Misery Kills (formally called Misery) is a metal band from the Long Island/New York City area that I never heard of until a couple of weeks ago when I caught a few metal shows down there while visiting family. Bassist Joe LoCasto, who plays in Misery Kills, also plays in a band with Joey Z of Life Of Agony called Zire’s War. After having the pleasure of witnessing Zire’s War, Joe LoCasto told me to check out Misery Kills, so after receiving their album My Ugly Insides, I had high expectations for this album, after listening to this album, I was not disappointed.
The album starts of with an instrumental intro entitled “Eight FortySix Thirty” then blazes into a devastating track called “Eyes Wide Open.” And when you hear the evil screeching roars of vocalist John LoCasto combined with dual guitars of Corey Schaefer and Duane Conlon, you know that this band means business. To top it off the bone crushing tracks from drummer Scott Borrero aided with underlying bass of Joe LoCasto gives this band a unique chemistry. The best way to describe the sound of this band…remember the circle charts from elementary school? Picture three interlocking circles representing three bands: Lamb Of God, Coal Chamber, and Agnostic Front. The gray area that the three bands I just mentioned share is what Misery Kills and this album reminds me of.
Now back to the album. The track that I fell in love with is “Poltroon.” That song makes me want to stomp someone the hell out, a great feel good aggressive song. Every track is solid, thrashy, and to the point. The quality and mixing of this album sounds retro, which I believe that producer Joey Z (Life Of Agony, Zire’s War) was going for when he was putting the finishing touches on this album.
The next track that gets me going has to be “Kills My Day,” it’s the fastest and most vulgar track on the album, it’s very blue-collar with no-nonsense. Right after that, the guitar work on the following two tracks “Sick Around You” and “White Trash” is absolutely top-notch. This band grabs you by the collar and makes you listen…and trust me, you will be hooked.
Towards the end of the album, you are graced with the track “Give Em Hell” which is a foot stomping anthem with catchy hooks and nasty breakdowns , then My Ugly Insides ends with the title track which is the cherry on the bloody sundae that this band serves. It’s a very appropriate and dark song to cap off to what is in my opinion, a very solid metal album from a very hard-working band. I was happy this band reached out to me, so do your ears, mind, body, and soul a favor and pick up this album.
You can purchase My Ugly Insideshere. Check out the track “13 Miles” below.
When I learned that a new venue in Camden, Nicole’s of Camden, would be featuring a Zac Brown Tribute Band (ZBTB), I knew I had to take the drive to check out this new venue and this cover band. So glad I did. The venue is amazing. Nicole’s of Camden offers great acoustics and awesome lighting with plenty of space to dance. For a small venue it’s the perfect setting for bands and attendees to enjoy enough room to dance and play comfortably. The completely revamped restaurant/bar offers patrons the perfect spot for a night out. With a full menu and bar, I highly recommend you taking a drive to Camden to take in one of their many shows and some good eats.
Every once in a while you just need a dose of your favorite bands live? What do you do if they are in the studio recording, or touring overseas, or just not coming anywhere within earshot of you? You do the next best thing, you catch a cover band.
Zac Brown Tribute Band – Nicole’s of Camden
Every musical photojournalist has a “bucket list” of sorts. This list includes the names of bands that they must cover as well as ones if they come to town they would like to cover. The difference between the two lists is simple. The must cover shows will include ungodly amounts of travel, with little to no sleep for the following day, only to stand on a bucket and shoot 30 seconds of a song, to capture a shot they hope when cropped, is still in focus and not too pixellated. The ones they would like to cover require less travel, usually no bucket is involved, and if they are tired they may just miss it if they have something pressing the next day at their day job. I’m happy to say that I have had the opportunity to check a few off my must cover list. However, there is one band still on my list I’m hoping to check it off real soon. Until then, a good cover will suffice. What band would I be referring to? Well the Zac Brown Band my friends.
Zac Brown Band
We all love them. Since the first time we heard “Chicken Fried”, we’ve tapped out toes and raised a glass to “salute the ones who died, those ones that gave their lives, so we don’t have to sacrifice all the things we love; like our chicken fried”. Come on, you know the words, don’t be shy. Well this may have been the first song that captured my attention, but what held it has been the diverse mix of music they’ve created since that first tune hit the charts. There’s something unique about the Zac Brown Band that makes them so very special. I love their blend of sounds. This mix of Caribbean flare with country bluegrass, and a touch of seventies and eighties rock gives them their unique sound. It hooked me and keeps me on the line following them as they amass their catalog of music and fans worldwide.
Opening the evening were locals Mad River Junction. This band brought the party with their renditions of some Stray Cats, Jerry Lee Lewis, Tom Petty, and Johnny Cash. Any band that plays Stevie Ray Vaughn gets my automatic stamp of approval. Describing themselves as the love child of Cyndi Lauper and Muddy Waters, who ultimately is raised by Prince, Neil Young, and Bret Michaels, I totally can see that love child(ren) becoming Mad River Junction. Kudos to band members, or love children, Matt Chalifoux on drums/percussion, Nick Pulizzi, on guitar and vocal, Greg Owens on guitar, bass, and vocals. And Kenny “The Demon” Swavely on harmonica. Really enjoyed this set.
As the ZBTB took the stage and began to play, it was crystal clear that this cover band recognized the one key quality that makes the original Zac Brown Band special, the individual instrumentation brought to the sound by each original band member. The ZBTB recognized how to replicate that sound and bring their audiences the musical magic they would expect to see from their beloved original band by providing a full band to back up some amazing vocals. Pete Frank fronts the group with his spot on vocals and acoustic guitar. If you closed your eyes, you would be hard pressed to tell a difference. I was super impressed. Joining him on vocals and guitar was Matthew Stephens who rocked the crowd as he shredded some amazing Metallic “Enter Sandman” towards the end of the evening, setting the crowd over the top. For those of you that know me well know I’m a sucker for a fiddle, and Mike Kedley is one of the best in the state. Joining in on fiddle and vocals, Mike brings that down home country bluegrass sound you come to expect from the Zac Brown Band. Also on vocals and guitar we had Jeremy Laursen who with his harmonies take these songs to a new level. On that background beat we had Tim Hull on bass, and Joey Saliceti on keyboards pounding out the tunes and undertones. And keeping the whole lot of the bunch in time we had Danny Roelle on drums/percussion. With this full band playing Zac Brown favorites such as “Knee Deep”, “Sweet Annie”, “Whatever It Is”, and “As She’s Walking Away”, I felt as though my need for a bit of Zac Brown Band was satiated by this cover band, and could totally fill my need any time I couldn’t see the real deal.
ZBTB – Nicole’s of Camden
Starting their set list with Zac Brown Band favorites and covering some of the most popular covers the band played two full sets of music covering all of my personal favorites and then a few more. Dancing the night away was a full house of patrons who concurred with my sentiments fully. Overall, I wholeheartedly gave a thumps up to this cover band for doing the original Zac Brown Band justice and suggest you check them out soon in a venue near you.
Set 1
Natural Disaster Let It Rain
The Wind
No Hurry
Let It Go
Midnight Rider
As She’s Walking Away
The Night They Drove Old Dixie Down Jump Right In
Ants Marching/Frankenstein Whiskey’s Gone
Sweet Annie
Make This Day
All Alright
Can’t You See
Times Like These
Colder Weather
Toes
Set 2
We’re An American Band Day For The Dead Comfortably Numb
Knee Deep
Settle Me Down
Whatever It Is
Keep Me In Mind
Sic ‘Em On A Chicken
One Way Out
Highway 20 Ride
Enter Sandman
Free/Into The Mystic
Chicken Fried
Uncaged/Kashmir/Devil Went Down To Georgia Killing In The Name
New Jersey’s Screaming Females may have started as a punk rock band, but they currently are just a rock band.
But not “just”, they have distilled the mere essence of rock, consumed it, and ooze it out of their every being. The rhythm section powers through every tune like their lives depend on it, which I suppose they do in a way. Abbate’s bass work is melodic yet driving. Dougherty’s drumming is not needlessly flashy, but tight and controlled with just the right bounce. Paternoster’s guitar work is nothing short of phenomenal. The riffs. Oh my god the riffs. These are riffs that cannot possibly be written. They already exist somewhere to be discovered, and she has discovered them, somehow, somewhere. Guitars exist so these can be played. Her solos explode from her guitar seemingly effortlessly. Her singing feels a little forced, but in the best possible way. It’s like she is creating a voice that is not her own, simply because it is the perfect voice to accompany the music.
“First and foremost we want to make the show as good as it can be.”—Marissa Paternoster, guitar and lead vocals
“The reason for us to go on tour is to go play music.”—Jarrett Dougherty, drums
“If you’re going to be in a band you should want to play shows, right? I mean what the hell is the point if you’re not going to play?”—Michael Abbate, bass (Quotes taken from Noisey’s recent tour documentary)
Midway through their hourlong set Saturday night at the Bug Jar, a ragged and sweaty man collapsed against the wall next to me, hunched over with his arm on his head. I thought he might collapse, or perhaps be messed up on too much drugs. After asking if he was ok, he looked up at me, smiled, and assured me he was just exhausted. He caught his breath, and seconds later jumped back into the maddening mass of people. The club was acting as one organism, pulsating in and out, back and forth, bodies knocking against each other with reckless abandon. When you left the show that night, you had the sweat of a dozen other people dripping off your skin. The line between the stage and the crowd was blurred, the audience regularly pushing past the edge of the stage. Paternoster took a couple of solos leaning out while the crowd supported her, once in a full-out crowd surf. And Abbate, at once point, called up a friend from the audience, quickly taught him the bass line, handed over his guitar, and then ran out into the crowd to see how it was on the other side, jumping around and screaming, like a fan of his own band. Later he exuberantly lead us in the post set encore chant. The band was having as much fun as the audience, our energies were equalized, the entire room was one.
Screaming Females yearn to put on the best possible show every night. On this night, I can confirm, they damn well succeeded.
Monophonic, by definition, means consisting of one sound, yet Monophonics, a six-piece band from San Francisco, are anything but monophonic. They call their style of music “Psychedelic Soul.” That’s exactly how to describe their newest album, Sound of Sinning, which draws from the rich history of the Bay Area’s music scene and mixes it with the sounds of Motown and southern soul.
Listening to Sound of Sinning, you will think it was recorded 45 years ago. The album starts off with a nod to the psychedelic garage rock of the ’60s. “Lying Eyes” mixes smooth harmonies, reminiscent of The Byrds, with a raspy belting chorus. The remainder of the album is very much that “Psychedelic Soul” sound, bringing together psychedelic sounds with R&B, soul, and funk in a perfect union. The title track sounds as though Aretha Franklin was performing with The Zombies as her backup band while “Hanging On” brings back memories of The Supremes. The album closes out with the mostly instrumental “Everyone’s Got…,” layering vocal harmonies over a catchy rhythm and psychedelic melodies similar to The Beatles’ “Revolution 9.” Lyrically, this album speaks of heartbreak, broken promises, and lies – the sound of sinning.
Monophonics are currently on tour, finishing up a run through the northeast before they head south and then west to California, followed by a handful of shows in western Europe. They will play Buffalo’s Iron Works with Wild Adriatic on Thursday, April 16 and then they head east to Rochester on April 17, to play The Club at Water Street.
Al Bell, record producer and co-owner of the legendary Stax Records, calls them “One of the best live soul bands I have ever seen!” Sound of Sinning can be purchased through their Artist Stores page. You can follow them on Facebook, Twitter, Instagram, and YouTube.
Key Tracks: Lying Eyes, Sound of Sinning, Find My Way Back Home
Phish has announced an archival release of 12/12/92 – The Spectrum in Toronto, Ontario. This 1000 capacity venue got quite a treat with a set chock full of Phishy goodness. Check out the announcement below for more details:
On December 12, 1992, Phish crossed the border to play The Spectrum in Toronto – a dance club with a capacity of about 1,000. Anyone with a LivePhish+ subscription can stream the show right now from the LivePhish App or you can purchase from LivePhish.com and stream via the free App (in your Stash). Downloads are also available at http://livephi.sh/ph921212
In the year surrounding this show, they released four albums on Elektra and their “Hey-Hole” improvisation exercises were yielding increasingly transcendent excursions onstage. This was Phish’s only performance at The Spectrum, their second Canadian gig, and the 20th show on a 21-date tour.
Set I featured Foam, Reba, Split Open And Melt, and All Things Reconsidered, which was deftly woven into both “Bouncing Around The Room” and “Run Like An Antelope”. Set II highlights included a “Maze” opener, “The Curtain” > “Tweezer”, and the Davy Crockett “You Enjoy Myself”. The Toronto “Tweezer” deserves special mention for its multiple themes – from full shred to soaring melodies and bent dissonance. The encore was a rare “Ride Captain Ride” in its only pairing with “Tweezer Reprise” until 2012.
12/12/92 was recorded to DAT by Paul Languedoc and mastered by Fred Kevorkian. To download the show or to listen via the LivePhish App, go here.
Setlist via phish.net
Saturday, 12/12/1992 The Spectrum, Toronto, Ontario, Canada
Soundcheck: Funk Jam, Uncle Pen
Set 1: Llama, Foam, Sparkle, Cavern > Reba, The Landlady, Split Open and Melt, Poor Heart > All Things Reconsidered, Bouncing Around the Room > Run Like an Antelope[1]
Set 2: Maze, Glide, The Curtain > Tweezer > Rift, Guelah Papyrus, You Enjoy Myself, Hold Your Head Up > If I Only Had a Brain > Hold Your Head Up, The Squirming Coil > Golgi Apparatus
Encore: Ride Captain Ride > Tweezer Reprise
[1] Simpsons, Random Note, and All Fall Down signals.
Teases:
· All Things Reconsidered tease in Bouncing Around the Room
· All Things Reconsidered and Jean Pierre teases in Run Like an Antelope
· The Ballad of Davy Crockett tease in You Enjoy Myself
Be prepared to be wowed by the sweet harmonies coming forth from these super talented sisters, performing together as Rising Appalachia. A sound this tight could only come from two people who have put in a lifetime of singing and living life together. Hailing from the South, sisters Leah Song and Chloe Smith have traveled extensively throughout the world, which truly shines through in their music. Joined by stand-up bassist/baritone guitarist David Brown and world percussionist Biko Casini, Rising Appalachia’s latest album Wider Circles is sure to gain this band heaps of new fans from all walks of life.
Seamlessly covering the entire spectrum of musical genres, ranging from traditional music of the American South highlighting the banjo and fiddle, to world music featuring African drums, there’s something on this album for everyone to enjoy. Mixing in poetry, and even rap, on some of their tunes, it is definitely worth giving the lyrics a hard listen. You will feel like you learned something by listening to this album, hearing stories about medicine women and men on “Medicine”; listening to a chorus of African women singing at the end of “Bright Morning Stars”; being called to action in “An Invitation” and “Spirits Cradle” and hearing instruments prominently featured simultaneously that might not typically be paired together, like the banjo and trumpet on title track “Wider Circles”.
Perhaps even more unique and inspiring than the album itself, Rising Appalachia is taking part in a “slow music movement” approach to touring, in an effort to travel to their shows in a more sustainable way and immerse themselves in the local communities in which they play. In advance of their new album, the band has embarked on their Wider Circles Rail Tour, during which they are traveling by train from show to show throughout their tour of the southwest, which began in New Orleans on March 28, and will feature several stops along their journey to Austin, Texas’s, Old Settler’s Music Festival, which will be taking place on April 18.
Having graced an impressive variety of venues with their presence, ranging from Radio Popular Italy to Burning Man, this band has impressed audiences all over the world, and they don’t seem to be stopping anytime soon. Featuring something for everyone as far as musical tastes go, it is highly recommended to check out the extraordinary harmonies and unique combination of instruments featured on Rising Appalachia’s latest album Wider Circles, which is set to be released on April 21. In the meantime, enjoy a brief video of one of their older songs to get you psyched for their new album release.
Key Tracks: Novels of Acquaintance, Medicine, Wider Circles
That’s right folks, for one night only those mad capped musical magicians Primus will be making a stop here in Syracuse at the historic Landmark Theater. The evening’s offerings will include two magnificent sets: set 1 features all of your favorite classics performed by the trio; set 2 includes the band’s brilliant and unusual interpretation of the “Willy Wonka and the Chocolate Factory” soundtrack brought to life with the help of the Fungi Ensemble. So hurry up and grab your Golden Ticket because you’re not going to want to miss this limited engagement.
“Ladies and Gentleman, Boys and Girls, the Chocolate Room”
Pianist Holly Bowling, known for her transcription and performance of Phish’s “Tahoe Tweezer” announced today the recording of an album of Phish originals, Distillation of a Dream.
Melding her classical piano chops with a dedicated love of the music of Phish, “Distillation of a Dream” originates from Bowling’s obsession with Phish’s rendition of “Tweezer” from their 7/31/13 Lake Tahoe show. Bowling transcribed this 37-minute improvisational masterpiece note-for-note and arranged it for solo piano. The process, both painstaking and fulfilling, inspired Bowling to transform other Phish songs and well-known live jams into solo piano interpretations as well.
The dual experiences of studying classical piano since age five and attending close to 300 Phish shows have allowed Holly to unite elements from two divergent musical worlds and synthesize them into a creation all its own. Having transformed several notable Phish jams into solo piano works, Bowling has been fastidious in her commitment to note-for-note renderings of unique live performances of Phish’s music.
When asked the goal of her recorded album, Bowling stated, “I think it would be really amazing if ‘Distillation of a Dream’ influenced people who listen to Phish to expand their musical tastes into some of the solo piano music out there…and on the other side, for people who listen to classical music and would never dream of going to a Phish show to hear the band’s music in a different setting and maybe fall in love with the incredible music and compositions that this band has created.”
“Distillation of a Dream” includes two discs, the first highlighting Phish’s intricate songwriting, and the second a tribute to the spontaneous improvisation Phish creates during their live performances. The second disc, consisting entirely of “jam transcriptions”, contains three piano reinterpretations of standout live performances, including the “Tahoe Tweezer.” All tracks will be released as a double album on CD and the “Tahoe Tweezer” will also be released on 180 gram vinyl. A portion of the proceeds from sales of “Distillation of a Dream” will benefit The Mockingbird Foundation.
The album is available for pre-order exclusively through PledgeMusic.com. Every order includes an Access Pass, which provides videos of the transcription and arranging process, footage from the studio, updates on the album’s progress and a sneak peek at Bowling’s latest jam transcription. Pre-order for the album is available at www.pledgemusic.com/projects/distillationofadream
Disc One (55 minutes)
Wingsuit
The Squirming Coil
Fly Famous Mockingbird
The Inlaw Josie Wales
My Friend My Friend
Talk
Sleep
The Horse
Silent in the Morning
Waste
Harry Hood
A Song I Heard the Ocean Sing
Disc Two (67 minutes)
Tahoe Tweezer
Mystery track – jam transcription TBA
Chicago Wedge
On Saturday April 18, Natalie “Chainsaw” Cressman will grace the stage at the iconic Blue Note Jazz Club with her full band and blend of jazz, funk, and just the right touch of indie rock. With her own band she showcases her songwriting and composing talents highlighted by beautiful vocals and stellar trombone play. Natalie Cressman has taken cues from band leaders such as Trey Anastasio and Peter Apfelbaum to assemble an amazing line-up of musicians behind her. Calling on some of her most trusted friends and colleagues certainly makes it easier for this band of young up and coming musicians to click and fire on all cylinders.
You can purchase tickets for Natalie Cressman Band April 18 at the Blue Note Jazz Club here.
Natalie Cressman took some time out of her busy schedule, which includes multiple bands, duets, side projects, sit-ins, and baking to answer some questions about her current project, her influences and her upcoming show at The Blue Note:
Graig Adler: How would you describe your current project? Who are the members of the Natalie Cressman Band?
Natalie Cressman: The music is definitely an eclectic mix of styles, both old and very new. Anyone who knows me knows I have a love for a crazy range of music, from Brazilian choro to Kendrick Lamar. As a result, my music pulls from elements of established traditions including jazz and world music, but fused with more modern soundscapes it becomes something entirely new and somewhat uncategorizable. My bandmates are some of my best friends, and also some of the most brilliant musical minds I have ever encountered. The band usually consists of Ivan Jackson (trumpet, vocals), James Casey (tenor sax, vocals) though unfortunately he won’t be with us on Saturday, Samora Pinderhughes (keys) who I’ve been playing music with since we were 10 years old, Mike Bono (guitar), Jonathan Stein (bass), and Mark Whitfield Jr. (drums).
GA: Where do you draw your influences from for this project?
NC: Everywhere from rhythmic traditions of the african diaspora, jazz, soul, funk, and indie rock. There’s a density and layering of elements so on one hand it’s really accessible but layered with harmonic and rhythmic depth that I think makes us really unique.
GA: Are you writing most of the music yourself?
NC: I write all the songs and arrange them myself, but each band member infuses the music with their own personality and tastes, so they definitely have a huge creative impact on the sound too.
GA: There was an obvious evolution from Unfolding to Turn The Sea , especially in your vocals, how have you evolved since? Do you have a new album in the works, how will it be different from the first two.
NC: I think I’ve developed a lot as a songwriter even since Turn the Sea, because I’ve been cultivating my original voice without relying quite so much on certain elements that come naturally to me because of my jazz background, such as having a lot of moving chord changes. I’m trying to be really deliberate with my musical choices and I think that awareness is changing the way I write. The other big thing that’s changed is that I’m getting more into the production side of things. I’m working on a new EP that will be wildly different because it’ll be a combination of live instruments and electronic-based productions, that in my opinion heighten emotional impact of my songs. But it’s still music from my very eclectic point of view, with my horn writing, so it’s not departing from what I’ve done previously, merely developing it further.Turn the Sea sort of hinted at this direction but now I’m embracing it whole-heartedly.
GA: Of all the different groups and projects you are currently involved in, besides your own, which are you most excited about?
NC: I’m excited about so many different projects, but at the moment I’m most excited about playing in Peter Apfelbaum’s S P A R K L E R!! He is one of my favorite composers and I love the wildly creative nature of this band, plus I get to rap and play bass on some of our tunes! I also love playing with Jesus on the Mainline, such a fun band with some of my favorite people. We have a show this month at Brooklyn Bowl and we’re pumped.
GA: What festivals will you be performing at this summer? Is there one that you are most excited about?
NC: I’m excited to return to Burlington’s Jazz Fest with my band in June, we love playing up there. Besides that, I’ll be in Europe for a bunch of the summer so actually am missing a lot of the big festivals. But I am probably most excited to be playing Catskill Chill w/ my band for the first time, as we haven’t done many jam-centric festivals at this point. I think people will dig what we bring to the table. Not exactly a festival, but I’m really stoked about the super jam in Chicago post-GD50 that also happens to be on my birthday. The line-up is bananas, it’s gonna be so dope.
GA: We know you have been playing the trombone since a very young age, can you play any other instruments?
NC: I play some piano and electric bass, and am just picking up guitar. I can also play trumpet and tuba pretty terribly.
GA: It is becoming well-known you bake recreationally, will there be “Chainsaw Cookies” for sale at the Blue Note?
NC: Unfortunately, I have a feeling that my bake sale won’t fly at The Blue Note merch booth, so no “Chainsaw Cookies” this time around. But I am considering opening an Etsy page for my “bakery,” as an outlet for my baking obsession….
GA: One of your most popular performances from last year was when TAB covered Ana Tijoux’s “1977”, how did that come about? Do you speak Spanish or any other languages?
NC: I think Trey got the idea when one of his daughters played the song while they were driving around in his car. He just got this crazy idea for us to cover it and called me up. And I never like saying no to his crazy ideas because most of them turn out to be awesome. So I got to work learning the song at half-speed, line by line, until I could do it. I speak French fluently and a bit of Portuguese, and I’ve sung in Spanish and Portuguese a bunch growing up, so I think Trey thought rapping wouldn’t be any different. But it took me a loooonnnng time to get that rap down.
GA: Being such a young band leader what have you learned from working with Trey Anastasio in TAB?
NC: I’ve learned about a million things from Trey about being a bandleader but some of his most impressive qualities are his boundless creative energy, positivity, and work ethic. He wakes up at the crack of dawn almost everyday and gets straight to work on various ideas and projects. One quote he’s passed on to me that I’ve really taken to heart was from his old music teacher, who used to say “It’s so good it should be even better.” That concept of forever revising and improving on one’s craft made a huge impact on me, and that’s really reflective of Trey’s super-human work ethic.
Legendary R&B and soul singer Percy Sledge who is best known for the classic “When a Man Loves a Women” passed away today at the age of 73 from natural causes.
Sledge was originally a hospital nurse and toured on weekends before being signed to a recording contract in the late 60’s. NYSMusic sends Percy’s friends and family our condolences.
ew York City area that I never heard of until a couple of weeks ago when I caught a few metal shows down there while visiting family. Bassist Joe LoCasto, who plays in Misery Kills, also plays in a band with Joey Z of Life Of Agony called Zire’s War. After having the pleasure of witnessing Zire’s War, Joe LoCasto told me to check out Misery Kills, so after receiving their album My Ugly Insides, I had high expectations for this album, after listening to this album, I was not disappointed.
Monophonic, by definition, means consisting of one sound, yet 
Primus is:
Melding her classical piano chops with a dedicated love of the music of 
