In an indeterminate attempt to coerce fans of psychedelic rock to see the horizons of modern-aged punk, the band Telegraph sits on a wobbly fence of musical identity. In a first attempt at studio success, Telegram releases their first album, entitled Operator.
While some could identify the Psycadelic Furs-inspired vocal intonation of lead singer Matt Saunders combined with the garage-band instrument distortion (featuring Oli Paget-Moon on bass and Matt Wood on lead guitar) as being true to their proto-punk origins, it’s this mix of old and new that throws off the ears of the listeners. Sometimes, punk rockers just want their punk rock without extra fluff, and adding progressive guitar riffs and odd vocal voicings jumble our sense of clarity throughout many of the songs on the album, leaving us unsatisfied with the final result.
That being said, this is a band that probably blows the roof off live. What makes punk rock so enticing is it’s simplistic, aggressive, garage-band nature, and sometimes that doesn’t come across in digital recording the way it should. Small mixing flaws like making the harmony louder than the melody, EQing the bejesus out of the frontman’s takes, and jumbling the lyrics in clouds of noise don’t necessarily reflect poorly on the band, but rather on what the band is meant to do, aka perform. Their recent visit to SXSW proved to be successful, playing a great show at the Javelina Bar and skyrocketing what was previously their curious visitors into super fans.
The 3rd track on the album, cleverly named “Inside Outside,” embodies the inner arguments of the brain in determining musical authenticity (along with the lyrics, of course). The groove that rings throughout this track, along with the 4th track of the album, entitled “Godiva’s Here,” is the sole responsibility of drummer Jordan Cook, who takes over an otherwise lagging unison of melody to a create a diverse rhythmic structure.
While songs such as “Aeons” and “Follow” were pre-released as singles on various music platforms, they don’t stand alone amongst the vast mounds of record submissions from punk rockstar hopefuls. They wish to embody organized chaos as a writing style, but we’re having a hard time following along. They try to engage prime and rusty punk rock with progressive interludes, but they’re not unified in their own sound. The saving grace of the album is their Floyd-influenced tune “Telegramme,” and their traditional closet-sized venue crowd favorite “Taffy Come Home.” These songs contrast in style, but equally identify the pre-developed intentions of this newly formed ensemble. What this band needs is time, and we’re more than willing to see where they will end up with a speech specialist, a little bit of fame, and the same aggression and confusion they throw at us in Operator. Until then, we’ll enjoy the wild ride of an album that put Telegram on the map for SXSW, and by default, everyone.
These guys are too hip for a website, so we’ll be tracking their changes via their Facebook page.
Key Tracks: Inside Outside, Taffy Come Home, Telegramme
Friday night was the ultimate jam night at the Montage Music Hall in Rochester, NY. The all-star lineup known as Metal Allegiance stopped in town on April 1st to give metal fans a night to remember. The band is made up of the best of the best when it comes to metal musicians. Metal Allegiance features current and past members of bands such as Testament, Dream Theater, Death Angel, Guns N’ Roses and more.
Taking over vocal duties for the evening were Chuck Billy of Testament and Mark Osegueda of Death Angel. Together these guys ripped through a setlist that consisted of both metal classics and original songs. The guitars for the evening were provided by Chuck Billy’s bandmate in Testament Alex Skolnick and Ron “Bumblefoot” Thal, who was, until recently, a member of Guns N’ Roses. On drums for the evening was Mike Portnoy, who has been a member of Dream Theater and Avenged Sevenfold. Finishing off the lineup on bass was Mark Menghi, the founder of Metal Allegiance.
Even though attendance at the Montage Music Hall was low, the band didn’t seem to care. Mark Osegueda made it clear throughout the night that these guys were out on the road to celebrate heavy metal music and have fun. The celebration of metal started with a cover of “Electric Eye” by Judas Priest featuring Osegueda on vocals. Next up were two Iron Maiden covers that the crowd instantly got into. Chuck Billy took the vocals for “Wrathchild” and it was incredible to hear him do more Iron Maiden. The cover of “Powerslave” featured on Testament’s last studio album was a personal favorite.
The night wasn’t all covers for Metal Allegiance. In 2015, Metal Allegiance penned a deal with Nuclear Blast to release a full-length album of original material. The self-titled album featured a who’s-who from the metal scene, including David Ellefson of Megadeth, Gary Holt of Exodus and Slayer, Randy Blythe of Lamb of God and many others. The deluxe edition of the album included one cover of the Dio song “We Rock” that included Chris Jericho, Tim “Ripper” Owens, Alissa White-Gluz, Phil Demmel, Mike Portnoy, Alex Skolnick, Mark Osegueda and more. With the core of Metal Allegiance in Rochester on Saturday, the group ripped through originals “Can’t Kill The Devil”, “Dying Song” and “Pledge of Allegiance”. These three songs mixed right in with the covers and definitely showed these all-stars are capable of anything.
Wrapping up the second half of the night were covers of Black Sabbath, Kiss, Van Halen, AC/DC, Motörhead and Metallica. While Skolnick took out his inner Eddie Van Halen, Bumblefoot took a break to watch him make Eddie’s work seem easy. Skolnick also rocked a Gibson SG similar to Tony Iommi’s for the Black Sabbath tunes.
It’s unfortunate that Rochester couldn’t draw more fans for an awesome Friday night show. This Metal Allegiance all-star lineup probably won’t be back in the area anytime soon because of the difficulties in working around everyone’s schedules. For those who did make the show, they witnessed some of the absolute best cover the absolute best along with some awesome original tunes.
To keep up to date with tour dates and new releases, check out the Metal Allegiance Facebook Page and Official Website.
Setlist:
Electric Eye (Vocals: Mark Osegueda)
Ides of March
Wrathchild (Vocals: Chuck Billy)
Can’t Kill The Devil (Vocals: Chuck Billy)
Fast As A Shark (Vocals: Mark Osegueda)
Balls To The Wall (Vocals: Mark Osegueda)
Heaven & Hell (Vocals: Mark Osegueda)
Creeping Death (Vocals: Chuck Billy)
Territory (Vocals: Chuck Billy)
Dying Song (Vocals: Mark Osegueda and Chuck Billy)
Pledge Of Allegiance (Vocals: Mark Osegueda)
Lord Of This World (Vocals: Mark Osegueda)
Into The Void (Vocals: Mark Osegueda)
God Of Thunder (Vocals: Chuck Billy)
Running With The Devil (Vocals: Mark Osegueda)
Eruption
Whole Lotta Rosie (Vocals: Mark Osegueda)
Iron Fist (Vocals: Chuck Billy)
Seek And Destroy (Vocals: Mark Osegueda and Chuck Billy)
Slothrust shreds. This past Saturday Slothrust (Leah Wellbaum on guitar/vocals, Kyle Bank on bass, and Will Gorin on Drums) played Baby’s All Right in Williamsburg with Diet Cig, the playfully charming pop punk duo from Upstate, New York and YUNG, the killer rock band hailing all the way from Denmark. The show was sold out, the music was powerful, and the whole venue seemed to hum with the undeniably infectious energy of being young and alive in Brooklyn.
Slothrust finished up a month long tour at Baby’s that night and closed out the show. Their tour hopped all over the country, including five showcases at SXSW. As I watched them set up I wondered if they were worn out from tour, burnt out from travel, the back to back shows, the van life. I thought maybe their set would be a bit sluggish. I was dead wrong. They were tight. They are always so incredibly tight.
To start, they hit the crowd with a jam that was heavy like a ton of bricks and by mid set had leveled things out with both “Magnets part 1” and “Magnets part 2”, dark yet delicate crowd pleasers. The whole performance was a perfect balance; new songs and old favorites that provided a trip through intimate, emotional lyrics that were delivered with captivating, deadpan vocals and guitar riffs that rip right through you. It can’t really be compared to anything else. Slothrust is it’s own kind of strange darkness. Straight up grunge rock that can get you all choked up without a single cliche lyric to be sung.
They closed their set with “Crockpot” which is a spot-on representation of who they are as a band. It’s a sample of the dichotomy the trio has mastered; soft yet strong, gentle but raw and raging. A spellbinding sweetness broken by a build up that makes the blood flow faster through your body. As “Crockpot” rang out, the back lights made perfect silhouettes of the three talented musicians responsible for making the packed house sing along at the top of their lungs. It was then that I truly realized the power of Slothrust. I wholeheartedly believe their future holds something huge- something great. If you haven’t heard Slothrust yet, listen to “Of Course You Do” (their latest album which is an absolute masterpiece), get yourself to their next show, or do both if you know what’s good for you.
Fresh from their appearance at SXSW and a packed week of NYC gigs, Telegram blazed, marched and paraded through a set of tightly wound, well-conceived, and – it must be said – extraordinarily loud songs at Pianos on Thursday, March 24. As a Brit myself I was heartened when the band, with their British accents and modest entourage, quietly streamed into the audience to catch the end of opening act Stephen Babcock and have a Stella or two.
I mention their entrance to the room, before they even got on stage, because their noticeability in a crowded room is pretty relevant: these guys, with leather tightly fitted and hair impressively styled, properly look like they are in a band. Once they are on stage, photographer Thom McKenna says to me, grinning: ‘One of the most English things I have ever seen.’ I agree, only to be caught off guard by the accent of frontman Matt Saunders as he introduces the band after their second song: ‘We’re from London’, he says, but his voice is not. A furrowed brow and a Google search later I confirm that Matt is, in fact, Welsh. It was the first of many times last night that my expectations were subverted by Telegram.
Telegram hurtled through their first couple of songs with bold assurance, gain-soaked instruments and a touch, I think it is fair to say, of glam-rock styling. It is tempting to lump Telegram in with a troupe of other ‘new psych bands’, as the Guardian did back in 2014, and as I had mentally done before even arriving at the show. But their third track of the night, ‘Inside/Outside’, with the its syncopated hi-hats and danceable snare cracks sharply glimmering through the mid-range overdrive, sets Telegram apart by the distinctiveness of their instruments and their musicianship. It cannot be overstated quite how loud the set was – one hopes for their sake that Matt, Pip, Moon and Cook wear ear-plugs on stage – but loudness does not equate to a hot mess. The guitar playing got pretty relentless at times, but it was always precise, with the rhythm often only hitting punchy downstrokes and the lead reverberating, echoing, and not ever, to my ear, muffling a note.
The bassist, Moon, is normally at the sonic frontier of the band’s sound. This is the case with their cover of Bowie’s ‘Heroes’. The bass is the backbone of the cover, and it does not fail to please the audience. The cover may well have been the highlight of the evening, which is no bad thing; nonetheless, it does make me wonder what it is about the song that makes it stand out just slightly above the rest of the band’s set. Perhaps it is the sheer spaciousness of ‘Heroes’, the way it demands that whoever is playing it give it room to breathe. Telegram’s sound can occasionally get so intense that they miss opportunities to let melodies expand, for ideas to soar and grow, as they instead move swiftly on to the next raging chord. As Telegram moves forward, I wonder if they will try to make room for more of whatever it is they managed to capture in that Bowie cover.
On Friday, March 25th, Telegram played at Brooklyn’s Shea Stadium. I am jealous of anyone who could make it and catch this forceful and impressive band on their last evening in New York City. Here’s hoping they return soon.
Add Dope to the list of bands making a reunion run in 2016. The band plans to tour to more than 45 cities across North America inside of two months. The Die Mother Fucker Die reunion tour will consist of the classic Dope lineup that includes Edsel Dope (vocals, guitar), Acey Slade (bass), Virus (lead guitar) and Racci Shay (drums).
Dope’s North American portion of the tour was successfully crowdfunded by fans who pre-ordered the band’s first-ever live album on dopereunion.com. The album will only be available through the band’s site and will not be available on online music stores like iTunes or retail stores anywhere. The band’s goal is to raise enough money to tour overseas, to places in the United Kingdom, Australia, Asia and Europe.
With some dates still to be announced, Dope will come through New York state on Oct. 9 at the Montage Music Hall in Rochester, and Oct. 13 at Revolution Hall in Amityville.
Cameras will be rolling as the band will record the entire tour for the first-ever Dope live DVD. The DVD will also include past backstage footage, unreleased music videos, and never before seen clips.
Dope’s “Die Mother Fucker Die” tour dates:
09-13 – DNA Lounge – San Francisco, CA
09-14 – Hawthorne Theatre – Portland, OR
09-15 – The Rickshaw – Vancouver, BC
09-16 – La Tropicana – Pasco, WA
09-17 – Studio Seven – Seattle, WA
09-18 – The Palomino – Spokane, WA
09-19 – The Falls Venue – Idaho Falls, ID
09-20 – Herman’s Hideaway – Denver, CO
09-21 – Sunshine Studios – Colorado Springs, CO
09-22 – Sokol Underground – Omaha, NE
09-23 – The Ready Room – St Louis, MO
09-24 – The Cabooze – Minneapolis, MN
09-25 – Val Air Ballroom – Des Moines, IA
09-26 – TBA
09-27 – The Reverb – Waterloo, IA
09-28 – Live On Main – Stevens Point, WI
09-29 – Every Buddy’s – Chippewa Falls, WI
09-30 – Music Factory – Battle Creek, MI
10-01 – Machine Shop – Flint, MI
10-02 – TBA
10-03 – Realm – Toledo, OH
10-04 – Concord Music Hall – Chicago, IL
10-05 – The Agora – Cleveland, OH
10-06 – Park Street Tavern – Columbus, OH
10-07 – Chameleon Club – Lancaster, PA
10-08 – Sherman Theater – Stroudsburg, PA
10-09 – Montage Music Hall – Rochester, NY
10-10 – Sneaky Dees – Toronto, ON
10-11 – Mavericks – Ottawa, ON
10-12 – TBA
10-13 – Revolution Hall – Amityville, NY
10-14 – TBA
10-15 – Fish Head Cantina – Baltimore, MD
10-16 – TBA
10-17 – Masquerade – Atlanta, GA
10-18 – TBA
10-19 – Dirty Dog Bar – Austin, TX
10-20 – Scout Bar – Houston, TX
10-21 – Trees – Dallas, TX
10-22 – Aftershock – Merriam, KS
10-23 – 89th St. Collective – Oklahoma City, OK
10-24 – TBA
10-25 – The Juggernaut – Gallup, NM
10-26 – Club Red – Phoenix, AZ
10-27 – Brick By Brick – San Diego, CA
10-28 – Counts Vamp’d Las Vegas, NV
10-29 – The Grove – Anaheim, CA
10-30 – The Whiskey – W. Hollywood, CA
The Brooklyn/NYC DIY scene is replete with talented bands and artists that offer a plethora of genres for anyone’s taste. Stuyedeyed stands out with their psychedlic, desert-esque facet of punk rock. It’s almost as if Jimi Hendrix, Danzig and Kyuss had a peyote ceremony in the desert and made music. Their live performances are bursting with masses of energy and instrumental intricacies that will have you wondering how they played those notes and moved around so much. Stuyedeyed is Nelson Antonio Espinal (guitar/vocals), Andrea Scanniello (guitar/organ/vocals), Luis Ruelas (drums), and Humberto Geñao (bass).
A recent performance at Shea Stadium in Brooklyn showcased their raw talent and ability to croon a crowd with heavy, crunching guitar riffs, smooth, groovy bass and ferocious drumming that could have you saying a divine four letter word. Although most of the material they performed was brand new, some tracks I’m familiar with made an appearance such as “Land Mines” (from their Cursed EP) which has a melodic guitar riff over a driving force of drums and a bass line that makes you want to groove your hips and bang your head simultaneously. “Erik’s Song” was played (also from the Cursed EP) and its heavy, droning guitar riff over a continuous drum roll matched superbly with Espinal’s aggressive, crooning vocals. Stuyedeyed bleeds DIY and possesses a natural talent not seen in many groups which is why they have become one of my favorite bands in the scene. I heard they may be recording new material soon; I’m very excited to see what comes next for the psych-rock quartet. Check out their EP, Cursed as well as their Facebook page for upcoming shows in Brooklyn/NYC.
The wait is over for Warped Tour crazies who have been waiting for months for a lineup. The Vans Warped Tour announced the bands taking part in this year’s festival during a live webcast on VansWarpedTour.com.
Some of the bands playing one of the many stages will include Falling In Reverse, Bullet For My Valentine, 3OH!3, New Found Glory, Motionless In White, Yellowcard, Good Charlotte, Sum 41, Sleeping With Sirens, Crown The Empire, Young Guns, Atreyu, Coldrain, From Ashes To New and many more.
Warped Tour founder Kevin Lyman announced the bands and the stages they will perform on during the webcast lineup, and various artist performances were interspersed throughout. Webcasting live from Full Sail University in Winter Park, Florida, Lyman said in the video that Waka Flocka Flame, who made a one-show appearance at last year’s festival, will return for seven shows on the West Coast. Lyman said he has booked other surprise bands that he will announce later down the line.
The Monster Energy Party Zone will feel like a separate concert with it’s own separate entrance through a dark tunnel, Lyman said.
Warped Tour will will kick off on June 24 in Dallas Texas at the Gexa Energy Pavilion and wrap up in Portland, Oregon at the Portland Expo Center on Aug. 13. Warped Tour will pass through New York and make three different stops: July 7 at the Lakeview Amphitheatre in Syracuse, July 9 at Nikon at Jones Beach in Wantagh, and July 14 at the Darien Lake Performing Arts Center in Darien Center.
Additional ticket, date and venue info is available at vanswarpedtour.com.
Metal Church was born at a time when the hair was long, the denim was tight and the music was loud. In 1984 the band dropped their eponymous debut album and coming up on March 25th they will be releasing their 11th studio album, “XI” with the iconic Mike Howe. That’s right, folks! He’s back! Howe decided to come out of his 20 year retirement, after guitarist and mastermind, Kurdt Vanderhoof reached out to him last year to rejoin the band.
Howe was nice enough to take some time to talk with me before they headed out on the road; we dove into why he retired, the tour, the new album and much, much more. Don’t forget New Yorkers, Metal Church is at BB Kings next week, March 28!
Cie Martin (CM): Hi Mike, great to speak with you again. Let’s jump right in, shall we? You left Metal Church over 20 years ago and haven’t been heard from since, I even read that you had passed away of a heart attack in 2013, so I think probably one of the biggest questions everyone has been wondering is where have you been and what have you been doing for the last 20 years?
Mike Howe (MH): Yeah, I know some French magazine came up with that somehow. Obviously, that was totally false. I don’t know where that came from. (Laughs)
So, I dropped off the radar because the record business really disappointed me, things were changing, grunge was coming up and we were getting ignored. We were not businessmen, we were musicians and like a lot of [other] bands we just wanted to write songs and play metal. You really have to be business minded or you’ll just get tramped on and left behind, I think that was our major problem. One small example, the cover of “Hanging In The Balance” was just a huge embarrassment to me and I hated it, it was forced on [us] and that was kind of the last straw. So I took a clean break and stepped away in 1994, with a proud feeling of what we had done so far, something I could keep in my back pocket for the rest of my life, and I wanted to step away before it got ugly. So, I got married, had children and lived the American Dream, we were just doing what everybody else was doing. I had my own little business, and had a couple boys, you may have seen I brought my older boy with me on the [Monsters of Rock] cruise, which was a great time for me, not only playing the cruise, but having my son with me was very important. So, now that they are older, I don’t have to dedicate every second of my day in raising them. I have a little bit more free time and then Kurt called me and proposed coming back.
CM: The Monsters of Rock Cruise, was that the first time your son has seen you perform since you rejoined Metal Church?
MH: Yes, it’s the first time he’s seen me perform ever in my lifetime other than on the Internet.
CM: That’s amazing! What was that like for you?
MH: It was amazing; there are no words to describe it! There’s your son that you’ve raised and loved your whole life and you’re getting to share something from when you were young. I just don’t know how to describe it. It was a beautiful thing for me.
CM: Did you ever think Metal Church would be playing a rock and roll cruise to the Bahamas?
MH: No, never! Bassist, Steve Unger said in an interview, if Metal Church could, we ‘d buy our own ship, cruise to every port and play off the boat! That would be awesome.
CM: Needless to say, you had a great time on the cruise?
MH: Aw man, when Kurdt first proposed the idea and because of my younger days and my experiences with fans, I had my doubts about doing it. I love the fans and I love interacting with the fans, but when I was younger I was a little more stressed about it. I consider myself grateful and when I meet fans I want to give all I can to them, it’s hard to walk away from them and take care of yourself. I would be the one that would stand there for hours and then it would drain me. So I thought, we’re going to be on a boat with all the fans, all day long, [for four days] that might be hard for me. It turned out to be the exact opposite, it was so great for me and they [the fans] were so gracious and didn’t want to bother me. I was like, “You’re not bothering me, this is awesome, you’re giving me love and I’m here, give it to me!” It turned into something that was healing and spiritual for me and I really loved it.
CM: Explain to me your process on re-joining, especially based on everything you just said about how you were disillusioned and let down by the music industry. I know you exchanged some demos over the Internet but I’d love to hear about the process.
MH: It was many conversations with Kurdt. We were Drop-boxing and sharing music, so I had to really step up my game technologically speaking. I built myself a little soundroom in the garage so I could have a workspace [to create] and send things back to Kurdt. A lot of the conversations were about not getting together for the nostalgia of it, because I’m not a person that looks back, I like to look forward. We are very proud of what we have and the catalog that we have, we really needed to see what kind of songs we could write and what kind of album we could come up with and whether or not my voice was still there. So these were all considerations we had. Kurdt was inspired by the possibility of me coming back, so he could write in the vein thinking about Mike Howe’s voice and the way we used to write. So, he sent me songs and at the first listen, I was blown away. I was like, “Kurdt Vanderhoof is still the master of heavy metal riffs that are original.” It was a great start.
We went back and forth, heading in the right direction and after we got a bunch together, we decided it was time to get together in Kurdt’s studio in Aberdeen and it was awesome. It was like we never stopped talking to each other, our old friendship was still the same, it was like we were 20 years old again, getting together, having fun and writing music. We [also] talked about the state of the record company and about how we now can have full control of everything we do, the way we write and the way we want to be heard. We have a great record company now, Rat Pak Records, they are in full support of us. We can call Joe [O’Brien], the president, if we have concerns, we can talk directly to him, which in the past we just got lost in big record labels where you couldn’t even speak to someone who was in actual control of your career. So to reiterate, the biggest thing for us was being able to write, record and present an album of material that represented us and who we are today from beginning to end without any external pressures, timelines or anything like that and that’s exactly what we did. We are very happy about this and it’s allowed us to relax, be big kids again and enjoy the process.
CM: And make magic again…
MH: For us it was magical because we were just enjoying what we were doing and that helped our creativity.
CM: I read that Kurdt was sort of ‘done’ with Metal Church and you coming back was a gamechanger for him?
MH: Well, that’s how he presented it to me, “Now that Ronny [Munroe] is gone, I can’t fathom looking for a 4th singer, it’s not gonna happen, so if you’re not going to do this with me then I’m hanging up Metal Church forever.” I feel really grateful to Kurdt, he helped me discover Metal Church. He produced the band I was in, “Heretic” and he’s the one that said, “Mike, I think you’d be a good fit for Metal Church, what do you think?” He brought me in, gave me a chance and then we became writing partners. I feel very grateful to him.
CM: If I can comment, I think your voice is better now than it was then.
MH: I understand that and I kind of agree. It’s a maturity, a relaxation, the power is still there, but it’s a little more controlled and I have control of my emotions and I know what I want and that does lend to a difference to my voice.
CM: How is it different being back onstage now as opposed to years ago?
MH: Well, it’s a whole new band, so I have to get used to all the new members. These are great players I’m with and I feel very honored to be playing with them. The other aspect is Kurdt and I have never actually been in a band together, we’ve just been songwriting partners, so this is a great thing for he and I to be onstage together! And the third aspect is ‘maturity with age’ thing. You go onstage, you’re not as frantic, you’re not as stressed or anxiety ridden as you were when you were 20 something, so you can relax and enjoy the ride, so that’s a big thing for me.
CM: Let’s talk about the album, first of all, the video “No Tomorrow” is amazing and that location is amazing!
MH: Well we lucked out. I’m just chalking this up to the gods of metal. Our record company said they knew a guy in Seattle, he was young but he wanted to do it, we had a low budget so. We found this location 20 minutes from Kurt’s house, an old nuclear facility that they rent for movie shoots and things like that. So, we went in, did the best we could and it turned out great.
CM: Tell me about putting the new album together and if there are any particular tracks that are your favorite.
MH: Well, “No Tomorrow” is the first out because that was the one I felt was most complex, his [Vanderhoof] riffs are amazing, he’s a monster riff writer and I think he’s one of the most underrated songwriters out there. He stringed together riffs in a song format, sent them to me, then I just sang out melodies that came from me, then some lyrics came out, some worked, some didn’t. Then a theme came out like “No Tomorrow”. It was all very natural, we didn’t want to think too much, we wanted to be spontaneous and organic (Laughs)… you know, organic, man!
Kurdt writes different styles of metal, it’s complex and you can hear different things, but still in that heavy metal vein. “It Waits” is a song I really like a lot, it starts out slow and builds up
, I love songs like that. “Reset” the first track is very important to me it’s a straight forward, slam your face song with a hook and it’s the story of our lives. Resetturn the page in our own age, now we hit the button to reset. That kind of tells you where we are at right now.
CM: A fun question; what was your first concert?
MH: Wow, my first concert my brother took me to see was J. Geils. Have you ever heard of J. Geils?
CM: Yes, like the J. Geils Band, “Centerfold”?
MH: Well, “Centerfold” was their downfall. (Laughs) They were a rock band before they became this pop weird thing. I knew them when they were a full house band; a 10 piece blues rock band that rocked the house. And then he took me to see Nazareth and Foreigner and bands like that. Finally, the one that changed my life was Judas Priest, the Screaming for Vengeance Tour, that’s when I started playing metal. I had a rock band when I was 15 years old in Detroit. We would do all the Judas Priest songs, AC/DC, a little bit of Saxon and Def Leppard; the early Def Leppard. I wanted to be Rob Halford mixed with Bon Scott, the power of Halford and the attitude of Scott, so I emulated both of those guys.
CM: I’m sure you’ve met Rob Halford?
MH: Well, a life long dream of mine came true when I toured with Judas Priest, Motorhead and Alice Cooper on the Operation Rock and Roll Tour. One of my favorite stories of my career was touring with Rob [Halford], we went back to Detroit and played a shed there called Pine Knob, which is where I saw J. Geils. Anyway, my whole family came down to see the show; my Mom, my Dad, sisters, cousins. My Mom knew Rob Halford was a hero of mine and asked me if she could get a picture with him. I said, “I don’t see why not, I’m sure he would.” So after our show, I went back to the Meet and Greet area, I see Rob Halford across the tent talking to some reporters, I went over and said, “Can you do me a favor, my Mom asked if she could have a picture with you because she knows how much I idolized you?” He said, in his British accent, “You know Mike, your Mum is just like me Mum, she saw me and she came right over here and asked for a picture.” As I’m asking him, I look over at my Mom across the way, she looked like a little girl who got caught with her hand in the cookie jar. She’s just so sweet.
CM: That’s such a great story, I love it. So, who would you like to tour with now?
MH: Wherever Kurdt Vanderhoof is touring that’s where I’d like to be! (Laughs) We’ve got ourselves pretty booked right now with the East coast and then festivals in Europe, so we are booked through the summer. After that, we will just take it as it comes, live in the moment and just see what offers come in.
Don’t forget Metal Church will be at BB Kings in NYC on Monday, March 28th. You don’t want to miss the return of Mike Howe and the riff master, Kurdt Vanderhoof! Get tickets here! The Church will also hit Rochester’s Montage Music Hall April 9.
Twiztid, the hip hop horrorcore duo, from Detroit, MI is composed of Jamie Madrox and Monoxide Child, the alter egos of Jamie Spaniolo and Paul Methric. These two have been touring and recording nonstop for over twenty years and show no signs of slowing down. The weekend of April 22 will be no exception as these two bring their Juggalo Invasion 420 Weekend Tour to Binghamton’s Magic City Music Hall.
NYS Music had the opportunity to chat with Jamie Madrox about the upcoming show. We discussed the band’s current and upcoming endeavors and what fans can expect from this tour. Jamie is always a fun and interesting person to chat with. He is passionate about horror movies and collecting horror related items and memorabilia, making for a great interview with writer Chris Besaw
“Alright you bunch of fuckin’ hippies, here we go,” growls Andrew Wilson (guitarist/vocalist) of Plattsburgh punk group Comrade Nixon. His feisty remark is embedded in the track “Rex Ingram,” included on their first full length album, Wine and Circuses. Released through Rat Pâté Records, the album was recorded at Don Fury Studio in Troy, NY.
Wilson’s lazy muffled vocals might call to mind Joey’s impression of Chandler in this Friends clip. Collaborating with drummer Antwon Levee, the duo have put together a high strung album with blurred vocals entangled in scribbly guitar and crashing drums. They combine high speed instrumentation that makes you want to weaponize a floor lamp and repeatedly ram it through a wall screaming “eat shit!” as Wilson does midway through “Micromégas.”
The band recalls elements of Nirvana’s 1992 album Incesticide with Kurt Kobain offering his own disheveled vocals especially on “Beeswax” and “Mexican Seafood.” Several of the tracks on Wine and Circuses take off with suspenseful lead-ins that keep the listener engaged and waiting to hear where the song will go. Ultimately, the songs level out with a monotony that doesn’t set the album apart from other punk offerings. As with any punk, they’re a genre meant to be seen live. Luckily, Comrade Nixon will embark on their first northeast tour this Spring in support of the album, cassette tapes in tow. For now download it digitally here.
Key tracks: Constant Scrape, Micromégas, Rex Ingram
In an indeterminate attempt to coerce fans of psychedelic rock to see the horizons of modern-aged punk, the band Telegraph sits on a wobbly fence of musical identity. In a first attempt at studio success, Telegram releases their first album, entitled Operator.
Slothrust finished up a month long tour at Baby’s that night and closed out the show. Their tour hopped all over the country, including five showcases at 
They closed their set with 
Telegram hurtled through their first couple of songs with bold assurance, gain-soaked instruments and a touch, I think it is fair to say, of glam-rock styling. It is tempting to lump Telegram in with a troupe of other ‘new psych bands’, as the Guardian did back in 2014, and as I had mentally done before even arriving at the show. But their third track of the night, 
The bassist, Moon, is normally at the sonic frontier of the band’s sound. This is the case with their cover of Bowie’s 
On Friday, March 25th, Telegram played at Brooklyn’s Shea Stadium. I am jealous of anyone who could make it and catch this forceful and impressive band on their last evening in New York City. Here’s hoping they return soon.
CM: Explain to me your process on re-joining, especially based on everything you just said about how you were disillusioned and let down by the music industry. I know you exchanged some demos over the Internet but I’d love to hear about the process.
CM: That’s such a great story, I love it. So, who would you like to tour with now?
NYS Music had the opportunity to chat with Jamie Madrox about the upcoming show. We discussed the band’s current and upcoming endeavors and what fans can expect from this tour. Jamie is always a fun and interesting person to chat with. He is passionate about horror movies and collecting horror related items and memorabilia, making for a great interview with writer Chris Besaw