably while riding the subway, of Nuns and science. Just had this image in my mind, so I went through boxes and boxes in the photo library and came up with something called “Our Ladies of the Laboratory” and it was eight images of Nuns standing in front of computers, looking into a microscopes, it really was quite funny. ABORT: I remember that, sure! Bill: You know, or something called “Tossed Around” which was trying to get the images of matadors getting thrown into the air by bulls. ABORT: Always entertaining. Bill: (Laughs) Yep, always entertaining. ABORT: Now this is quite interesting, you were actually friends with Timothy Leary. Bill: I did a play in Los Angeles which actually was amazing because it was also where I met Buckethead. It was called “Timothy and Charlie” and it was in the early 90s and it was essentially a two man play. It was based on the factual night back in the 70s when Timothy Leary and Charles Manson were side by side in solitary confinement in San Quentin Prison. I played Timothy Leary, my buddy Gill Gale played Charley Manson. It was a two act play, a lot of dialogue; it was basically Charles Manson arguing in favour of drugs for everyone and Timothy Leary arguing that they should only be used for the “priest class” to find knowledge. Of course Charley’s argument won out. Both: (Laugh) Bill: But the funny thing was I played Timothy Leary like a tough kid from South Boston, which is really what he was before he became a Harvard professor of psychology. He actually came to seven or eight of our performances and he loved the play. It was a pretty wild play. Actually, some Manson Family members came to see the play; I mean it was quite the thing. I became pals with Timothy Leary and ended up interviewing him for Psychology Today. He was a great guy, a wild character. Buckethead was pals with Gill Gale and Buckethead was a big Chop Top fan so there’s a thread running through this whole interview. Both: (Laugh) Bill: He wanted me to come down to his studio in Sana Monica
ABORT: Army and the Devil, now I just have to mention Army of Darkness here. Bill: Yeah, oh absolutely! ABORT: A brilliant film by Sam Raimi. You played the Deadite Captain, is that correct? Bill: Yes, I lead the successful charge on the castle. I had 50 pounds of rubber on and I was on a horse, I had an eye patch over one eye and a sclera lens over the other, the milk white contact lenses that all the cool dead people wear, and I was towing another horse upon which sat another skeleton. My big scene was leading a charge across a field of the undead, or the dead-no-more, and then taking the castle and then having a funny repartee with Bruce Campbell. ABORT: That must have been a very entertaining production to be part of. Bill: Well it was a lot of fun, it was a lot of work and it was really something that I wanted more than anything after seeing “Evil Dead 2,” still one of my favourite movies of all times. ABORT: Yeah that’s a great film. Bill: I just thought Bruce’s performance in that, as far as comic horror goes, to be the high water mark, and I got to work with Sam, who is a really funny guy and certainly a friend of the actor. ABORT: Is there a specific production you’ve worked on that you enjoyed the most? Bill: I’d have to say working on “Repo” was a load of fun. What was so great about it was there was such a disparate cast. From Sarah Brightman to Paris Hilton to ohGr to Alexa Vega who did such a great job, and Anthony Head, such an eclectic bunch. It truly felt like an ensemble cast which is always a lot of fun. There are certainly egos, but no one’s trying to push you out of the way and get more face in the camera kind of stuff. Not a lot of back biting or set intrigue, we were all pulling together to get Darren Bousman’s vision to the screen and that makes movie making fun. ABORT: Everyone pulling in the same direction. Bill: Yeah, that ends up being a lot of fun and when the vision is so completely wild and insane, you know, that’s the part that I like. Both: (Laugh) Bill: That’s what’s so fun about working with guys like Rob Zombie, Tobe Hooper and George Romero. These are people who have these visions. ABORT: Bill we certainly appreciate you taking the time to talk with us today. Bill: Well thanks, it’s been my pleasure! By Grimm Culhane
Monica and go off as Chop Top over some of his guitar riffs. That’s how we ended up creating “Cornbugs.” We just had so much fun riffing and improvising and just making stuff up. ABORT: Any future projects with Cornbugs? Bill: No, I don’t think so. Actually what I’ve just done some vocals on Ohgr’s new solo album (Devils in My Details). OhGr is of course the lead singer for Skinny Puppy and he played Pavi Largo in “Repo” (The Genetic Opera) so we’re pals. I came out to his studio and read some poems which he incorporated into his new solo album. That was a lot of fun and such a cool, cool album. ABORT: Now since “Repo” started out as a stage play. Are there any plans for you to say bring Chop Top to Broadway. Bill: Uh, (laughs), I think that would be good. I’ve been so busy recently, and I’m the guy who came up with the bumper sticker “Busy is no Excuse,” but that has not actually been something I have sat down and pondered. Now that you’ve brought it up I think I’ll have to sit down with it. ABORT: Good, and so you should. Bill: (as Chop top) “Kiss my plate!” ABORT: (Laughs) That would be very, very interesting. Now for yourself Bill, what’s coming up in the future for you? I understand you are part of “The Haunted World of El Superbeasto,” Rob Zombie’s animated feature? Bill: Yeah, a little cameo as Otis (P. Driftwood) for that and then I have a bunch of movies coming out. I’ve been a busy monster lately. I was actually just up in Vancouver working on a movie called “The Tortured” for Twisted Pictures, the same company who puts out the “Saw” movies and “Repo.” They wanted to use me again and then I have a movie called “Alone in the Dark 2” and then “The Devil’s Tomb” with Cuba Gooding Jr. and Ron Perlman and Henry Rollins… ABORT: Wow! Bill: It’s kind of the Army meets the Devil so that’s… fun, and two of my favourite themes (laughs), army stuff… and the Devil.
www.myspace.com/moseleyfish & www.choptopsbbq.com
ABORT: It’s kind of like a sociological experiment too hey; see what people like in different regions. CB: Yeah. But it really just gets them involved. Like talking to kids yesterday and they’re like “I couldn’t make up my mind which set to choose. I couldn’t pick. I had to flip a coin.” For someone to go through that much just to try to be a part of our show, it just gets people talking and gets people into it, so it’s nice. ABORT: So you guys didn’t really plan this reunion right? It was just something that came together and felt right? CB: It wasn’t planned. I’m a big believer that things happen for a reason and when I got sick with cancer Alex and Greg and Louie all came back to the Bay Area and did a benefit show with Steve Souza, the old singer, and Eric. That was the original lineup. And I got to get up there and perform one song. So I think that was breaking the ice after 14 years of not jamming together. It was kinda the first time we all got on stage together. So that broke the ice. And then I was trying to go to play the Dynamo festival and the promoter said “I just confirmed the original Anthrax, what do you guys figure about getting the original Testament?” Anthrax was the first band we went to Europe with so it really did make sense to us that we should do it. ABORT: Like full circle. Alxs Ness: How’s it going man? Chuck Billy: Good. Really good. AN: That’s good. So you guys are currently on tour supporting The Formation of Damnation and for the North American tour you guys launched a poll on your website asking fans what set list they’d prefer. CB: Yeah. ABORT: What’s been the response to that so far? CB: Well right now [for the Vancouver date] we’re playing the set C which is a medley of all of our stuff. We do it on a daily basis so we don’t know what’s ahead of us until the day of the show. But it’s something different we’re trying. It’s kind of really trying to get the fan involvement, offering the VIP packs like we do and by offering them to choose the set that they want to see. So we’re really trying to get the fans more involved and to be a part of the show, really. ABORT: Do you guys have a preference at all? Are you making bets as to what people will choose or is it pretty much just up to the fans? CB: It’s up to them but we did the Legacy and New Order record[s] in Europe a couple months back and it went over really well and we actually had a lot of fun doing it so we decided let’s offer it, to do those, each record and some ‘best of ’ or just get a ‘best of ’ set if that’s what they want. They really do have the opportunity because we always hear a lot of people that like our first two records, it’s like classic records or whatever, so it’d be nice that actually if they want it, they get it. CB: Yeah. So we decided that’s what we’re going to do and let’s go for it and I called Alex and everybody and they were like “Yeah that sounds fun, let’s do it, one show.” And so that’s all it was, was one show. But that one show turned into 10 and then 10 shows turned into 30 and 30 turned into a year and a half and then we were like “we’re having a good time with it, let’s just keep doing it.” We got to the point finally where we said “hey, what do you think about doing a new record?” And everybody said “Yeah sounds good.” So at that point, yeah let’s get done touring let’s get to writing the record. We really had a big task in front of us because The Gathering, for us, was our best record. We felt like man, we really have to top The Gathering and if we don’t fans are going to eat us alive because we haven’t had a record in 9 years and if it sucks… ABORT: That’s a lot of pressure. CB: That’s a lot of pressure. It was the first record we ever sat down and discussed what we needed to do to make this record better than the last one. We set goals for ourselves and said what we thought we could do to improve it. We accomplished it. We nailed them all. At the end of the day when we heard the final product, we realized “man, these are some good songs; I think we topped The Gathering.” We were very pleased with the record. Until we listened to the final mixes, we were like “Wow, this record kicks butt, I can’t wait for everyone to hear it.” It turns out the fans and the media liked it, just like what we had hoped for. So it’s cool. ABORT: What’s the plan now? Are you guys just taking it one day at a time?
CB: One day at a time, but I think because of the success of the record and having the original guys back, we’re having fun. We’re enjoying it and I think that all of us, seeing what we got back together accomplishing this record, now it’s about let’s finish what we started. We started this band 23-4 years ago; let’s finish this band together if that’s what it’s going to come down to. So I think that everybody’s in a real good place right now. Everybody’s very happy, very comfortable touring. ABORT: Excellent CB: And it’s a whole new organization now. We got new management and booking agents and record company, original band; there’s so many things that are positive that came with this album. I’ve always been a big believer that the music industry is all in timing. Be in the right place, the right person, get the right record, you know. And right now all those stars are lining up for us with everything that’s been happening. It’s kinda like wow, this whole full circle, we started back and here we are again: touring hard, got a good record, fans are ready for it and so are we. We all still feel really young at heart. None of us feel our age. We all still feel like we’re young kids doing what we’ve been doing. ABORT: Throughout the years, through all the ups and downs you guys have had what do you think has been the key to your longevity? Either as a band or as musicians individually? CB: As far as musicianship, like Alex, he took it all the way. Alex, he started this band at 15 years old, left at 23 so his whole growing up was this band, being on tour and playing metal. So he wanted to experience other things in life and other types of music. And Alex comes from a family where his father’s head of the law department at UC Berkeley and his mom’s a psychologist who writes books so of course they wanted him to be a doctor or a lawyer or something, not a heavy metal guitar player. So Alex took it as far as he could. Went to college, got his Masters in music, plays jazz and he can play anything now so everybody as far as musicianship goes took it as far as they can and I think that’s… you know, there’s some bands that break up and get together and they just lost it. But everybody’s been playing for so long, they’ve even gotten better. We’re all playing better than we ever have and I’m singing better than I ever have. We’re just a better band right now. ABORT: And that sets you apart too because like you said, not everybody achieves that in the end. CB: Yeah, you don’t get this opportunity, you know. Some guys just can’t settle their differences, but we never had any differences. It was the times. It was just the grunge thing destroyed us. ABORT: Are you involved in any side projects right now? You have anything in the works? CB: I have my Dublin Death Patrol band. We’re actually working on a new record right now. Hopefully by the end of the year we’ll have that record finished. ABORT: Awesome. We’ll keep our ears open for that. Since you’re
currently in Vancouver and you have some more Canadian dates on this tour, do you have any favorite Canadian bands you’ve been listening to? CB: I’m a big Annihilator fan. I like Annihilator a lot. I don’t know if you consider Strapping Young Lad a Canadian band? ABORT: Fuck yeah!, one last question for you, any upcoming festival appearances? CB: We’re doing festivals over in Europe. We’re doing a bunch. We’re going over there for six or seven weeks, July and August. We’ll be playing festivals every weekend and headlining our shows during the week. ABORT: Anything you want to add before we go? CB: Hope people keep enjoying listening to our music. We’re not going to quit until we can’t play. (laughs) By Alxs Ness Photo by Scott Alexander
Currently on a headlining tour supporting their latest release on Nuclear Blast Records, The Formation of Damnation, Testament’s Chuck Billy who was enveloped in blood red-drapery, candles and eerie ambiance, sets the mood to chat with ABORT’s Alxs Ness.
www.testamentlegions.com
mr. lif
ABORT Magazine’s Dave “Corvid” McCallum talks backstage at Richards on Richards in Vancouver with the ever eloquent and aware Mr. Lif, about American Politics, introspection, his departure from Definitive Jux and the formation of his own company - “Tactical Bloodbot Enterprises”. Lif speaks with a rare blend of compassion and intensity on his increasingly vital role as social commentator and conscience for the Hip Hop Generation, in uncertain times when the fog of propaganda obscures all but the brightest visionaries. Representing the art of emceeing and Hip Hop Culture to the utmost, with a swagger and intelligence matched by few, Mr. Lif allows us a deeper glimpse into the profound mind lurking under that infamous mountain of dreadlocks...
Dave McCallum: So, let’s talk about the new album, I Heard It Today. Obviously from the title and the cover you’re honing even deeper into the realm of Political commentary. Mr. Lif: Yeah, it’s just that this era just called for that. I just feel like there’s a lot of people doing the escapist thing right now, and you know me man - I’m an introvert, I’m introspective, and I just felt that there was just so much raw data out there. You know, CNN, BBC, Democracy Now, just everywhere I looked man there was just so much information to draw from. And just talking with people in my community, on the internet, around the world...just so many stories of hardship and people trying to really transcend an era that called for everyone to be resourceful in different ways. They say life is a game of recovery you know, and it’s about how you bounce back from the tough times and I think that people got their mettle tested since like mid 2008 to now. And I believe this is a timeless record because it speaks on things like the housing crisis, and that’s never going to be forgotten. I mean, people didn’t forget the great depression! It touches on a lot of major issues that are going to be affecting us for years to come. So yeah, I’m just really proud to present this to people, I’m at peace with what this album is, and I’m just very thankful and I fell very blessed to have just had that energy flow through me to create this album, ‘cause as all my fans know, it’s not like it’s an everyday thing for me. I mean once ABORT: Quality takes time... Lif: Thank you man, thank you!
The ABORT Interview
every two years, or they’ll come out in clusters and you won’t hear from me for a while.
ABORT: On that political tip, from Canada’s perspective the two main things happening in the U.S. are the recession housing crisis on the one hand, and the election of Barack Obama on the other. And, from the cynical perspective in a movie like “The Obama Deception”, he’s seen as just another figurehead of the New World Order. Are you skeptical about him yourself or do you see him as a figure of hope? Lif: I mean, I think it’s gotta be a little bit of both. I don’t see how America is going to from boing this big bad country that’s just running amok and that historically has just completely invaded other countries on an economic level with no regard whatsoever for the indigenous peoples or for the local economy, and just stricly functioned to serve itself...and, you know, the repercussions of that will be felt from now until the end of time. Look at Chile and the work of good old Pinochet...I don’t know, I just think that you don’t go from being that to being this ultra-humanitarian, functioning only for the greater good type of machine. I think that America is trying to redefine itself because it has to, those old tactics aren’t working anymore, and I think that Barack Obama is just like...he’s a great sedative. I mean, he’s a great way for people to forget that they were pissed off, pissed off in a way like - “this government don’t work, fuck this shit, let’s overturn this shit!!!”. I mean, I don’t know how close Americans were to actual revolt, but it felt like it was getting there, y’nahmasayin’? Like if McCain would have won, shit could have hit the fan, and yeah there would have been some serious problems. But I just think that obviously now we still have people suffering, but at least...you know, whether it’s the illusion or whether it’s that Barack is actually making the effort, I mean, things do feel a little bit better. People feel like there’s a politician that’s willing to help, but I mean, it’s tough man! And daily life man...if you’re not watching that stuff everyday, which I’m not, lately I’m not focused on the stuff, my immediate task is at hand...
mr. lif
...but what are the repercussions on my world? I’m struggling, things are just tighter for everyone. And until that all changes, if Barack wants to talk about making change, why aren’t we talking about the Federal Income Tax? I mean, people work hard enough. Why are you taking thirty percent from everyone? I know he’s working on Healthcare, but...I mean, setting the slaves free, let’s set the slaves free! The new Emancipation Proclamation...I mean let’s get rid of that [Federal Income Tax] and maybe people could pay off some of these credit card debts! Let’s do away with the whole credit system actually! Why don’t people just buy things that they can afford? Why don’t we just adjust the pricing of everything to a level where it’s actually attainable? ABORT: One notable thing about the new album is that it is not on Definitive Jux, what’s the story there? Lif: Well, my company is called “Bloodbot Tactical Enterprises” (hearty laughs all around...) - sounds like some Star Trek shit! But really what it is, the bloodbot is...human beings, existing in a robotic society, y’namsayin’? Whether you’re working for a major corporation and rocking a tie everyday, or you’re someone like myself who tends to be more creative and travels around the world for their income, there are still systems that you get roped into paying a certain amount of expenses, and then the good old income tax. It’s like everytime April 15th rolls around, which is income tax day in America, you ask yourself who are you working for - are you working for yourself or are you working for the government? We’re all robots! Like, if you had something set up with people working under you, and no matter what any-
one under you did, you got payed...I mean that’s huge, and that’s what we live under. That’s the bloodbot, y’namsayin’? And “Tactical Enterprises” you know, because I’m big on strategy, I’m a strategist. I know people hear it in my music, on my albums how I’m always thinking track to track, the flow...and “Enterprises” because I’m a young enterprising businessman, and I’m delving into other realms to make the message of my music and the message of who I am as a person just more of an experience for people. So that’s what it is man, Bloodbot Tactical Enterprises. I’m excited, it’s been cool to mold something of my own and to be accountable to it everyday. I mean, with the Jux days...first of all I love my days on Def Jux and I love all the guys - EL-P, Ace, I mean, these are my buddies, these are memories that will never be removed. We’ve had great times and we still have impeccable relationships you know, this is not a situation that arose because we couldn’t get along or whatever or we couldn’t find a common ground. This is just a part of my growth process right now, where I just felt like I needed to step aside, and kinda get my hands dirty. I mean the industry’s changing so rapidly anyway, I just really wanted to get my hands onto the pulse of it and just see what I could do on my own, and just have this record...I mean this record is just a very personal little gem of mine. All the vocals that are on it I recorded myself in the solitude of my own home. Very very grassroots, no interference, just me and the music, and it’s very fitting that it’s coming out through my own company. ABORT: On the more personal level, the last time we spoke was just shortly after the catastrophic bus accident a year and a half ago,and you talked about what a life changing incident that was. In your evolution as an artist, you’ve gone from taling more about your personal experiences, to transforming that more into social commentary, and you’re increasingly taking on that role of artist as political/social commentator. Do you see this as the future of Lif? Lif: I think the social commentary is going to continue but it’s going to come at you in a form that you don’t expect. I have some plans for what I want to do next, that are gonna take a lot of planning and strategy, but I hope I’m able to pull it off. I just feel like it’s the next logical step for me. And you know, oddly enough when we did that last interview, you caught me at this time where...you know I thought that after that accident I wasn’t going to want to travel for a while, but
oddly enough, in ‘07, I couldn’t stop travelling! It was just really wierd, and what I realized after a while was that, I was maybe running from dealing with certain aspects of that whole situation. I was just bouncing around from place to place, I wasn’t just in my home dealing with my self. And what 2008 provided was an absolute grinding halt to me touring...I think I did less than fifteen shows in 2008. I was just in my house man, and it was just a really humbling time, a time where I had to just really look at myself and just see what I had been through and analyze where I wanted to go. I was largely uninspired during a lot of that time and just feeling pretty lost, and then, you know, luckily this album hit me. This album happened very quickly for me. I’m not saying I rushed it, I was just so wired, and it was literally like all I could do from September until December was just make this album. Nothing
else mattered at the time. Mr. Lif ’s latest release - I Heard it Today is in stores and online now
• www.myspace.com/mrlif
By Dave “ Corvid” McCallum Photos by Jamie Sands
The ABORT Interview
Since their inception in 1986 the highly underrated power trio Prong paved the way for many metal bands and industrial bands alike. Currently faced with surviving a music industry apocalypse that looms over us like a dark cloud, Prong founder/frontman/guitarist Tommy Victor, is not one to follow trends. He and his fine fellows have released a new album on Al Jourgensen’s (Ministry) 13th Planet Records, featuring a hodgepodge of remixed Prong tracks.. Tommy spoke with ABORT Magazine to keep us up to date and gives us a little history lesson on how the music scene has simply...vanished.
E. S. Day: we are on the phone speaking with Tommy Victor founder of the legendary PRONG from New York...now you’re in LA right now? Tommy Victor: No I’m a transplant from New York, I live here now ABORT: Oh?, I did not know that, I know you as a New Yorker, maybe I should read the fucking bio first (laughs) TV: Or maybe you should look at the area code I’m calling from (laughs) ABORT: Or maybe I should stop smoking medicinal marijuana prior to an interview? TV: (laughs) Oh, we have a whole bunch of those medicinal pot dispensaries around here, I mean I am in Hollywood right? but I don’t smoke though. ABORT: No? Well there goes one of my questions (laughs), well let’s get into it, the new album is Power of The Damn MiXXXer which is a remixed version of Power of The Damager correct? TV: I love the way you said that. ABORT: Huh?.. thank you. wait a minute...are you fucking with me? TV: No, no (laughs) ABORT: (laughs) Okay, but seriously, we are going to run down a couple of tracks, but before we do that I just wanted to mention you’re now like 23 years deep into this the music industry... TV: The “Evil 23” I didn’t even think of that ABORT: I went back and put on “Snap Your Fingers, Snap Your Neck” the other day and thought to myself, here’s a timeless, classic track. I mean, you could re-release that today or for the first time and nobody would be the wiser that the track was that old, what do you think has happened to the music scene these days and specifically with heavy music? TV: Well, there’s no club scene for starters, there’s no place for them to go to have a kind of community, I mean when I got out of high school, there was twentytwo clubs that you could play original music at in just Manhattan. But now people seem concerned with the cover scene again and now it’s like they want to emulate Yngwie Malmsteen or something, a lot of that going on you know?
PRONG
ABORT: (laughs) Fair enough. TV: You know we were daring back then, New York was a desolate place to be, and it’s very corporate now, back then, New York was like burned-out buildings and graffiti on subways and just don’t see that anymore as much, now kids go to Target and Best Buy and they see things online and you gotta be a good-looking band now as well... ABORT: (laughs) Yeah, pretty boys now, like Tokio Hotel and they’re reading Vice Magazine, Jesus fuck. TV: (Laughs) Well they want to be a part of it because I don’t think they know anything else. There’s always going to be something to revolt to, me back then? we were considered like punk rock you know? we were against mainstream music . Now everyone wants to be mainstream, I’m from an era where your parents hated that you played music. ABORT: Right, right and that actually gave more integrity and rawness to the music and you could feel that both lyrically and musically, now it’s just so fucking contrived. TV: Let me say something seriously, my father? the hardest thing my father ever listened to, what he thought was real rock was like... The Carpenters. ABORT: (laughs) I hear you. Listen - let me bring up “Snap your fingers” again, I noticed the other day that a Christian metal band called Demon Hunter had done a cover version of that. your thoughts on that? Are you a religious person? Do you even give a shit? what’s the deal Tommy? TV: No. Someone ended up telling me that they w e r e n’ t e v e n Christian metal, but that song
has been covered so many times, like 5 times now. I have an association with this guy named Scott Albert and we did this thing together called Argyle Park he does all of Criss Angels’ music, has like piercings all over the place, lifts weights all day, long hair is dyed red and crazy and this guy’s a devout Christian, looks like Satan. What this [Christian Metal] is all about?...I don’t get it. It’s like anything to do with rock music, is automatically: Satan. Anything worldly usually has to do with the flesh. ABORT: I hear you, while speaking of flesh, let’s tear the skin off the new album The Power of The Damn MiXXXer, you’ve got a lot of people remixing tracks from the album which is cool, you got Virus (Dope) who we spoke with not too long ago, and I gotta say you can hear some of the song influence seeping into their (Dope’s) music maybe a little too much. TV:...what about Static X? ABORT: Yes - Static X as well, but how did this all come together? Did you throw names on the table put , the feelers out? TV: Virus I already knew from before, he had sent me an e-mail in regards to this, I mean I already had plans this was already coming together before we even signed to 13th Planet. ABORT: Is Prong going to be touring for this album? and if so what will be the lineup? TV: It’s essentially going to be the same lineup as the album, except without Monte [Pittman] because he’s currently touring with Madonna. ABORT: Madonna? Well I guess he has gotta pay the bills! TV: Well, he can pay more than bills with the salary he gets (laughs) but yeah, we will be touring again in Europe it’s called “The Worst of The Worst” tour that starts in Germany. (at press time, the band is halfway through this tour) A B ORT: The album is Power of The Damn MiXXXer available on 13th Planet and in stores now, go visit the band on tour now through until June 26th, or on their website, like to thank Tommy Victor for talking with us, thanks Tommy Thank you man.
The Faces of Compassion
may not look the way you expect
Illness and disease strike across all social boundaries. So should our Compassion. Medical research continues to con rm the bene ts of Cannabis to human health. Aren’t we ready to end the stigmatization and criminalization of those who are ill?
When it comes to marijuana & medicine,
Marijuana is Medicine. Compassion Clubs-Helping People Heal
•
prongmusic.com
By Edward Scott Day
The
BC COMPASSION CLUB & Wellness Centre
by practitioner referral
Promoting A Holistic Approach to Healing and Living
w w w. t h e c o m p a s s i o n c l u b . o r g
Photos by Scott Alexander
Coheed and Cambria-Neverender
Columbia/Sony
Metal Retardation
Directed by Bill Zebub MVD Visual COHEED AND CAMBRIA is one of the best live bands of all time.
Flavor Flav
Live In Concert ABC Entertainment/MVD Interviews, interviews, interviews. Even in metal they can become extremely boring. Once in a while the set of circumstances happens to be just perfect, as well as the mood, time of day and the amount of consumed alcohol. It is the time when the musicians let go and speak their minds freely, expressing radical opinions, shooting crazy remarks and performing acts of general drunken human stupidity and retardation. Flavor Flav steps on stage after a long DJ and hype-man intro sporting a doo-rag, elaborate sunglasses and the signature clock around his neck. Promoting his self-titled solo album, the caricature of rap at its most ridiculous exudes more hype than music, but a couple of good tracks and comical sentiments carry the show. Shout-outs to the late Barry White and JamMaster Jay force the Swiss crowd into a moment of silence but political rants bring up the crowd participation. Mentions of “fucking” war and “fucking” George Bush are well received and put the DVD into a specific context. DJ Lord, who’d replaced Public Enemy’s Terminator X in 1999, proves his dominance over the “wheels of steel” with freestyles scratches, contorting his body into such a frenzy that even Flav is motionless with amazement. Flav brings out his pal Jet to throw down a French verse before inviting “the flyest girls” to the stage to shake their booties. Forming a military-style lineup of ass-shakers, Flav gives a little grind up on each little dirty soldier. “Public Enemy No. 1,” is followed by A version of his collaborative track with DJ Tomekk, “123 from New York to Germany,” and “No One Can Take Us Down” to break up the drawn-out repetitions of “yeah boy.” A couple of local B-Boys are brought out and Flav demands a headspin as the boys show off their skills. Surprisingly, Flav passes back a joint he receives from the audience, stating that he doesn’t smoke during shows. Flavor Flav closes with a variation of Public Enemy’s “911 (Is a Joke)” to appease the die-hards. All in all, a rather silly DVD which is not particularly enjoyable but is highly amusing at times. By Kassandra Guagliardi and Amalia Nickel
Cargo 200
Directed by Alexey Balabanov CTB Film Company/E1 Entertainment Since 1991, Alexey Balabanov has been making films set in various eras throughout Russian history. Best known for 1997’s Brother, Balabanov has earned a reputation for his ability to sculpt stories around brutal violence, sexual depravity and bleak everyday existence. Balabanov’s most recent undertaking to be released on DVD, Cargo 200, is set in 1984, before Gorbachev’s political and economic reforms. Based on actual events, this film depicts the decline of the Soviet era as experienced by a hand-full of interconnected characters. Alternating between the viewpoints of a younger and older generation, Cargo 200 focuses on the devastating effects of the Russian occupation of Afghanistan. The title itself is taken from the Soviet term which describes the coffins used to transport dead soldiers from Afghanistan back home to Russia. Although this film has been categorized as a black comedy, there isn’t really anything humorous about it. Scenes of alcoholism, murder, abduction, rape and insanity, create a strong tension that underlies the entire film. Though the lives of the characters intersect at various points, any real friendships and loyalties are lacking. The result is a strong feeling of despair and isolation. Despite this gloominess, the disclaimer that this film is one of the most controversial Russian movies ever made seems a little blown out of proportion, at first. Be patient. Before you know it, the shit hits the fan and just keeps getting worse. Definitely worth watching more then once, this is the type of movie that you’ll lend to your friends with a knowing smirk on your face. By Alxs Ness
There I said it. Now let the hate mail and shit bombs fly. In the meantime, fans of the New York-based alternative-progressiveemo-whatever-rock quartet can sink their teeth into Neverender, a twoDVD set showcasing the band’s four-night stint at New York City’s Terminal 5 from October 22-25, 2008. What makes this event so special is the fact that COHEED AND CAMBRIA played each of its four studio albums in their entirety—front to back—on consecutive nights to packed houses. The rabid crowd sings along with every one of Claudio Sanchez’ words and the floor area is absolute mayhem for the duration of each show. The band members—Sanchez, guitarist Travis Stever, bassist Michael Todd and former DILLINGER ESCAPE PLAN drummer Chris Pennie—have permanent grins on their faces, lapping up the adoration of its fans and clearly enjoying playing songs that have never been done live along with the obvious favorites like “Welcome Home,” “Blood Red Summer,” “The Running Free” and “The Devil In Jersey City.” As a man of few words, Sanchez only takes one very short break mid-set at each show to greet the audience. Otherwise, the music flows uninterrupted keeping the momentum going and the sweat flying. In Neverender, a long-time COHEED fan could ask for nothing more and for a newcomer, this unique package acts as the ultimate introduction to the band. Having seen COHEED AND CAMBRIA destroy The Commodore Ballroom last year, this band is clearly one of the most underrated and underappreciated acts in music today. Neverender aims to rectify that and succeeds on every level. ***There is a sprawling, limited-edition version of Neverender available (subtitled Children of The Fence), which spreads the shows over five DVDs and four CDs and includes documentaries on the makingof the shows, extra footage and other goodies for the real COHEED AND CAMBRIA completist.*** coheedandcambria.com By Sean Cowie
Bill Zebub of The Grimoire of Exalted Deeds magazine is the guy, who knows how to provoke that kind of communication and his personal collection of metal interviews is fucking gold. Whatever you’ve seen before, this DVD is funnier, has more stars than you can imagine and on a 1 to 10 scale of can’t-believe-he-justsaid-it gets 11. If you want to see piss-drunk members of Nevermore hit it off about record labels or maybe George Fisher confiding to the world his never-ending hunt for titties and his view on cereal mascots – then “Metal Retardation” is a must. An hour and a half of killer footage (excluding the extras) will make you laugh so hard your stomach and cheeks will hurt. Every possible delicate topic is mentioned and discussed, every question that the musicians would NEVER expect is asked, every humiliating response is recorded verbatim and presented in perfect editing. The snobs of course will take parts of it seriously and instantly become “gay” as heeded by Zebub’s disclaimer. Nobody is insulted there, it’s all pure enjoyment and fun, even people like Messiah Marcolin, King Diamond and members of My Dying Bride are happy to laugh at themselves and the world. “You have never seen bands interviewed like this” reads one of the tags. Maybe you have, one or two questions at a time, but not like this, not this long and certainly not as hilarious. Seeing the bands speak without restraints is something to be valued, because they can’t always do that. Just go and get the DVD, you won’t regret it. It’s guaranteed. Don’t you want to hear “Corpsegrinder” sing “Mary had a little lamb?” by arceon
El Alambrista: The Fence Jumper
Dir. by Alfonso Sahagun Casaus Brink DVD 2008
Method Man and Redman Live in Paris
ZYX Music/MVD The Brink DVD motto is “Micro-budget films that break the Hollywood mold”, and “El Alambrista” is most definitely that. Snobs will see this as a B grade tale of an aspiring “luchadore” or Mexican wrestler who makes his way to the US to support his impoverished family, but aficionados of underground talent and rare cinematic gems will recognize it as a work of incomparable genius. Everybody loves them some Wu Tang now and then, so despite choppy angles and choppier sound, Method Man and Redman’s Live in Paris DVD delivers a tight performance. The actual Paris concert was in 2006 and doesn’t promote any particular album but draws from a timeless catalogue of both Wu Tang and Meth and Redman collabs, perhaps only dated by the dispairaging comments made about nowdefunct politicians. Tracks from 1999’s Blackout include the “How High” Remix, “Da Rockwilder” and “Y.O.U.” and are played with the bare beats and grimy flows characteristic of the Wu Tang. Classics like “Method Man” and the ODB Anthem “Shimmy Shimmy Ya” appease the long-time fans with familiar jams. The sound of breaking glass divides up the tracks - which rarely get past the first chorus - and the filming is meant for the ADD generation, a little too quick for eyes over 20. Method Man is also a little difficult to understand, Redman’s crisp styles make it past the sound quality a little better. It was obviously a good show to be at: the young French crowd is hype, everyone’s smoking weed and Meth smokes a blunt while he spits, “Roll that shit, light that shit, smoke it,” to lead Red into a smoked out freestyle. After a shout-out to Jam Master Jay DJ Dyce puts on a masterful scratching show, spinning his body and utilizing his elbows and teeth to create raspy rhythms. Method Man and Redman Live in Paris is the live concert experience without the sensory stimulation of an actual live concert. It’s a little distracting to watch but a decent show to have on in the background. Track Listing: Intro 1.Diggy Doc 2.Time 4 Sum Aksion 3.Method Man 4.Blow Your Mind 5.Tonight’s the Night 6.All I Need 7.Pick It Up 8.Keep It ‘99 9.Bring The Pain 10.Freestyle 11.Street 101 12.Freestyle By Kassandra Guagliardi and Amalia J. Nickel 13.DJ Dyce - Scratching 14.Smash Sumthin’ 15.Let’s Get Dirty 16.Freestyle 17.Let Da Monkey Out 18.The Motto 19.How High 20.How High Part II 21.Y.O.U. 22.Judgement Day 23.Da Rockwilder 24.Shimmy Shimmy Ya Brooklyn Zoo
Kill The Record Labels
Directed by Charles Rand & T. Thomas Focus Media/MVD One might think from the cover that this is some gritty footage of backstage Hip Hop drama a la the infamous “Beef ” series, but no, this documentary is a serious inquiry into the nefarious elements of the record industry that have recently been cracking down on the now well established art of the mixtape. The main culprit here is the RIAA - the Recording Industry Association of America, who have been mercilessly persecuting the producers and distributors of mixtapes on the grounds of copyright infringement, while at the same time covertly supporting, providing songs for, and in many cases even commissioning mixtapes from prominent DJ’s as the most effective method of street-level artist promotion. When fans can only expect one or two hit songs per artist to drop on the radio, mixtapes allow rappers to promote rare, one-off, original material on a hand to hand basis. Made up almost entirely of interview footage with prominent DJ’s like Green Lantern and DJ Drama, Industry execs, entertainment lawyers and MC’s like Juelz Santana and 50 Cent, the tale is told of a long established tradition of mixtapes in Hip Hop developing into a viable industry and underground economy that was inevitably noticed by the vultures of the big four - EMI, Universal, Warner Brothers and Sony, and like the first wave of Hip Hop from DJ’s Kool Herc and Afrika Bambataa, was first promoted and capitalized on, then vilified and persecuted under dubious “copyright” laws. In that Hip Hop music has always been about sampling, the careful distinction is made between “bootlegging” - i.e. straight copying and selling a cd, and the mixtape - in which the amount of hours spent remixing, chopping and adding new vocal tracks may rival the time spent on the major label album. At the bottom of it all of course is the allmighty dollar - you know damn well that as soon as the suits found out how much money was being made by people other than themselves, they pulled out all the stops! What couldn’t be accomplished by lawsuits was further facilitated by the formation of the so called “Hip Hop Cops” - a shady NYC undercover unit that keeps tabs on every artist who makes even a bump on their radar. With SWAT team tactics learned from DEA and ATF style raids, the authorities have literally been treating the mixtape game like the drug game, despite the vast gulf in revenue…and intent. So once again we have a basic element of Hip Hop criminalized when its profitability threatens the corporate interest. With the development of the internet and modern recording technologies, the floodgates are
open to all comers and of course the labels are scared, but the fact is that they were perfectly content to assist and encourage mixtape DJ’s for years. When it comes down to it, this is an issue of property and territory - not the “intellectual property” of artists and labels who cannot handle having their work used as raw materials by others, but the property and territory of true Hip Hop culture - culture which defines itself on its own terms, not in reference to marketability. Many artists have described the industry as the new slaveship, and when you hear the words of the massas and bosses of today from their own mouths, you will know that they hold this cynical truth as a motto for their evil works. Kill the motherfuckers! killtherecordlabels.com By Dave “Murda” McCallum
Monsters of Metal Vol. 6
Various Artists Nuclear Blast USA
This is the kind of film that may appear ridiculously amateur to some, but is rich with action, humour, and the righteous shit-kicking of white racists, ranchers and evil wrestlers. Following the tragic death of his father in a mine collapse, our hero departs for the border - a dangerous journey that requires the services of a coyote, one of the corrupt traffickers assisting border jumpers and jacking their pesos in the process. After giving the coyote a thorough kick in the ass, he acquires the name of “El Alambrista Emplumada”, or “The Feathered Fencejumper” (or something like that…), and goes on to find work with a mean white rancher. When racists arrive to beat on his friends, El Alambrista takes the law into his own hands. He later gets work as a professional luchadore with the wheelchair-bound but still deadly Senor Blutes as his manager, and then has to contend with a gang of luchadore-thugs and their greasy, chainsmoking boss who runs a corrupt cockfighting ring using a secret formula that makes his roosters into psychotic murder birds. Saving kids and making money for his family back home, El Alambrista carries the tremendous weight of his great responsibility with a humble dignity emblematic of the stoic, long suffering character of his people. Okay, maybe I’m making too much of a simple story, but it seems to me that immigrant Mexican labourers might see this as the ultimate fable of the battle between good and evil, between the hardworking peasant and the corrupt landowners and their sellout lackeys. The fact that luchadores are so popular in Mexico may originate in this dramatization of basic struggles in a fantastic context, similar to the American WWE, but even closer to the people’s daily sufferings. Special features include Director’s Commentary, a “Gag Reel” with commentary full of funny outtakes and shorts, and “Yako vs. Pequeno Guerrero” - a full luchadore match that gives a taste of the art in all it’s glory. Grab a six-pack of Corona’s, a bottle of Patron and some Mexican ditchweed and get ready for full belly laughs and righteous cheers as “El Alambrista: The Fence Jumper” shows the gringos what he’s made of. brinkdvd.com By Dave “Corvid” McCallum
Nuclear Blast is treating the metal community yet again with the 6th installment of their highly popular Monsters of Metal series. An excellent collection of an almost-satanic 66 videoclips, which provides a way for the bands and the label to show-off new footage along with rare, unseen and even classic material. Traditionally covering a vast genre landscape, this release is aimed at the widest possible audience. With Monsters of Metal people who are new to the movement, they get a great reference package with virtually all genres being present in the roster. Gourmets will be happy to see some unique video and appreciate the diversity. Oldtimers will be satisfied to see the bands of their youth still in full gear and delivering kick-ass performances. The series in itself is an example of what a true compilation must be like, having gothic and prog metal side by side with hardcore, death, black, metalcore and folk metal. The time span is equally impressive, from Saxon and Exodus to Naera and Eluveitie. Just to make sure that the all-star band list doesn’t get boring, you get an extra easter-egg hidden clip, which you’ll have to find without our hints. Whatever genre you’re into, there’s more than enough here. A very considerate move from the creators of the compilation is the live footage of the recently disbanded After Forever, a sign that their work will not be forgotten. Monsters of Metal series is an exhibit of a great idea and true professionalism of everyone involved into bringing it to life. A product of highest quality, this double DVD release is a must-have for any metal fan out there. Horns up for Nuclear Blast. By arceon
of their husbands because they were engineers on a “secret mission” flight. And not to mention the secret killers who are caught by (public) chance only because they get covered in a newspaper. All of these are valid points and as many others in Secrecy, they become a subject of an extended discussion, revealing some of the most astounding facts about governmental actions. Whenever you sue the US government on a case that so much as mentions confidential documents, the officials come to the court and order the case closed, because it touches matter of national security, effectively rendering the government unsuable whenever they want to be. Even the judges of the Supreme Court can’t review the documents personally just to tell the widows that yes, it was an accident, the responsible will be prosecuted. Democracy is at stake and the big question in Secrecy is whether government is going too far hiding its secrets in the name of protection from terrorist, military or any other kind of threats. And the next logical question is whether secrecy helps achieve safety, whether or not it actually aggravates the situation. As with any other documentary on the US government, the film brings the 9/11 to the table and this is where you start to notice an important detail. When you talk about the war in Iraq, 9/11 and terrorism, the public is much more interested in finding out whether they will ever know what really happened and who stood behind the attacks and the real reasons for the war. Is this all just a big hoax? Secrecy doesn’t touch these matters at all, and the way they discuss 9/11 seems to be very convenient for the officials, who use the same language you could hear on TV and it smells. This documentary presents a very conservative yet profound view, and whether or not you’ll be satisfied depends solely on what you expect to see. An abundance of facts and spot-hitting opinions will leave everybody satisfied, but if you’re looking for answers, you won’t find them here. But it’s certainly a good place to start looking. secrecyfilm.com By arceon
Film Review - Secrecy
Directed by Peter Galison and Robb Moss Digibeta
Freedom of speech and privacy are easily one of the hottest topics of social discussion at any given time. Light a spark in front of the right people and you’ll have yourself a bonfire of accusations, controversial statements and general disagreement. While it is widely established that North America is a haven for human rights, many people here and abroad, would disagree. They would go even further and argue that their constitutional rights are being bound and restrained. The other side of the barricades will quote national security as something more important than some human rights. In case you care about the subject and especially if you’re also a bit confused, turn your head to Secrecy, winner of “Best Documentary” at the Newport International Film Festival amongst others. Peter Galison and Robb Moss proved an excellent starting point for many people pondering over the subject presenting opposite views on the matter. CIA officers, lawyers, NSA officials, journalists and ordinary citizens affected by government secrecy make up for a great interviewee list, and they are exactly the kind of people that should be presenting their respective views. There are no assumptions, all the points are clear and very real, making you wonder. Press coverage on intelligence monitoring Osama Bin-Laden’s satellite phone, killed that uttermost important source of information. At the same time it takes widows 50 years (if they live that long) to get information on the death
The Rock Bible: The Unholy Scripture for Fans & Bands
By Henry Owings Quirk Books
Subway Art: 25th Anniversary Edition
By Martha Cooper and Henry Chalfant Chronicle Books
Pride and Prejudice and Zombies
By Jane Austen and Seth Grahame-Smith Quirk Classics
Posthumous collaborations are pretty common these days. With current technology, it’s not too difficult to take the work of a dead person –whether in video, music or book format, throw in a current artist (or another dead one) and call it a remix/ collaboration. Usually these “collaborations” border on exploitation: using the established name of a dead person to propel a not-so known artist’s career. In the case of Pride and Prejudice and Zombies, Seth GrahameSmith’s take on the original Jane Austen classic actually makes this novel readable. Although a small percentage of people would consider Jane Austen’s version to be one of the greatest novels of all time, most of us fall asleep a few pages in. Grahame-Smith has recounted the dramatic romance between Darcy and Elizabeth Bennett all the while incorporating zombie mayhem, decomposing corpses and mass bloodshed for good measure. In his version, the Bennett sisters are masters of the “deadly arts” and capable of slaying the “unmentionables” as good if not better than any man. While their mother is still bent on marrying them off, the sisters’ romantic ventures are interspersed with their violent urge to kill zombies whenever encountered. Most likely this book will offend any one who’s ever made it through the original, but for the rest of us, it’s a brilliant and modern spin on an age old classic. quirkbooks.com By Alxs Ness
If you’ve ever wondered which synth bass would best compliment the new guitar strap you just blew your paycheque on – The Rock Bible is here to condemn you to the bowels of your local state fair to cover Whitesnake for all eternity. For those who wish to repent, this unholy scripture will lead you down the path of redemption…or at least lead you to keep the book in your bathroom for a chuckle when need be. Praise Dio. Henry Owings’ Rock Bible – Unholy Scripture for Fans & Bands is a tongue and cheek guide for those about to rock; laid out flawlessly on a badass bed of surprisingly useful tips, empty bottles of Jack, faux-biblical illustrations, destroyed hotel rooms, and writings by master humorist Andrew Earles, drummer Brian Teasley, and comedian Patton Oswalt. From ‘The Wisdom of the Amp ‘, to ‘The Psalm of the Groupie ‘, to the ever important ‘Blasphemy: Forbidden Words When Naming Your Band ‘– The Rock Bible will give you a steel-toed punt from Wannabe to Self-Proclaimed Rock Star in just 144 pages. Wise scriptures include… Drummers: “If you’re one of those drummers who sets up at the front of the stage, back the hell up. You are the goalies of rock; play your position.” Amps: “If your amp has more than 6 knobs, you are one of them.” Onstage Antics: “Being wasted onstage works for only about five percent of bands, and yours isn’t one of them.” Whether you rock out on stage or in your shower, this book is sure to steal laughs from the hardest of the head-bangers. There is something new to chuckle at every time you pick up the book, and it’s bound to lead to more than a few roasts of your friends and their bands. quirkbooks.com By Kristin Eccles
Twenty-five years later, and still as influential as the day it hit the shelves, comes the anniversary edition of veteran photo snappers Martha Cooper and Henry Chalfant’s ‘Subway Art’. Based on their renegade documentary, ‘Style Wars’, this visual master piece follows some of the most reputed artists in 1980s-cool New York as they struggle to leave their mark. This book will take you back to a time when crews of unlikely kids were unknowingly spawning an art movement for generations to come. An original documentation of an art form that is now lost in NYC due to new polyurethane coated trains and nightly buffing. For you graff-snobs out there, keep in mind that this book does not document the entire scene. The art shown was produced by a few crews that let Cooper and Chaldfant tag along and get an insider’s look at the work that they were producing. Although many of the greats were left out of this book, Subway Art is a stellar snap shot of a moment in time, and gives us outsiders just a taste of what really went down. This is NOT a ‘how to’ guide. If you’re looking for pointers, hit the streets. This re-mastered edition has been expanded to an almost offensive size to properly capture the importance of this subculture, showing the full creative talent bombed on the sides of these moving steel canvases. With the addition of 70 unprinted photographs and fresh introductions and afterword’s by the photographers themselves, this is a piece of history for ‘graf-heads’ and curious followers alike. Chroniclebooks.com By Kristin Eccles
Busta Rhymes
Back On My B.S. Universal/Motown From the opener “Wheel Of Fortune”, it is clear that Busta has fallen off in a big way. Gone is the old Busta - hyperactive, apocalyptic and mysterious, replaced by the hulking menace of the new Terminator model Bussa Buss, all bloated on ‘roids and alcohol, encrusted with ice and baiting for a fight. While it is generally true that rappers aspire to being fat (fuck the “ph”…), greatness of rep and stature have seemingly diminished Busta’s once legendary lyrical potential, and while he is still at times lightning quick with the flows, his voice has bottomed out in a gravel pit of Henney on the rocks and Marlboro straights. Add to this a plethora of totally run of the mill beats in the autotunedout vein of lamesters like Akon and T-Pain, all saccharine and synthy, and no level of gritty flow can counterbalance the insulin shock headache. Lil’ Wayne manages to drop a decent few bars on the otherwise unmemorable “Respect My Conglomerate”, while T-Pain drives a nail in the coffin of Busta’s reputation with the ill-advised and nauseating “Hustler’s Anthem ‘09″ - without the anti-nausea agents in the mix, the syrup poured here will give nothing but gut rot. And Busta, please, - “Arab Money”? A-Rab money, that is…the controversy and strangely catchy if blasphemous hook aside, is this really what “Hip Hop” has come to? “Decision”, featuring Jamie Foxx, Mary J. Blige, John Legend and Common is the only redeeming track on the whole damn disc, and it’s neo-soul aspirations are totally out of sync with the rest of the album. It seems that Busta Rhymes is now more personality than artist, more celebrity caricature of his former self than any kind of logical development from the diabolical prophet of doom who once produced “Extinction Level Event”. If you’ve been watching YouTube videos on the Masonic leanings of Jay-Z and Co. you may wonder if a similar process of soul extraction has occurred, or it may just be that something infinitely more mundane has happened to a rapper whose image was always just that - an image. In his old age he has gotten lazy, complacent, cynical, materialist and boring…just like any typical American male does who sold out long ago. bustarhymes.com By Dave “Corvid” McCallum
The Cliks
Dirty King Warner Music Canada Formally a quartet, now downsized to a power trio, Toronto-based band The Cliks release their followup to the highly acclaimed Snakehouse album with their latest Warner Music Canada release (Tommy Boy in the US), Dirty King. Back on the passionate grind, vocalist/guitarist Lucas Silveira and his crew, have once again successfully subjected their listeners to songs of woe and wisdom, a hard rocking, thinking man’s version of Elvis Costello with the lyrical prowess of Chrissy Hynde , the combination makes this group of Canadians worthy of taking the center stage with The Cult, Cyndi Lauper (True Colors tour) and currently with the legendary New York Dolls to name a few. “Haunted” opens the album with with exactly that: a haunting, brooding, almost somber look inside what could be a personal message from the mind and soul of Mr. Silveira, but the title track “Dirty King” takes the album by storm with it’s surf-riff, garage rock inspired hooks. There seems to be quite a few ballads on this album, all worthy mind you, just could use a pinch of more Fuzztone/Rock to make this a tasty recipe. Let’s say it’s a decaffeinated version of the first Yeah, Yeah, Yeah’s album. But pay no mind, its the true songwriting skills that shine. One could even hear some slight nods to Lone Justice from the Shelter album- a classic. Standout tracks “Career Suicide” and “Wolverines” could easily be the new live faves for The Cliks‘ already growing international fanbase Producer Sylvia Massy known for her work with Red Hot Chili Peppers has once again taken her place behind the boards, and turned out a meticulously crafted sound that complements the bands’ hard rock stigma that is Dirty King. With the band touring constantly, Lucas Silveira and his bandmates Morgan Doctor and Jen Benton have gone the extra mile to place Canadian Rock back on the map… for good. Dirty King is in stores June 23 TheCliks.com myspace.com/thecliks By E.S. Day
The Devil Wears Prada
With Roots Above and Branches Below Ferret Since their conception in 2005, The Devil Wears Prada has been making a name for themselves in the underground scene with most of their following being from your standard social networking sites like MySpace. Following the success of two albums, The Devil Wears Prada expands their fan base yet again with their third release: With Roots Above and Branches Below. A much anticipated album that shows the bands growth and maturity in a heavier tone that is a bit more mechanical than past albums, but stays true to their distinct style. The Devil Wears Prada finally sheds any remnants of ‘sceamo’ as they officially hit metalcore status with opening track Sassafras which will immediately have listeners’ ears oozing with joy. The track is a stellar choice for an opener and will have anyone within ear-shot gripped from the get-go. Mike Hranica’s brooding raw screams are consistently forceful and engaging from one track to the next, giving a power to the lyrics in contrast with the clean vocals of singer Jeremy DePoyster. Among the more notable points of this album is the unexpected track: Louder Than Thunder - a piano and strings driven melodic ballad that shows off DePoyster’s much improved vocal chops, and the evident use of synth in tracks like Gimme Half and Ben Has a Kid. Synth has always been an underlying element in The Devil Wears Prada, and it has really been brought to the forefront in these tracks thanks to James Baney. Newfound maturity and growth aside, With Roots Above and Branches Below hits so hard that it’s easy to forget that these guys are not only a Christian band, but still relatively new on the scene. This is only the beginning for The Devil Wears Prada. myspace.com/tdwp By Kristin Eccles
The Boy Will Drown
Fetish Earache
Hailed as some of the best new Death Metal to come out of the UK, The Boy Will Drown’s first track on Fetish titled “Deep Throat”, sets the tone for the album and unfortunately the rest of songs don’t stray too far from it. All of the songs stick to a grindcore tempo playing as fast as possible. The talented lead guitarist, Liam Keel, unleashes extremely fast breakdowns in every song, though tones and melodies that greatly differ from one another aren’t as constantly heard. The death grunt and screamo vocals are sung to a very similar beat throughout the whole album. Guitar scale progressions lead the majority of the songs, but there are many intersperses of exciting metal guitar riffs. But they are constantly cut short and quickly replaced by new riffs that end and are replaced just as quickly. A listener has little opportunity to grasp the song’s melody and get into the rhythm for the song to seize the moment. Each song sounds like two or three songs cramped together. Fetish is intense at first but having all 10 songs with comparably similar structures, or maybe a lack of structures, makes it seem all too similar to itself and ultimately repetitive. Fetish arrives in stores June 16th myspace.com/tbwd By Brandon Siemens
D-Sisive
Let The Children Die Urbnet Records From great tragedy comes inspiration, and D-Sisive has flipped his own personal turmoil into a dark, haunting and affective record. Let The Children Die is as creepy as it sounds: think ancient Greek theatre in hip-hop form. Ghostlike choruses, random noise mash-ups and shallow, tinny beats make this album something to listen to on headphones but to keep away from parties. The mournful intro sets the tone, asking “why must any of the children die?” repeatedly in different vocals on disconnected strings. The title track continues this tome with a scratchy and superficial melody, set against masculine choruses of “la la la…it is what it is,” and a biting critique of false hip-hop prophets: “you’re not a killer, you’re a soundalike.” The most disturbing and moving track on the album is Father, wherein the artist cries “Daddy I need you, never look away.” It’s obvious that the pain of losing his loved one has spurred D-Sisive on to artistic devastation: an echo of a conversation, a wistful melody and stiflingly sad strings offset the dissonant and distorted repetitions of “father.” But the album gathers momentum and by the time Classified gets on board the sadness has dissipated; horn and cymbal bring the beat up and revolution is in the air. Riot I Caused opens with the image of a “flame-filled night brought fire to the dark,” and closes with a surreal mash-up of news reports, children’s laughter and sounds of broken bottles. Buck 65 joins D-Sisive for “The SuperBowl is Over”, a slowjam that’s anything but romantic, talking about “a record to record and a throat infection, a broken typewriter and a loaded weapon.” The funky bassline of “Like This” is reminiscent of a 70s cop show but the dark beat suits Guilty Simpson’s low flow well in this collaboration. D-Sisive has definitely put out a unique product: it connects to a darker side of humanity, which makes it all the more relevant to our dark existence. Let The Children Die is in stores May 7th myspace.com/dsisive By Amalia J. Nickel
Eminem
Relapse Aftermath/Interscope The ultra-dope cover says it all – emerging from a mountain of medication and constantly touting his full year of sobriety, the razor tongued psychopath who first burned his way into our collective consciousness ten years ago is back with a screaming vengeance. Still mining in the old vein of dense lyrical onslaughts full of murder, misogyny and mayhem, Em seems to almost glorify his drugged out lifestyle while at the same time contextualizing it in a childhood of sexual abuse and chemical supervision. In his four year absence from the limelight, Eminem has gone through the loss of his best friend Proof and his own struggles with addiction and personal relationships, and he is certainly trying to prove that he still has the fire that first made him famous. “3 AM” establishes the dark mood of narcoleptic murder spree imagery that seems to recur like a bad reaction to prozac, while “My Mom” provides the rebuttal to all haters who would wonder why Mr. Mathers was so fucked up to begin with. The already infamous “Bagpipes from Baghdad” baits Mr. Maria Carey in barbed barrages of blistering curses reminiscent of Slim Shady’s finest diss tracks. Tracks like “ Must be the Ganja” and “Crack a Bottle” keep enough party in the mix, while closer “Undergound” finalizes the darkness from which Shady emerges. Em’s bratty nasal tone has never been the greatest, but with such a killer flow and manic intensity it doesn’t interfere much except on some of his weaker choruses, which seem as dated in their sing song cadence as Dre’s largely uninspired beats which largely come off as derivative… of his own earlier work, if that’s possible. This album is far from perfect, and reeks of the desperation that a once prolific artist has when trying to return to form. No doubt Eminem is still the tortured lyrical genius he’s always been. His subject matter and beats have barely changed in ten years, and yet his X-ACTO blade rhymes slice the air like no other MC before or since. Having once set the standard for both battle rappers and MC superstars, Relapse aims to prove that he is still both in equal measure, and years of opiate abuse have in no way dulled his edge. Now if only it was aimed at a worthy target. therelapse.com eminem.com By Dave “Corvid” McCallum
Epochate
Chronicles of a Dying Era Metropolis Records Industrial rock is on the rise again, and that statement is only valid because of newly emerging bands like Epochate: talented, experimental and pleasantly captivating. The project of Victor Love (Dope Stars Inc.) isn’t anything ultraoriginal or mind-blowing but this band sure does breath life into the old genre, presenting the allfamiliar concept in a sexy atmospheric wrapping, with a bit of apocalypse as a heartily welcome bonus. Chronicles of a Dying Era is a record you absolutely want to buy on a CD, because the artwork is nothing short of stunning. One of the best cover art work we’ve seen in a long time, it adds seamlessly to the massive dimensional landscape of dark orchestral samples and a feeling of inescapable impending doom, that builds up throughout the album and leaves your mind hungover, only until you listen to it again. Drawing a thick red line between our reality and a world of pain and death, Epochate is exceptionally good at drawing parallels and shooting metaphors at the unsuspecting minds of day-to-day living humans. The setting will appeal to fans of post-apocalyptic culture, but the importance of symbolism in their music should not be underestimated. Epochate is not a band that creates concepts, it’s historically a concept so good that it grew into a band, and with Noras Blake (Spineflesh/ Edenyzed) on board they produce a mature and profound product that will stand apart and appeal to both old and new school fans alike. Intelligently dark, the record is recommended to fans of KMFDM, Nine Inch Nails and Einstürzende Neubauten. This is an extremely worthwhile release and not a regurgitation, yet in the best industrial rock tradition with a twist that will permanently glue your attention to this remarkable band’s work. epochate.com By arceon
Heaven and Hell
The Devil You Know Rhino/Warner Heaven and Hell is in fact the , post-Ozzy Black Sabbath consisting of Ronnie James Dio (vocals), Tony Iommi (guitars), Geezer Butler (bass) and Vinnie Appice (drums). The quartet originally reunited in 2006 to record a few tracks for the Black Sabbath: The Dio Years album. Adopting the name Heaven and Hell, they continued their collaboration by embarking on a world tour in 2007 with various bands including Megadeth and Lamb of God. Despite rumours of the members going their separate ways, when all was said and done, they sat down and started working on a follow-up to 1992’s Dehumanizer. Finally, after 17 years and a couple line-up changes, the boys are back with their new release The Devil You Know. Armed with a wicked lineup, killer album art and 10 songs that incorporate each member’s abilities and unique style, The Devil You Know has proven to be well worth the wait. Highlight tracks include “The Turn of the Screw” and “Breaking Into Heaven.” On “The Turn of the Screw”, Geezer shines through with his low, groove style. This song also contains a brief but epic guitar solo by the “founding father of the heavy metal riff,” Tony Iommi. While Dio’s powerhouse voice is present from the first track to the last, his larger then life vocals are accentuated by beautiful harmonies found on “Breaking Into Heaven.” Despite the fact that The Devil You Know doesn’t come close to touching original Black Sabbath albums such as their self-titled release or Paranoid (what could?), it is a solid release by some of heavy metal’s originators. What more could you really ask for ? heavenandhelllive.com By Alxs Ness
Marilyn Manson
The High End of Low Interscope/UMG America’s underground favourite shit disturber Marilyn Manson is back again to make the housewives frown, set the press on fire and give pleasure to the mad-at-the-world basement dwellers of the nation. The High End of Low will also be interesting to everybody else for that matter. For the record, Marilyn Manson is the guy who does everything in his power to be appalling to popular culture, but has long since become a part of it. The problem is, most of the wanna-be badass acne laden teenagers don’t really get his message. You know how the mainstream public is different in this respect? Nohow. Those blessed with the ability to perceive metaphors and look just a bit farther than their own noses along with the nowadays hard-to-find individuals with an open-mind will find Marilyn still strong in concept, sharp on wordplay and able to conjure a couple of catchy tunes as a bonus. Don’t be dishearten, with the first song “Devour”, it’s a weird opening for an album, but not the last ballad-type song on it either. These tracks don’t spoil the impression though, bearing references to the all-familiar everyday emotions we experience. With the amount of shit Marilyn Manson dumps on popular culture, politics, stupid teenage girls and everything else, now wonder at least one of the songs got completely censored, even on uncensored versions of the CD. In case you’re wondering, it’s “Blank and White”. But while it’s a very strong track, one other stands out. “Leave a Scar” is a smashing hit, “Arma-Goddamn-nMotherfuckin-Geddon” is a radio single, but “We’re from America” is something we’ve all been waiting for. Nothing short of genius, it summarizes what we and the rest of the world despise about this society. If you’re listening to this and don’t want to shake Marilyn’s hand to the “God is an excuse!” chanting, than you’re probably one of the hopeless. On The High End of Low Manson is very much himself, trying to turn the world upside down. The album is not better than anything he’s done before, it’s not worse either. It’s just another installment from someone who’s not afraid to open his mouth and wake up the lethargic tube-watching comfort zone inhabitants of this continent. Marilynmanson.com by arceon
Mr. Lif
I Heard It Today Bloodbot Tactical Enterprises This singularly beautiful gem of True Hip Hop genius is clearly the product of a period of deep introspection in the life of Lif. Following the life altering tour bus crash of two years ago on the personal, and the economic crisis in America, Lif has delved deep into the well of his inspiration and brought forth fourteen jewels that shine with the brilliance of his uniquely insightful lyricism, bump with warm bass heavy beats, and blaze with the intensity of a million suns. As the banner on the skeletal eagle on the cover reads - “On the backs of the many, so the few can advance…”, the sense of urgency and indignant disgust at the system is the driving force behind Lif ’s return from seclusion. “Welcome To the World” sets the stage for the current catastrophic collapse of the American economy, and the election smokescreen and potentially false promise of Obama. “What About Us?” shouts forth the battle cry for a nation of disposed who wake up to find themselves even less entitled to a future they worked their whole lives for. “Breathe” features Philly legend Bahamadia and Lif taking a moment to ventilate from the daily stresses of life in Babylon. After the “Homecoming” scene, smokers’ anthem “Head High” finds the homies blessing their brother with herbal medicine after his release from prison. “Dawn” looks forth to the promise of a new day full of love and unity, the only hope in a world of unpredictable madness. With notes from Lif on the origins and intentions of each tracks, and the full lyrics printed inside, this album is clearly a transmission of valuable information through soulful music that deserves to be heard over and over. As always, the richness of Lif ’s mind has crafted a classic work that speaks ever more clearly as the voice and conscience of our times, with a compassion and over-standing so rare, yet so essential and truly Old School in it’s perspective. This is radical music - radical in it’s politics, and radical in the truest sense - coming from the roots. “I Heard It Today” should be heard everyday. Word. myspace.com/mrlif By Dave “Corvid” McCallum
Obituary
Darkest Day Candlelight Records Veterans of death metal Obituary are back in the game with their new and highly anticipated album Darkest Day. Fans have been sitting on the edge of their seats waiting patiently since 2007 for this album and it shows to be nothing less than what is expected from one of Florida’s most successful metal bands. Keeping things true to their roots Obituary has mastered the instrumentals for this album. The sound presented can be considered cleaner but just as heavy as previous albums. Darkest Day has shown to be more than just another album for Obituary it is a demonstration of what 20 years of hard work, playing kick ass metal and having the time to find the desired sound can do. Allen West and Trevor Peres give this album a fast and heavy sound, many of the riffs on songs like “Outside my Head” and “Fields of Pain” show both the abilities of lighting fast shredding and the pure raw heaviness of death metal come into play to create something new but familiar to Obituary. It is not just the guitars that are noticed through out this album. Donald Tardy’s drums make a strong appearance from the start to finish; complex drum riffs and perfectly timed beats bring all the pieces together. Bassist’s Daniel Tucker adds the finishing touches with thick and heavy bass lines that keep Obituary at the forefront. With all the instrumentals in the right place for this album vocalist John Tardy matches it all perfectly with his vocal style sounding how it has from day one. John’s inhales and growls can impress anyone and keep the die hard fans of Obituary happy with what they hear. Darkest Day shows old and new fans that Obituary is still alive and ready to play what they play best pure, raw and all-American Death Metal. obituary.cc By Taylor Ell
Sadat X
Brand New Bein’ Ground Original/Cold Heat I once heard an anecdote from someone about being in a restaurant in New York and hearing a certain distinctive drawl across the room - sure enough it was the one and only Sadat, an MC whose voice and style are so instantly recognizable that it is easy to imagine his high register twang cutting through a room of conversation. Since debuting with the legendary Brand Nubian over twenty years ago, The Great Dat has gone on to forge a uniquely resolute path of shining lyricism that spans the realms of the street hustle to the Sacred Mathematics of the Nation of Islam. A committed community activist who has worked as a public school teacher, firefighter and basketball coach brings the integrity and intensity of Golden Era Hip Hop to 2009 with the understated swagger of a lyrical O.G. “All For One Remix” kicks off with a fresh take on the classics, while “Nuthin” asserts Sadat’s dominance over younger rappers intent on fame without the skills and knowledge to last the distance, or even make it out the gate. The mighty KRS-ONE assists on this recurring premise with blistering verses on “Blow Up the Spot”. “The Natural” finds Sadat seemingly reminiscing on his previous weapons conviction, albeit in his typically left of centre wraparound perspective. With foundational microphone innovators like Craig G on “Lyrics” and Buckshot on “Bullseye”, this album is heavier than a cannonball dropped in the box of Krispy Kreme donuts that is today’s mainstream rap. “Gamer” features C Rayz Walz on some abstract reminiscence on the development of video games, one of the few of the current breed of MC’s whose cadences clearly reflect Sadat’s influence, though no-one can match X’s unpredictable flow. With bumping Old School flavoured production and tasteful cuts by the great DJ JS-1 of The Rocksteady Crew throughout, “Brand New Bein’” is like an object lesson for young upstarts in what is True School Hip Hop as laid out in the blueprints of the Masters, developed to fruition by the innovators of the Golden Era, and maintained, nurtured and carried forward to a new generation by great artists like Sadat X and his hand-picked band of lyrical heavyweights. With the renewed vitality of a “Brand New Bein’”, the great Sadat X has demonstrated that age means wisdom, and often an even sharper focus. myspace.com/sadatx By Dave “Corvid” McCallum
Slaughter Brute
Excellent Meat Coyote Records
Undercover Slut
Amerikkka Macht Frei Offensive Records It would be safe to say that out of Eastern Europe only Poland has a name on the world’s metal scene. Numerous highly talented acts are smashing heads in other countries and are usually limited to the post-Soviet setting while the world is seriously missing out on some teeth breaking metal. All these epithets are true when you are talking about Slaughter Brute, a technical/brutal Hailing from Paris, France, the heavily Marilyn Manson inspired quartet - Undercover Slut has certainly gotten the image down pat . For those with a darker musical palate, the gents looked primped and primed, almost as if Vampirella sprouted a big cock and fell face first into a bag of Robin Hood flour. Guess what? there’s nothing wrong with that. Aside from infants pouring goblets of wine down their throats at dinner, we will have to say it’s about time the French churned out a decent freakshow France has not exactly been known for their Industro-Goth metal, but the album is actually not that bad, Amerikkka Macht Frei is more of acrimonious stab at fellow trendsetters like the aforementioned Manson, then throw in some Murderdolls, Newlydeads, and you get the picture. The boys (or girls) also venture into uncharted waters for having a hip-hop beat kicking off track 7 “Black CNN” for the first four bars, which of course turns violently delicious, adding a nice little balance compared to the normal tripe coming out . The bio states it’s “A real violent cross between 21st Century technology, and ‘77 punk rock nostalgia” well…mission accomplished motherfuckers, and with the rest of North America still not in the know about this troupe, hopefully Producer Chris Baseford’s (Rob Zombie, Genitorturers), name will lend a hand to obtaining North American audience approval. Did we mention they are activists? Their support for the Animal Liberation Front shines through on the “Shadow Song” and its accompanying video, showcasing some brutal footage and getting the point across: Be a vegan, fuck in public… and then die. That wasn’t very nice was it? Nor is this album and lyrically, its traumatic, dark and nasty. Buy the CD, light some black candles and lock yourself in the bathroom. undercoverslut.com By E.S. Day
death metal band from Donbass, Ukraine.
Hailing from an area of heavy industrial manufacturing and mining, this band skillfully delivers thick ear-ripping brutal death metal on their debut album Excellent Meat. They are definitely off to a great start, honouring the genre with masterful playing technique and strong concept. Heavy riffs, intricate solos, shotgun-like drums and impeccable precision are defining characteristics of this release. You could start comparing them to all their influences, but since they are doing it at least as good, the credit is theirs alone. Holding you at gunpoint from the very first track, Slaughter Brute crush your brains, and what’s left of them is quickly absorbed into an atmosphere of terror and gore. You are furious and helpless, but you can’t help but enjoy exploring the dark side of your personality to the sound of razor-sharp knife on “Butcher Profession”. Skeptics are welcome to proclaim this unoriginal and go contradict themselves by listening to a Cannibal Corpse album for the zillionth time. myspace.com/slaughterbrute by arceon
Photo- Scott Alexander
Words: Amalia J. Nickel Photo - Jamie Sands
Photo- Jamie Sands
Photo- arceon
Photo- Jamie Sands
Photo- arceon
Photo- Scott Alexander
Photo- arceon
Photo- Scott Alexander
Photo- Kristen Eccles
COMING IN ISSUE 12 OF...
SUMMER OF SLAM!
Interviews with: RAEKWON: With Only Built for Cuban Linx 2, his follow-up (to the timeless classic of the same name) around the corner, the Wu-Tang Clan’s Chef Raekwon drops some knowledge on Hip-Hop, touring, his new deal with EMI and more! NEW YORK DOLLS: David Johansen gets all dolled up and we get deep, dirty and devilish. CAGE: Who the fuck let him out? The next Def Jux Superstar - turned Asher Roth’s Anti-Christ, comes forward and drops a verbal busker bomb on ABORT Magazine and we’re lovin’ the aftermath. THE CRYSTAL METHOD: Ken and Scott smash our glass pipes and its on motherfucker! JOHN MCLAUGHLIN: Jazz/Fusion pioneer reminisces about getting ripped off by Jaco Pastorius. An ABORT Interview Exclusive! Plus! Artists and Bands TOO HUGE to mention here (plus we are still in the process of jerking off their publicists) FESTIVAL BLOW-OUT ISSUE Warped Tour, Rock the Bells, Virgin Festival, Mayhem, NXNE, Sled Island and More! Lots of bad screamo haircuts, over-sized white sunglasses and overpriced hot dogs make this the Summer of Slam”, as ABORT leaves no stoner unturned. Expect nothing short of shocking and shameless, when it comes to our exclusive interviews, photos and rants - all for you, the Counter-Culture Connoisseur. ABORT Issue 12 - August ‘09 ABORT Magazine: “Because Everyone Has A Dark Side” www.abortmag.com