There seems to be a growing trend in metal music of rap-metal making a comeback since Prophets Of Rage emerged last year. You could argue that bands like Body Count have been around for a long time, but now the genre seems to be in the spotlight again. And with any sub-genre of metal, you get the flash in the pan bands or the goofy sounding bands that don’t last, however, Powerflo has landed and makes a statement.
Consisting of powerhouse members of Biohazard, Fear Factory, Downset, and fronted by Cypress Hill’s Sen Dog, their self titled debut album makes you stop and say, “Hey, we got something here.” You always get a feeling with super groups that they could not work or blend well or just seem to be an odd fit. This is not the case. Powerflo is tight, has chemistry and contains killer hooks and a hard sound that grabs you by the collar and makes you listen.
The opening track “My M.O.” opens with a crushing guitar riff and dope rhymes straight from Sen Dog with a fantastic rhythm and beat from bassist Christen Olde Wolbers and drummer Fernando Schaefer. Its perfect to get you hyped up or that necessary kick you need to listen to while you’re at the gym. The next track “Resistance” is heavily vocal, driven with sick drums. But the song that stands out most is “Less Than a Human” because of how motivating it is. The track that highlights the band the best is the single “Victim of Circumstance.” If you want to get someone hooked on this band, show them this track. It’s a perfect sports anthem. I would expect to hear this band at sporting and fight events. Book it.
Some of the Biohazard fans may be let down because they’re expecting to hear the kick ass break downs and guitar solos from a band that made them so iconic. Poweflo isn’t driven by break downs and solos, it’s driven by catchy hooks. The hooks punch HARD. And Sen Dog really shines because he’s front and center. This is a band with a bold move by guitarist Billy Graziadei, because everyone is used to him being front and center anchoring for Biohazard, but he has a different role in Powerflo. But it works. This album is a must have for any hip hop, hardcore or metal fan. Keep an eye out for Powerflo. It’s easily the best debut metal album of this year.
Key Tracks: “My M.O.”, “Less Than A Human”, “Victim Of Circumstance”
There are certain things in life that move you in the most harmonious manner, that it sends chills down your spine. Phoenix was the cause of that exact sensation on a splendid and spectacular evening at Red Rocks Amphitheatre in colorful Colorado on Wednesday, June 7. The night was simply captivating, as giant natural rock formations surround you at this outside venue. An occasion like this should definitely be on a bucket list for those of you who have not had the chance to experience such an event at this magical place.
The night started off with an energetic group called The Lemon Twigs, who demonstrated their capacity to jam all while rocking funky outfits and made the crowd pop with extreme intrigue and positive responses. The audience slowly filled the arena and nature’s light began to dim. As their performance came to a close, boulders as crimson as can be started to glow underneath the moonlight in the background, and Miike Snow entered the stage not too long after that. As a Swedish indie pop band, they incorporated a sense of synthpop and alternative dance flare and gave fans a sweet taste for what’s to come next.
Everyone was fooled that night; what was once a clear starry night moments before, took a turn for what was least expected. When it rains, it pours. However, the heaviest of downpours and even slight hail that evening surely didn’t stop the crowd from going wild. The weather gods somehow knew Phoenix was about to perform and it almost seemed like the rain was a grand opening display before an incredibly riveting performance. This French ensemble conquered the stage while standing on a giant LED platform and created a tantalizing memory to store in everyone’s minds. Thomas Mars soothed the surroundings with his vocals, Christian Mazzalai rocked on guitar, Deck d’Arcy on bass and keyboards, and Laurent Brancowitz on guitar and keyboards. The group included their touring members Robin Coudert on keyboards and percussion, as well as Thomas Hedlund on drums and percussion.
This group’s style has developed over time only to create distinct soundwaves that hit one’s pleasure centers even more. Flavors of synth pop, alternative rock, and new wave filled the atmosphere all while including the French language in some of their masterpieces. This particular show at Red Rocks was actually the last one before they released their newest album, Ti Amo, which is now available for all to listen. It holds a unique and upbeat essence that puts the move in groove. They performed a couple fresh tunes off the new album such as “J-Boy” and “Ti Amo” as well. Certain underlying musical elements are discovered in the back beats of their songs. Other oldies magically graced the air including “If I Ever Feel Better,” “Lasso,” “Girlfriend,” “Trying to be Cool,” “Fences,” “Lisztomania” and “1901.”
At the end of the performance, Thomas Mars of Phoenix entered the Red Rocks crowd as a personal closing of the night and shared that special moment with everyone around. ‘Twas a heart-warming and sincere performance with a sprinkle of friendliness. Phoenix rose and thus vanished into the night after wooing the crowd with their delectable sound.
Brian Wilson has extended his Pet Sounds: The Final Performances tour. The new dates include stops in Rochester, New York City and Syracuse.Brian Wilson has been on an extensive tour performing the Beach Boys album Pet Sounds in its entirety. The tour, billed as “Pet Sounds: The Final Performances,” was recently extended to add a number of dates in Europe and North America. The tour makes three stops in New York. Rochester’s Kodak Hall at the Eastman Theatre gets a visit on Sept. 19. They make a stop on Sept. 23 at Radio City Music Hall in New York City. The final New York date is Oct. 1 in Syracuse at the Oncenter Crouse Hinds Theatre.
The tour extension also includes several stop in the nearby Northeast. Wilson plays Foxwoods Resort Casino in Mashantucket, Connecticut on Sept. 21. They stop by Boston’s Orpheum Theatre on Sept. 22. Following their stop in New York City, they head to Lancaster, Pennsylvania on Sept. 25 to play the American Music Theatre. The next day, Sept. 26, they hit up the Count Basie Theatre in Red Bank, New Jersey. They head back to Massachusetts on Sept. 29 to play New Bedford’s Zeiterion Theatre before returning to New Jersey on Sept. 30 for a show at the Golden Nugget in Atlantic City.
Pet Sounds: The Final Performances North American Tour Extension
Sept. 15 – Molson Canadian Centre, Moncton, NB
Sept. 16 – Scotiabank Centre, Halifax, NS
Sept. 18 – Centre in the Square, Kitchener, ON Sept. 19 – Kodak Hall at Eastman Theatre, Rochester, NY
Sept. 21 – Foxwoods Casino, Mashantucket, CT
Sept. 22 – Orpheum Theatre, Boston, MA Sept. 23 – Radio City Music Hall, New York, NY
Sept. 25 – American Music Theatre, Lancaster, PA
Sept. 26 – Count Basie Theatre, Red Bank, NJ
Sept. 29 – Zeiterion Theatre, New Bedford, MA
Sept. 30 – Golden Nugget, Atlantic City, NJ Oct. 1 – The Oncenter Crouse Hinds Theatre, Syracuse, NY
Oct. 3 – Morris Performing Arts Center, South Bend, IN
Oct. 4 – Stranahan Theatre, Toledo, OH
Oct. 6 – Rosemont Theatre, Rosemont, IL
Oct. 7 – Belterra Casino, Florence, IN
Oct. 8 – Civic Center Theatre, Peoria, IL
Oct. 12 – The Big Fresno Fair, Fresno, CA
Oct. 13 – The Mountain Winery, Saratoga, CA
Oct. 14 – Pacific Amphitheatre, Costa Mesa, CA
“Do you remember who you were before they told you who to be?” Morgan Bolender asks the world during her demo track “Mary Oliver.” She is a self-taught musician from the Empire State that has traveled the globe and currently calls Oakland, CA home.
During her travels, she found her sacred path as an artist and after hundreds of thousands of Youtube views, she realized that her compassionate lyrics and beautiful voice was echoing throughout the world. Her debut album, Recordings From My Living Room, has gained popularity among her open minded and globally conscious followers and while the music may be too emotional for some, others find refuge in its soulful tranquility.
Self-proclaimed “freak folk” artist Scott Ferreter calls his music “Deep Pools.” Ferreter spends his time in the spotlight attempting to engage the members of the audience mentally and emotionally. He uses his music to tell stories of his life and experiences. Musical influences such as Radiohead, Neil Young, and The Band can be heard in his stirring tales of death, birth, peace and seasons. After decades of practice, Ferreter has formed a bond with his guitar, allowing him the confidence and comfort to explore many different sounds and genres. His most recent LP, See You In The Morning Light, has been described as “an ecosystem of emotion” by Sacramento News and Review. It was no coincidence that Bolender and Ferreter found each other and formed a musical communion that has been strengthened through love, respect and admiration for one another.
After their first sonic pilgrimage through the country called the Come As You Are Tour, Bolender posted on her Instagram, “Tour’s over. 10,512 miles. 34 cities. 70 days. I have so many feelings.” These feelings were planted inside of Ferreter and Bolender in the beginning of the Fall of 2016, and much like a tulip bulb, they are finally ready to bloom this Spring. They will embark on yet another house concert tour entitled The Feelings Parade. After the spiritual, emotional, creative and musical success of their 2016 travels, they have decided to do it all over again on an even bigger and more ambitious trail. Their live shows feature the two playing together as well as solo before an audience of all different backgrounds and interests. In reference to last year’s adventure, Ferreter writes, “We played over 35 shows, saw parts of the country we had never seen, and made deep-feeling community in places where we used to be strangers. We miss you already.”
The truly dynamic duo is currently calling on their friends new and old to host house concerts for their upcoming gigs. No town is too big or small. No mansion is too sparkly and no barn is too dirty. No swamp lands are too filled with alligators and no desert is to dry. Based on their Instagram feed from last year, they are willing to do basically all the work except building the venue itself. If you or someone you know is interested in helping with the tour efforts, send an email to the performers and express interest. I caught up with Bolender and Ferreter after their last tour to hear more about what they learned, what they liked, and what the future holds for them.
Ben Boivin: What covers did you play most frequently?
Morgan Bolender: “Hallelujah” by MaMuse, and “Old Before Your Time” by Ray LaMontagne. When playing MaMuse’s “Hallelujah,” I invited the crowd to sing along, which was almost always an overwhelmingly beautiful experience. There’s nothing quite like singing my heart out with a room full of people. My favorite times were when the crowd started out singing with quiet trepidation and finished with wholehearted gusto. Due to my own trepidation, I didn’t sing at all (not even in the shower!) until about 5 years ago, so it’s one of my missions to create a safe place for people to open up the channel that has enriched my life so much.
Scott Ferreter: I hardly played any covers this tour, because I have so many new songs I’m excited about. It was hard enough to decide which originals to play. One cover-playing memory that really sticks out is playing “Traveling Song” by Bright Eyes in Omaha, Nebraska, because that’s where Conor Oberst (of Bright Eyes) is from. He’s one of my favorite songwriters, and it was quite the experience playing it on my first visit to his hometown and having several people in the crowd passionately singing along.
BB: Did you switch up the sets or add more to a set based on where you were and the experiences you had during your travels before the shows?
MB: Our sets varied from let-it-all-hang out, no-holds-barred-wild-fun, to playing for a garage full of conservative Christian corn and soy farming seniors on a farm in South Dakota who all brought their own lawn chairs. Part of the beauty of the intimate house concert setting is having the opportunity to really feel and connect with the audience – to experience them as a living body and try to tap into what would be most nourishing for that body.
SF: The set changed almost every night, based on the feeling of the place and the feeling of the crowd. Also, a lot of my songs are very vulnerable and they often push at different social norms that I find myself bumping up against in my struggle to be my full self. For that reason, some of them were entirely inappropriate for certain shows and certain crowds. I have no interest in shoving anything in anyone’s face–my intention is to stretch boundaries, not break trust. For that reason, I found myself changing the set quite a bit.
BB: What was your worst show of the tour?
MB: New Orleans. For sure.
SF: Absolutely, New Orleans. Heiress to a fortune. Old school classism and elitism. Small turnout plus pretension equals a terrible show. I’m amazed that we played over 35 shows and only had one that I wouldn’t want to do again!
BB: What was one of the best shows of the tour?
MB: That’s a really tough one, as I’m still processing the experience. My heart feels warm when I think about Kim’s living room in Blue Springs, Missouri, who Jodi filled with a lively, funny, loving crowd. Then I think of Jen’s show in West Bend, Wisconsin, which happened on gorgeous, magical land where, if there are fairies, fairies lived. That show was so sweet and tender, the people so open and ready to receive what we came to share. And the, Paonia! In a castle, and then a community house! And San Diego! Then the Dakota’s – a beautiful yard along the Missouri River, a sweet farm with Alice’s epic flower garden! Nicole’s overflowing yard in Nunica, Michigan! Playing for family and friends in NY, many of who’d never seen me play. Flagstaff, AZ, where they created an ornate backyard festival for us! There was a tea tent! I didn’t answer this question very well, but truly – there were so many magical shows. Oh! The squawking baby eagles that accompanied our show on Whidbey Island! The Heartson’s in Vermont, where we not only got to play a great show, but got to teach a songwriting workshop! Like I said – magic, magic, magic.
SF: There were so many great ones, and they were all great for different reasons. I had a particularly connected-feeling set in Paonia, Colorado. It was one of the few places where I felt no need to bring people into the right headspace for the music. It felt like we were all there together from the beginning, and it was so sweet to be able to just drop into the music and feelings. Wisconsin was a very meaningful set for me because I showed up incredibly sad, and decided to be vulnerable and play the set I needed (instead of the set I imagined the crowd wanting). As it turned out, sadness must’ve been in the air, because it seemed like the perfect set for the people there, too. I left that show feeling very held.
BB: If you had to spend two weeks at one venue you played, where would it be?
MB: Hmmm. Possibly New Orleans. That place feels like an entirely different universe, and I feel like in order to really drop in and explore it, I need some time. Or Portland, because there are so many people there I love and want to hang out and make music with.
SF: Great fucking question! I feel like Ashville, North Carolina and I have some catching up to do. I’d never been before, and yet I’ve had many great friends live there over the years. I felt deeply connected to the land there, and could easily see myself putting in some weeks barefoot in Asheville.
BB: What did you learn during your travels and would you do it all over again?
MB: If you’re going to buy high quality, American made, ethically sourced and produced merchandise, be sure to let people know, because ethical and conscious consumption is really important for our people and planet, and I want more people to consider where their things come from. Also, ethically sourced and produced merchandise is more expensive.
Humans are extremely capable of adapting. For the first 2 weeks of tour, I was a wreck. My body was falling apart, my emotions raw, and my nerves fried. The pace of tour, the emotional expenditure, and the sheer amount of work was breaking me down. Once we got into a rhythm and once I made a strict “I need 8 hours of sleep per night” rule, things changed dramatically. I was amazed and inspired by how much my limits could be extended.
It’s okay to need people. Okay, fine, I’m still learning that one, but tour helped a lot. I was very stubborn about my independence, and was sure to let Scott know, many times, that I could have done this on my own. But the truth is, I couldn’t have. Not this exact tour. I could have done some version, sure, but not what we did. Doing it together made so much more possible. And just because I can do something by myself doesn’t mean that I have to. I learned so much about how to trust and work as a team.
I can set out to do something huge, and make it happen. Even if I don’t really, really know what I’m doing, I can learn as I go. [There are] so many more things that I don’t know yet. I would absolutely do this again, and intend to. I realized after a few weeks of the Come As You Are Tour that, though we were already reaping harvest, much of our work was seed planting. Meeting new people who became part of our community. Refining our model for producing house concerts. Creating systems. Walking first-time hosts through how to put on a concert. The tour was enough, just as it was, and, it’d be a shame to not put all we learned to use!
SF: I learned that I’m supposed to be touring and sharing my music! I learned that you don’t eat passionfruit by biting it directly in half. I learned that it’s better to play the songs I want than play the songs I think the crowd wants. I learned that just because the east-coasters don’t show their love as freely doesn’t mean they aren’t loving it. I learned that nobody wants to buy totes. I learned that there are fewer medium-sized people listening to our music than there are small and large people listening to our music. I learned that I’ve still got a lot to learn from Morgan. I learned that Morgan has still got a lot to learn from me. I learned that I’m making music on behalf of all of the people who are nourished by it, not just for myself. I would do it again tomorrow!
In a dark world, Bolendar and Ferreter use their music as the guiding light. Their compassion for the human race is powerful and their creative approach to going on tour is refreshing. The Feelings Parade of 2017 is sure to see these couch-surfing companions on an entirely new wave of energy and bliss. Two old souls living their own version of the American Dream with a trunk full of instruments and heads full of sound will hopefully inspire a new generation to get in their cars and cruise the land of the brave and free.
Body Count have returned with a vengeance. For the first time since 1994’s Born Dead, the band has finally put out two consecutive albums with the same line-up. And this is clearly Body Count’s best line up since the original lineup. So what does Bloodlust bring to the table?
The album starts off with “Civil War” which features Megadeth’s Dave Mustaine on additional guitars, clearly stating that this album is going more political this time through. Obviously with the political climate as well as the on going violence in inner city areas around the country, Ice-T and the gang are here to make a statement. Then going into the first single release “The Ski Mask Way, ” which has the old school Body Count feel to it, shows the band is on point, clutch, and heavy as ever. Not to mention the production on the album is top notch.
Similar to the previous album Manslaughter, Body Count has dialed up some additional help from other big names in metal. And on the song “All Love Is Lost” Max Cavalera of Soulfly lends his deadly vocals which was a nice touch to the track. Following that Body Count busts out a kick ass Slayer medley cover which is a cool way to segue at the halfway point in the album. I would call it heavy metal half time. Lamb Of Gods’ Randy Blythe also makes a guest appearance with “Walk With Me” where his vocals make a brutal mix with Ernie C’s nasty guitar riffs and Ill Will’s relentless drumming.
The tail end of the album grabs you by the collar and gets politically heavy with “No Lives Matter” whether you agree or disagree with what Ice-T and gang have to spit out, you can’t deny the beats and breakdowns kick major ass, but that’s the beauty of it. The music is damn catchy, it helps convey the message that much easier. The last track “Black Hoodie” which pays tribute to KRS-One while conveying one last message, is the album’s best track and leaves you wanting more.
In conclusion, a lot has changed since their first album from 1992, the previous album Manslaughter was aimed at society, this album attacks politics and discrimination. While all the breakdowns, amazing Ernie C riffs, spectacular drumming, and powerful lyrics from Ice-T are all there, which we are used to hearing from a Body Count album, the album did feel much shorter than their previous album and there are not as many guitar solos and there are no ballads or clean singing vocals from Ice-T or Ernie C. But it is still a fantastic metal album and a solid entry to the Body Count catalogue. This is one of their best albums to date and a lead candidate for best metal album of 2017.
Key Tracks: All Love Is Lost, Walk With Me, No Lives Matter, Black Hoodie
Taking Back Sunday announced a summer tour with Every Time I Die that will be book ended by dates in New York, opening in New York City and closing out in Utica and Buffalo.
Long Island’s Taking Back Sunday will head out on tour this summer with Buffalo metalcore act Every Time I Die. The 28 night tour takes them across the country and back, kicking off at New York City’s Webster Hall on July 14 and closing out on Aug. 19 with a hometown show for Every Time I Die at the Waiting Room Summer Stage in Buffalo. They make one other New York stop on Aug. 18 at the Saranac Brewery in Utica. The only other Northeast dates are July 16 at the House of Blues in Boston and Aug. 16 at Stage AE in Pittsburgh.
Joining Taking Back Sunday and Every Time I Die are New Jersey’s Modern Chemistry for the first half of the tour and South Carolina’s All Get Out for the second half. Every Time I Die will be absent from the shows on July 20 and 22 in Orlando and Jacksonville, Florida, respectively.
Prior to the start of the tour with Every Time I Die, Taking Back Sunday will perform at the Great South Bay Music Festival in Patchogue. New Found Glory, 311 and Saves the Day also play the festival.
As part of the summer tour, the band is offering VIP passes that give fans early entrance into the shows, a VIP laminate and lanyard, an embossed journal and bookmark and access to an acoustic set. The VIP tickets are on sale now through the band’s website. General tickets for the summer tour go on sale Friday, March 24 at 10 a.m.
Taking Back Sunday Summer Tour Dates
July 14 – Webster Hall – New York, NY *
July 16 – House of Blues – Boston, MA *
July 19 – Masquerade – Heaven Stage – Atlanta, GA *
July 20 – House of Blues – Orlando * #
July 21 – Jannus Live – St. Petersburg, FL *
July 22 – Mavericks – Jacksonville, FL * #
July 24 – Gas Monkey Live! – Dallas, TX *
July 25 – Tricky Falls – El Paso, TX *
July 26 – Rialto Theatre – Tucson, AZ *
July 27 – Hard Rock at the Pool – Las Vegas, NV *
July 28 – Obervatory North Park – San Diego, CA *
July 29 – The Wiltern – Los Angeles, CA *
July 31 – The Catalyst – Santa Cruz, CA *
Aug. 1 – Ace of Spades – Sacramento, CA *
Aug. 3 – Crystal Ballroom – Portland, OR ^
Aug. 4 – The Showbox – Seattle, WA ^
Aug. 6 – Knitting Factory – Boise, ID ^
Aug. 7 – The Complex – Salt Lake City, UT ^
Aug. 8 – Summit Music Hall – Denver, CO ^
Aug. 9 – Bourbon Theatre – Lincoln, NE ^
Aug. 10 – First Avenue – Minneapolis, MN ^
Aug. 12 – The Intersection – Grand Rapids, MI ^
Aug. 13 – Crofoot Ballroom – Pontiac, MI ^
Aug. 14 – Bogart’s – Cincinnati, OH ^
Aug. 15 – House of Blues – Cleveland, OH ^
Aug. 16 – Stage AE – Pittsburgh, PA ^
Aug. 18 – Saranac Brewery – Utica, NY ^
Aug. 19 – Waiting Room Summer Stage – Buffalo, NY ^
* with Modern Chemistry
# without Every Time I Die
^ with All Get Out
Phish has added 8 additional shows to their 2017 Summer Tour in the cities of Chicago, Dayton, Pittsburgh, and Commerce City, CO. In between, Phish has 13 shows lined up for a Baker’s Dozen at Madison Square Garden over the course of July 21 through August 6.
The shows in Chicago will be held at Huntington Bank Pavilion at Northerly Island July 14–16. The band then heads east to the historic Nutter Center in Dayton, OH on July 18 and then to Pittsburgh, PA to perform at the Petersen Events Center on July 19.
After taking a break for a few weeks in August, Phish closes out the summer as they have since 2011 at Dick’s Sporting Goods Park in Commerce City, CO, September 1-3.
Remember the days when music used to have some kind of aggression towards the normal and mundane of everyday life of conformity? Everyone is dressing, speaking, and even thinking the same. It can literally numb the senses to some human rights which we never knew which are robbed of like free speech and the removal of censorship.
From the old muckrakers back in the day exposing the dangers of child labor in the factories, this type of political awareness has taken many forms and music has become the biggest medium to voice opinions on such issues. In the metal world, the genre that comes to mind being the most activist driven is no other than the monstrous force of thrash! Taking the most controversial subject matter in the media and turning it into an audio masterpiece can be difficult. There is one band in the modern age of metal that pulls no punches when creating such volatile music, I am speaking of which the beast from Colorado, Havok, and with their new album dubbed Conformicide, it is time to break down the system with this album review. Get ready for one hell of a ride!
Being the band’s forth studio album, Conformicide, delivers one of the best modern thrash albums to come out so far in 2017. Along with Kreator’s Gods of Violence (released via Nuclear Blast)and Power Trip’s Nightmare Logic ( released via Southern Lord), Havok’s latest release is adding their own special flavor to the genre. The boys did extremely well with their 2013’s release Unnatural Selection (via Candlelight). With it getting such great reviews from the old schoolers and new fans to the thrash genre, the band is showing absolutely no signs of taking the foot off the gas pedal. The album starts off with “F.P.C,” a rebellious hymn against the horrors of censorship and loss of free speech. The song starts off with a very funky bass line from Nick Schendzielos and a beautiful acoustic guitar riff which helps to set you up for a major beating of your senses. Combined with the groove induced drumming of Pete Webber, you will find yourself protesting in front of your local government building in no time flat with your faded battle vest as your flag of anarchy.
My personal favorite track on Conformicide, which goes for the throat with jaws wide open, without a shadow of a doubt is “Dogmaniacal”. If you want something that is heavy and speaks about how the modern world is these days, look no further. This track addresses the violent nature between the different religious sects in such a way you can feel the anger run through you body as the violent chugging with hypnotic shredding from both David Sanchez and Reece Scruggs on guitar unmasks an ugly truth of human life. I listened to this song the most as it is the most addicting piece on the album in my honest opinion. There has been many times I was in the break room at work giving myself whiplash, but hey if this song doesn’t cause you to become a wind-turbine, I have no idea what will! In the next couple weeks I can this song being the favorite among the other tracks on this release; Sweet!
Indeed the band first two albums Burn (released 2009 via Candlelight and Time Is Up (released 2011 via Candlelight), had their own type of style that differs from the band’s last two releases, but this album does have a great set of songs that combines both eras of the band styles. Tracks like “Intention to Deceive” and “Masterplan” combine the shredding aspects of Burn and Time Is Up with the more grooved oriented workings of Unnatural Selection, it will be ear candy for the fans who want the best of both worlds! This album for me is my favorite from the guys of Havok. I have not stop listening to it since I got it at the Soundgarden in downtown Syracuse, NY. If you think thrash is dead guess again! With Conformicide you are getting the same aggression the forefathers created in the 80’s, but with more of a powerful message as well a new approach. The thrash revival moment is gaining strength bands like Havok making waves leading the charge. Time to thrash one more time!
I will give this album 4.5 stars out of 5 stars. It is a solid album from start to finish. If you have not picked it up yet you can get from your local record store or at the band’s page. Keep on thrashing!
They put their socks on one at time like the rest of us, but that pretty much is where the resemblance to ordinary folks like us ends. Some have speculated that they could be aliens from another planet-perhaps set on this planet as interstellar ambassadors of a higher universal groove. They, on occasion, have referred to themselves, quite cheerfully, as freak of nature.
The official nomenclature for this merry band of mischief-makers is March Fourth, a band of about 20 irrepressible pied-pipers of carnival gypsy funk, that stuff themselves, along with trunks of outlandishly colorful, handmade costumes, stilts, mountainous cases of brass and percussion instruments, props, and hats into a well-worn bus with the creaky metaphysics of a vintage World War II submarine, who, then, somehow tumble, flip, shimmy and shake their way across the country determined to blast the lid off every venue they enter as if their music was the equivalent of a giant rainbow confetti cannon.
And, appropriately during the season of Carnivale, Boulder, Colorado fans once again packed the Fox Theatre to experience their unique blend of steampunk celebration staged with the sweaty, gospel fervor of a Mardi Gras revival tent. Throughout the set, acrobats, and stilt-walkers performed a wild series of athletic backflips, jumps, and balancing feats that were as risky as they were eye-popping.
Joining March Fourth on the winter tour, the Pimps of Joytime opened with a soulful set of R&B influenced-funk and acoustic tunes. With the booty-shaking swagger of Sly and the Family Stone, the five-piece band delivered an infectiously energetic set of tunes from their new album, Jukestone Paradise.
So, however one may label this jubilant roadshow or its people, it was, no doubt, a remarkable experience. On second thought, perhaps they don’t put their socks on one at a time. (When they do wear them.) We, mere mortals, may never know for sure.
Sunday night, The Barkley Ballroom in Frisco, CO was home to a reunion of two former New Yorker bandmates turned Colorado transplants. Thom LaFond, former guitarist for Albany-based and Camp Bisco alum, Dirty Paris, joined his former bassist, Chris Duffy, with Duffy’s current band The Magic Beans for an ambient take on The Magic Bean’s space funk rager “Jabu Jabu’s Belly.”
LaFond lent his hand in setting the tone with an opening improv jam, heavy with ambient delay which built the suspense and anticipation for the first drop into the meat of the song where Casey Russell took over with a soulful organ lick to get the bodies moving. Chris Duffy held things down for the bulk of the song with his thick bass grooves while the rest of the band moved through keeping things danceable yet continuing to utilize the spacey vibe that has become more familiar to a Beans dance party as they develop as a band.
Around the 8:20 mark, drummer Cody Wales started laying out the heavy snare hits, signaling the jam to open up, transforming into a high flying shred fest. Lafond adeptly built the speed and intensity of his lead work while Beans guitarist Scott Hachey complimented, both matching LaFond’s picking runs and building things up behind LaFond to take the final few minutes of this jam into something that had the whole room soaring before being dropped straight back into the dance party for a few more measures.
If you haven’t had a chance to experience The Magic Beans in person, be sure to catch them on tour in April.
The Magic Bean’s 5th annual music festival Beanstalk, will be held June 22nd-25th at the legendary festival venue Rancho del Rio along the Colorado River in Bond, CO. The lineup includes tons of faces familiar to the Northeast jam scene including Holly Bowling, lespecial, Corey Henry, Tom Hamilton as well as a smattering of established and up-and-coming awesome Colorado based bands. Don’t miss out on a chance to learn why Colorado is so in love with The Beans.
You can catch LaFond’s band, Banshee Tree, at License No. 1 in Boulder, CO every Saturday night for a swing dance-dance party.
There seems to be a growing trend in metal music of rap-metal making a comeback since Prophets Of Rage emerged last year. You could argue that bands like Body Count have been around for a long time, but now the genre seems to be in the spotlight again. And with any sub-genre of metal, you get the flash in the pan bands or the goofy sounding bands that don’t last, however, Powerflo has landed and makes a statement.
The night started off with an energetic group called 
Brian Wilson
Body Count have returned with a vengeance. For the first time since 1994’s Born Dead, the band has finally put out two consecutive albums with the same line-up. And this is clearly Body Count’s best line up since the original lineup. So what does Bloodlust bring to the table?
Long Island’s 
From the old muckrakers back in the day exposing the dangers of child labor in the factories, this type of political awareness has taken many forms and music has become the biggest medium to voice opinions on such issues. In the metal world, the genre that comes to mind being the most activist driven is no other than the monstrous force of thrash! Taking the most controversial subject matter in the media and turning it into an audio masterpiece can be difficult. There is one band in the modern age of metal that pulls no punches when creating such volatile music, I am speaking of which the beast from 
The Magic Bean’s 5th annual music festival Beanstalk, will be held June 22nd-25th at the legendary festival venue Rancho del Rio along the Colorado River in Bond, CO. The lineup includes tons of faces familiar to the Northeast jam scene including Holly Bowling, lespecial, Corey Henry, Tom Hamilton as well as a smattering of established and up-and-coming awesome Colorado based bands. Don’t miss out on a chance to learn why Colorado is so in love with The Beans.