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- AintitCoolNews

- Chris Bumbray, JoBlo’s Movie Emporium
Daybreakers_ViceAd_Final:Layout 1 25/11/09 10:43 AM Page 1
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ABORT Magazine
Canada’s Counter Culture
Publisher/Editor-in-Chief: E.S. Day
Managing Editors: Grimm Culhane, Dave “Corvid” McCallum, Arceon,
Photo Editor: Scott Alexander
Senior Art Director/Layout: Daniel Bacharach
Art Directors/Layout: Nick Tchir and Dave Graham
Staff Writers: Dave “Corvid” McCallum, Grimm Culhane, Arceon (Europe), Alxs Ness, Kassandra Guagliardi, Joel Parent, John
Norby (UK), E.S. Day, Nigel Mojica, Taylor Ell, Sean Cowie, A.W. Reid, Brandon Siemens
Staff Photographers: Scott Alexander, Chris Webber, Jamie Sands,
Ajani Charles (Toronto) Sarah Hamilton, Grimm Culhane, Arceon (Europe), Taylor Ell, Sean Cowie, Sylvia McFadden
Web Design/Graphics: John Allan (www.johnallan.ca)
Contributors: Jonathan Parsons, Mark Boucher, Daniel Bacharach, Eva Vulgar, Justin Critch, Shaun Roberts
Transcribing: Alxs Ness, Jonathan Parsons, Dave McCallum, Nigel Mojica, Dave McCallum, Scott Alexander, Alexandria Lee
Cover Artwork by Justin Critch
This cover is available as a print
ABORT Logo by Ara Shimoon
ABORT MAGAZINE is owned and operated by:
Abort Media Publishing Corporation (AMP Corp.)
1140 Comox St. Ste 203 Vancouver, BC Canada,
V6E 1K5
Fuck The Fax
General Info: info@abortmag.com
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Marketing/Promotions: promotions@abortmag.com
Employment Opportunities: (jobs@abortmag.com)
ABORT TV: www.abort.tv | info@abort.tv
Subscriptions/E-Newsletter subscribe@abortmag.com
(we DO NOT give out your e-mail address)
CD’s, DVD’s, Books, Art, Murals, Cash, Drugs, Garter
Belts, Guns, Fur Coats, Trans-fatty/deep-fried foods and Cigarettes to be
considered for review: editor@abortmag.com
To submit words, photos, art, video and flth:
(NOTE: ABORT Magazine/ABORT TV and its copyright holders, accept no responsibility
for and will not necessarily respond to unsolicited art, manuscripts or any form of media
Including photo, video, audio and flm footage. Such material will not be returned unless
accompanied by a SASE)
Tales From The Eastside™ contains pictures of people who have given consent and/or been
compensated by ABORT™ Magazine, AbortCast™, ABORT TV ™ and AMP Corp for use
of their likeness and comments.
The views expressed in this publication are those of the authors and do not
necessarily refect those of Abort Media Publishing Corporation (AMP Corp.)
ISSN 1918-0594
ABORT Magazine is a Canadian Publication (Not a Vancouver one)
Copyright © 2004-2010 ABORT Magazine. All Rights Reserved. Reproduction of this
publication, in whole or in part, in any form or medium without express written permission
from Abort Media Publishing Corporation (AMP Corp.) is prohibited. All use
is Subject to our Terms of Use
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Table of Contents
Headphonica/DENIED! 8
Letter From the dead 10
Motorhead – The ABORT Interview 12
Rammstein 18
The Cutting Edge: Calgary Tattoo Festival 29
The Cutting Edge: Eric Weiss 35
21 and Under With...Frank Kozik 38
ABORTIST: Rank & File 42
ENKORE: Storm Thorgerson 52
MADE IN CANADA: Sacrifce 56
The Rickshaw: Where a Music Scene Isn’t Dying 58
Brother Ali – The ABORT Interview 60
Tales from the Eastside 64
Behind the Boards: Devin Townsend 68
Reviews - Film, Book, DVD, CD. Live 73
21 and Under with...The Pixies 106
The Year in Revolt (Staff Picks of 2009) 110
The Year in Revolt: Shooting Gallery Best of 2009 116
DJ Z-Trip 126
The Company Band’s Neil Fallon-130
Paint the Town Dead 133
Skinny Puppy Interview 134
Shooting Gallery: Emilie Autumn by Scott Alexander 137
Dir En Grey 140
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Our regular list of interview requests and the people who told us TO GO FUCK OURSELVES
The goons of greed have once again shone their brightly coloured pouty lips in ABORT’s DENIED! section as Gene & Co. have decided that
even though they cannot get people to steal their latest train wreck ‘Sonic Boom’ from a torrent site, they have flogged the dead touring
horse once again to make their expensive ends meet.
With only 2 original members in this line-up, the gents have decided it would be best to play it safe and have ex-Badlands drummer Eric Singer
and ex-Black n’ Blue guitarist Tommy Thayer don the Peter and Aces make-up and hope nobody noticed. We will did. We also noticed how
bad the album is. We also noticed how shady Gene has become by trying to tap into the Canadian market via his imprint that got a P&D deal
via UMG Canada, we also notice how bad his first singing Down with Webster is, We also noticed how ridiculous it is to hear that after all the
bad press they have been getting in regards to the new album, that ABORT Magazine once again was not worthy of 5 min with Paul even to
discuss his horrible artwork yes we finally would have conformed and “KISS’ed their asses.
But it was not to be, with our circulation (digitally under 100,000) we did not even make the mighty shortlist of contenders to be given a
chance to talk about how bad their new album.was We here at ABORT Mag are pretty sure between the conventions, the Frank’s Energy Drink,
those fucking ugly handbags and Gene’s new line of Toupees to their keep bank accounts thick, it would have been the true original fans
(our readers) that would have keep the band “Hotter than Hell” instead of them hiding their heads in shame for putting out “The Elder Pt 2.”
for the entire year of Headphonica charts go
to www.abortmag.com and click on "The
Year in Revolt 2009"
Our Ofce playlist based on the staf’s Blood, Sweat and fears
• YouLie...AndYoBreathStank–InfectiousGrooves(Epic)
• CorrectionWeFix-MadCobra&Merciless(Greensleeves)
• BlackVatican–Throwdown(E1)
• Skullfucker(SynnackRemix)-Terrorfakt(Metropolis)
• Money,Money–DizzeeRascal(DirteeStank)
• BlackSun-DarkestHour(Victory)
• MyFavoriteLadies–DOOM(GoldDust)
• DismalDream–Sufocation(NuclearBlast)
• MarchofTheSkeltons–WhiteWizzard(Earache)
• LettheRhythmHit‘em-DJZ-Tripfeat.RakimandChevelle
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A print is dead rant? Forget it. Extending my middle fnger
to all my fellow editors from local magazines, blogs, papers and weeklies?
Nope. Wondering why even after the rash of huge publications suspending
their print editions or huge media warmongers like Time Inc. turning into
a 2.0 model still has Canadians (Vancouverites in particular) asking why we
are not in print? Couldn’t care a less. It was almost 3 and ½ years ago, around
this time that ABORT Magazine had become the “little mag that could”
boasting a unheard of readership with out any form of promotion, marketing
or ad revenue and doing it all paper-free. With a audience that found us
overseas and in the eastern USA, we could not have been more ecstatic.
Back then only the reader and artist benefted from the issue with an infnite
shelf life that never saw the trash/recycle bin and we found ourselves in the
middle of a industry turning itself upside-down amidst the public’s confusion
in regards to what is the mainstream medium for reading its news, views,
reviews and opinion. Papercuts and ink have turned in to Kindled/hand-held
reading devices. Younger readers, who crave photos and school locker-door
paste-ups, simply click and print what they want. Minus the $8.95 fee, the
internet has certainly changed the focus on how we read and ABORT
magazine had seen this coming and quickly adapted without hesitation to
a new breed of publishing and a more simple form of delivery.
Even as we speak, the new “Digital Magazine” of an approaching 2010,
is now bogged down with embedded media, streaming ads for useless
product that has nothing to do with the content (imagine a KIA car ad
streaming for 30 seconds while you wait to read a G.G. Allin Timeline) and
annoying sign–ups, license agreements and monitored reading habits. This
is simply put the dawn of a new age...3 years late. We will continue to run
this publication with the most minimal amounts, not sign up simply easy
to obtain click –download print share and enjoy.
So to the rest of Vancouver, our “non-readers” who apparently read us, and
our fellow countryman I say, on behalf of myself and (some of) the staf…
fuck you. It has never been about the money it has been about speaking
the truth, letting musicians; artists and actors speak their mind and more
importantly all of the above including ourselves having some form of integrity
and self-respect. If you have gotten this far by downloading this issue and
are reading this editorial right now, then we have won the battle, but there
awaits another a battle, one that has only just begun.
Repent or represent.
By E.S. Day
The dEaD
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Beyond legendary and louder than everything else, the UK “Knights of The Loud Table”
Motörhead; have driven a stake into the heart of modern rock and sucked its blood dry.
What else can be said about its charismatic frontman and bass player Lemmy Kilmister, who
shits Rock & Roll and refuses to wipe.
Heralded by many & imitated by none, this one of a kind Heavy Metal mercenary with the
world’s most famous mutton chops, took the time to chat with ABORT Magazine’s E.S. Day
over a buffet of Jack Daniels and Marlboro reds. Just what the doctor ordered.
Motorhead’s Lemmy:
Last of The Rock & Roll Motherfuckers
E.S Day: E.S. Day here for ABORT
Magazine we are sitting here with
the one and only, Lemmy Kilmister
of Motorhead how are you sir?
Lemmy KiLmister: Hello boys and
The boys are currently on tour,
well… still supporting Motorizer,
your 24th fucking album! Jesus
Christ – no rest for the wicked!.
Lemmy: Well the wicked never rest for
First of, new album: when are we
looking at [a new one] and how far
Lemmy: We are going in the studio in
February to rehearse, write and record.
On SPV (Motorhead’s current label)
Lemmy: Uh, well they just went
Oh! That why we’re not getting a
call back for interview requests – I
see… we we’re speaking with a girl
named (name withheld) before, to
handle our requests.
Lemmy: Yeah I think she’s still there, but
they’re winding down now.
Well then where is Motorhead going
to be laying down now?
Lemmy: Well there’s a company who will
be taking over the whole stable soon, but
I can’t tell you right now.
Of course… fucking jesus! Alright
then I understand. (laughs)
Lemmy: Yes, the secrets.
Oh yeah, gotta have the secrets.
Lemmy: Industrial espionage you know
Yeah. Mikkey Dee is back in the
drum throne, he fnally got booted
of that show “I’m a Celebrity,
Get Me the Fuck Out of Here” or
whatever it’s called, in Malaysia
– in the meantime, you had
(Velvet Revolver/Ex-Guns n’ Roses
drummer) Matt Sorum flling for
about 11 dates, how did that work
out? Did he get the set down ok?
Lemmy: Yeah he was good.
Well I’m sure, as he grew up listening
to Motorhead, but it’s nice to have
Mikkey back?
Lemmy: Yeah, he knows all the stuf
(Laughs) I guess he does. More
importantly, I have been dying to
ask – Lemmy: The Movie. New flm/
documentary, I saw the trailer, I’
am fucking excited, now do you
endorse this? Do you get fnal say
on this?
Lemmy: Yeah, yeah, oh yeah.
Continued >
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Is this going to get a theatrical
Lemmy: Yeah, well they are going to
premiere it in Austin, Texas
Oh, at the South By Southwest
Lemmy: Yeah.
That reminds me of another band
like you or Motorhead that was
long overdue in getting a flm made
about them and that’s Anvil.
Lemmy: Yeah they’re great.
I mean there is 2 bands who really
deserve to have the camera pointed
at them for a documentary, I mean
besides fucking journalists and that
Lemmy: (Turns to ABORT photographer
Scott Alexander) He just said you were
bullshit (laughs)
Scott ALexAnder: (laughs)Don’t
worry I get that all the time.
So can we expect to see any
guest appearances any other
Lemmy: Well, they got all kinds of
fucking shit., you would not believe it
Dave Brock (co-founder - Hawkwind)
has all kinds
So has he got old High School photos
of Lemmy?
Lemmy: Well there been some of those in
the autobiography right?
I never actually read that, so I’m the
idiot, I go as far back as old Kerrang
magazines from the late 80’s which I
don’t read any more cause they’re full
of Emo bands
Lemmy: Yeah, I don’t what they’re doing
anymore…not much obviously.
Both: (Laughs)
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Also explain to our readers, what
this “jogglebug” is?
Lemmy: What?
Lemmy: Beats me man…I don’t know
what the fuck that is.
Apparently you go online every
night and talk to the fans after
each show
Lemmy: Ah! No, I just pick up the
phone and garble incoherently
(Laughs) okay sounds good.
Lemmy: Tese are just publicity
Yes, but does Motorhead still
need publicity after all this
Lemmy: Well people don’t know us
over here [North America]like they do
in Europe still
I noticed in some other
publications that bands like
Metallica have paid homage to
you ..
Lemmy: I was on stage with them the
other night in Nashville
Oh really?
Lemmy: Yeah
So they had their movie (Some
Kind of Monster) were they’re
weeping and sobbing.
Lemmy: No, my movie is not going
to be like that (laughs)
Okay good (Laughs) This tour ends
in Moscow in Dec and you have
some date with Girlschool…
Lemmy: …and Te Damned!
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Yeah, and it cost $22 for 4 fucking
Lemmy: It was supposed to be HeadGirl,
but it ended up being Motorschool , what
the fuck is that?
And that was back when vinyl really
meant something
Lemmy: Yeah there would be the “Special
few” who got a picture disc
Yeah now you cant download a
picture disc
Lemmy: Yeah you cant even read the
fucking label!
Do you miss all that?
Lemmy: Yeah, I do
The Damned! Wow! Of all fucking
bands, haven’t heard from them
in a bit, as far Girlschool are you
guys gonna do “Please Don’t Touch”
(from St. Valentine’s Day Massacre
Lemmy: Well we probably will at
…and god rest Kelly Johnson
Lemmy: Yes she died of Cancer
Yeah, I used to have the picture
disc of Motorschool were you were
all dressed up as gangster from the
Lemmy: Yeah that was the Japanese one,
wasn’t it
Or how about the Gatefold?
Lemmy: Oh yeah did you ever see the
Gatefold for “Space Ritual“ (Hawkwind)?
It was fucking huge.
So that’s it, new album to start
recording in February and touring
until end of December 2009. Thank
you man
Lemmy: Tank you
By E.S. Day
Photos by Scott Alexander
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The ABORT Interview
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Never a band to conform to the norm,
the name Rammstein instills fear
in the hearts of men and has others
running for the door when witnessing
this 6-man wrecking crew performing
live. With the original line-up still
intact, the band has dropped their
6th album Lieve Ist Für Alle Da which
hit stores on October 16th and has
already been banned in Germany for
its (apparent) graphic depictions
of sadism. With CD sales reaching
over 10 million + worldwide, a huge
crossover fan base, and a new tour
on the horizon, this will not stop the
industrial metal kings in 2010. ABORT
Magazine’s E.S. Day got a chance to
speak with guitarist Paul H. Landers
about the new album, the songwriting
process and of course their controver-
sial video for the lead single “Pussy”.
Don’t forget to buy their “Just in time
for Christmas” 6-dildo and handcuff
box set.
E.S. Day: We are speaking with Paul
H. Landers from Rammstein. How are
Paul Landers: Sehr gut, danke schoen!
ABORT: We’ll get right into it. First off,
the current album that’s in stores now
is your sixth album and it exploded on
the Billboard charts. I need to know
how to pronounce it!
PL:(speaking in Deutsch).
Lieve Ist Für Alle Da.
Continued ›
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ABORT: Oh fuck, forget it, I won’t even try that
(laughs). And what does that mean?
PL: Love is for Everyone.
ABORT: Oh, fair enough.
PL:There’s an acronym. If you take the frst letters,
you get LIFAD, which means “supply” or “deliver”.
ABORT: And what is it that you are delivering? What
PL:(laughs) When we were thinking about the title
for this album, that one came up, we went with it
as a funny title, because it almost sounded like
something from a regular pop artist. There’s a
music style called “slager”, which is kind of folky,
pop kind of music. It can also be like a name of
a TV show on a sort of trashy station, like RTL.
ABORT: So, is it safe to say the band is almost making
fun of themselves or are they taking a stab at the pop
PL: It’s always diffcult to come up with an album
title, it’s a torturous process and that was the only
one that came up, that we could agree upon. We do
have a preference for titles like “Flash” or “Mother/
Father”, but it just wasn’t the right choice this time.
ABORT: Ok. Now, this being the sixth album over a
ffteen year period, I’m just going to guess that the
songwriting process is a well thought one, the songs
are well written and crafted. But specifcally, did the
band just go into the jam space and started banging
out riffs or was it a shift to having a blueprint for the
album? Were you really meticulous in writing it or
was it just a natural occurrence?
PL: Oh, you’re actually really close with your
assessment. It’s both. We got together, jammed,
collected riff ideas and then took those, put them
into the computer, trying to fgure out which ones
are worthy enough to make it into songs and then
brought them back to the band space and played
those to see which ones sound the best.
It sounds easy as I’m saying this in the
interview, but the process was way way
more diffcult, with the exception of the
jam sessions, which were a lot of fun.
It was a really tiresome, meticulous
process putting the songs together.
ABORT: All right, fair enough. Now of
course I have no choice but to touch upon
the current video for “Pussy”, obviously,
because you got fourteen-year-old boys
across the world that clogged the website
when we posted it (laughs). The question
being, the making of the video, “Pussy”, had
to be an experience. Were you uncomfort-
able being on the set with that? And were
those body doubles or was the band having
fellatio performed on them, which I have to
say is a hell of a days work! (laughs)
PL: (Laughs) In the video it was all us but
in the terms of close-ups of specifc body
parts – there were some body doubles.
ABORT: Oh, wow, because I’m pretty sure
quite a few people think it must be nice to
be in Rammstein right now (laughs). You
know, go into work and fuck all day.
PL: (Laughs) It was really fun. Our drum-
mer’s girlfriend initially came to the set
and he ended up sending her home.
ABORT: How come?
PL: For the reasons named above.
ABORT: Obviously, sex seems to be the
theme on this album, at least right now
will all the promotion going on, especially
when you include the box-set with all the
dildos and sex toys. Are we going to see
anything else that’s provocative like that
before the year ends?
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P.L.: With love being the main topic of this album,
it’s actually always an interesting topic to deal
with, but we prefer to deal with the dark aspects
of it. This time, with all the dildos and every-
thing, we wanted to sort of take things a bit over
the top and see how far we could go with it.
ABORT: Yes, it’s good, I think we need that. The music
is just so fucking stale right now that it was nice
and refreshing to have Rammstein come back and
throw a dart into the forehead of the mainstream
and kind of wake everyone up. Not to mention, it
makes a good Christmas gift by the way. This works
out. Everybody is happy. What is the next single from
the new album and video?
PL: (laughs) The next track that we have chosen
is the one that didn’t get much of a resonance
on the internet, not much is mentioned about
it, but it’s “Ich Tu Dir Weh”, which means “I Hurt
You”. We shot the video for that last week and
yesterday we shot the video for “Haifsch”.
ABORT: Oh, so there are two videos coming up? When
can we see this?
PL: “Ich Tu Dir Weh” is probably going to
be out in the next couple of weeks and
“Haifsch” in January or February 2010.
ABORT:: What are the chances of
Rammstein putting out a remix CD or
maybe people on the industrial scene doing
remixes of Rammstein songs, like a compi-
lation? Will that ever happen?
P.L.: That is something we’ve been
thinking about and it’s not improb-
able for this to happen.
ABORT: That would be far off I assume.
P.L.: It’s something we are
keeping in mind.
ABORT:: When can we see Rammstein in
Canada and specifcally Vancouver?
P.L.: After next summer, provided that
the band is still healthy and everything
and South America as well. Canada
has always been a place where we
enjoyed playing because of the dif-
ference with the States. The people
are a bit more friendly there.
ABORT: Oh, defnitely, we are not too fond
of the Americans, so I’ll agree with that.
(both laugh). You have Combichrist as
the opening act for this tour, so will they
be doing the whole tour and coming to
Canada with you or is it just in Europe?
“With love being the
main topic of this album,
it’s actually always an
interesting topic to deal
with, but we prefer to deal
with the dark aspects of it.”
Continued ›
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P.L.: We think it’s going to be Europe for starters
and if things work out well then we’ll think
about taking them on for the next lap.
ABORT: Speaking of Canada, tonight specifcally in Vancouver
and it’s been eighteen years since they played here, we have
the reunited Skinny Puppy playing. Which brings us to the
next question: what Canadian acts have you been listening
to or do you favor besides them? What’s on your ipod that’s
from Canada?
P.L.: (laughs) There are a lot of the bands, where
we don’t know whether they are Americans or
Canadians. We met ohGr and he’s usually a nice guy.
I also like Billy Talent for they got their own unique
style and the guitar players are really good.
ABORT: And lastly, current endorsements? Who or what are
you playing?
P.L.: Right now I’m sitting next to a signature Gibson guitar.
ABORT::Oh, a custom guitar?
P.L.: It’s like a prototype and if it plays really
well it will become my signature model.
ABORT: Will it be available to the public?
P.L.: Yeah.
ABORT: Oh, wow. When will it
happen? Probably next year?
P.L.: Probably at the next
Frankfurt Music Fair.
ABORT: The new album is in stores
now. You can visit the band’s
web-site at rammstein.de. And of
course, look for the “Pussy” video
. The tour is coming up, catch
the band in Europe and America.
Thank you for your time today and
we look forward to seeing you in
Canada, when you come here.
Thank you!
Special Thanks to Arceon
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Website under construction!!
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ABORT Magazine’s Dave “Corvid” McCallum spoke with
Billy Danze and Lil’ Fame from the notorious M.O.P. in the
lobby of the Royal York Hotel, Toronto, in March of 2008.
The ensuing conversation was elucidating, eloquent, and
peppered with the colorful vernacular of Brownsville N.J.
(don’t forget getting face-sprayed with grill spit from Lil’
Fame – Ed)

Billy: Yeah mothafucka what’s up?!

ABORT: Just chilling here at Canadian Music Week,
what’s up with you guys?

Billy: Yeah, we chilling and shit, having a ball, doing what
we do...it’s our week!

Lil Fame: Yeah yeah yeah, same old shit! We out here,
‘bout to have a show tonight, we ‘bout to tear that mother-
fucker up, that’s about it son.

ABORT: So, frst off, people want to know what
happened with the split with G-Unit? Was it cre-
ative differences?

Lil Fame: No, we gonna do business with 50 Cent in the
future, y’namean? At the time things just...the timing was
bad. But we got love for G-Unit and Fifty, yeah.

ABORT: (to Billy) Any comment on the G-Unit

Billy: M.O.P., is in the building.....NIGGA!

Lil Fame: NIGGA! (which, coming through his massive diamond
studded grill sound more like “NIUCCA!”

Billy: That’s what I got to say about that!

ABORT: So, what’s the state of Hardcore? You guys have
been keeping it Hardcore for like twelve years now, what
do you have to say to the Hardcore rappers out there?

Billy: Um, if that’s what you do, if that’s your comfort zone, if that’s
what you’re comfortable doing, if you feel like you don’t want to
compromise or make any other style of music then um, I can’t tell
you not to. But on the honest, my opinion is that you should always
branch off into different kinds of music so you can keep your shit
foating. This shit don’t work for everybody, younamsayin?

ABORT: You did a full Rapcore album a few years back,
how do you feel about the mix of Rap and Metal?

Lil Fame: Yeah, we gonna do some more of those. We gonna get
this M.O.P. album out, I got a solo album called “The Fame and The
Glory”, Billy Danze got a solo album called “Behind Gates”, and we
just working!

Photography by: Ajani Charles
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ABORT: You guys on ITunes?

Billy: I ain’t giving nobody my shit for free, ITunes
ain’t getting a motherfucking thang! Ain’t nobody
from a record label getting a motherfucking thang, it’s
just gonna be us and the kids, you dig? I mean, we ac-
tually structuring deals right now, we moving everyday,
this shit is perpetual with us, younamean? Like we
don’t sit still. Fame is on the production side, anybody
looking for production Fame got it. We both doing
solo albums, also we be doing movies and shit like that.
While we’re doing all this shit we be doing, we’re still
creating the M.O.P. album, which we already have two
albums of music for. Like I told the homie before, just
because we here surviving today, we getting a whole
other vibe from what we had yesterday. So, we may
go home and in two days create another record just
from what we got here. So, it’s perpetual baby, we
keep moving. In fact, we run this motherfucker! How
about that?

ABORT: Who are you hearing these days that’s
catching the radar?

Billy: I heard some of the joints from Lil Fame’s album!
Yeah, fuck everybody else!

ABORT: Alright! So, we are at Canadian Music
Week, what advice do you have for the up and
comers trying to make a career out of this Hip Hop

Lil Fame: Motherfucker, come to my show nigga! Bring
your ass to my show nigga, that’s all, younamean? (laughs
all around)

ABORT: Cool, thanks guys, peace.
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Montreal, Qc, Canada
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C# 514.581.5780

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they deserve. By developing pr campaigns for image
awareness and media support, AMR showcases &
represents talented artists to all media outlets ranging
from Print, Radio, Online & Television across Canada.
“A terrible thing happens without publicity…NOTHING!” – P.T. Barnum
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Brand New Style
(Monumental / DEP / Universal)
Through The Heart of The Infidel
(NDG Entertainment / Swerve)
Blood, Steel & Fire
(Reversed Records)
(Reversed Records)
Hell Isn’t My Home
Notes In Neon
Something Left Unexplained
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Cutting Edge
by Taylor Ell
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E.S. Day: we are here with Director Erich
Weiss. I’m pronouncing that right?
Erich Weiss: Yeah that’s correct
Director for, now I have to get this
right...whorey smoko...no, I fucked that
up right away.
Erich: I can do that for you...
Do it for me...
Erich:....Hori Smoku Sailor Jerry
Smoku and you’ve got to include “Sailor
Jerry” and its a documentary about
Sailor Jerry one of the most famous
tattoo artists of…fucking forever.... of
all time.
Erich Weiss
Director of Hori Smoku Sailor Jerry
Erich: the 20th Century.
We will go with that. Highly inspired
by Japanese art. He lived in Hawaii for
most of his life or all of his life?
Erich: For most of his adult life.
He was a bit of a shit disturber lets say.
He was the Hunter Thompson of Tattoo
artists maybe?
Erich: Yeah but less of a pussy
Oh, beautiful.
Erich: I don’t mean to spit on a man’s grave
but I dunno…
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When did Sailor Jerry pass
Erich: he passed away in 1973.
‘73 okay. Where did you get the..
I’m not going to say inspiration;
I hate fucking questions like
that. What made you say fuck
this - I’m making a movie?
Erich: Well I had always been interested
in tattooing. I think I got my frst tattoo
around 14 by a guy named Sunny
Toughs. And this was.. I’m 36 now and
this was when tattoo shops were still
kind of a scary place and you’d walk in
and get intimidated and I think at 14 I
probably looked like I was 8. You know
I got young.. Ricky Schroeder jeans
man. (laughs)
Erich: But I would go in and it was a
place where guys, you know bikers and
gnarly dudes went, that’s what was so
cool about it. It wasn’t like a shop girl
that was like hello your aren’t in a casino.
To say what I see today it’s
fucking fashionista tattoo
shops which is really odd.
Erich:...and we can go into that
Which is okay I guess..
Erich: We live... I live in America and
everything is co modifed eventually.
And you can say that about Japan and
any industrialized country. But that’s
what happens you can do right way and
the wrong way. In the end its an artistic
trade. Money is green.
Money is green.
Erich: I don’t know what the loonie is.
It’s brown like shit and that’s
pretty well what it’s worth
Erich: (Laughs) you can say that about
how the economy is going right now.
But it’s an artistic trade. All the guys I
grew up with and the guys before them,
you were just tattooing to get glory, you
weren’t doing it to pay the rent.
Was Sailor Jerry, would you say,
to you...from all the research
you’ve done and interviews
you’ve conducted , would it
be possible that you found out
the hard way that really that
all it was for him was paying
the bills. It wasn’t necessarily.
about culture maybe for him
maybe then it was being the
gritty dirty tattoo guy , you
know, he was trying to make
a buck?
Erich: Yeah no in a way it was the
dichotomy of this guy just like...
Money wasn’t a big thing to
him was it?
Erich: Money was.... He was a
working class guy. He was a Navy
guy for years.
But he wasn’t out to be rich.
Erich: No, he hated publicity, he hated
that, but he liked the fact when things
were respected as art. You know, that’s
why he communicated with the “Horis”.
Horis is the moniker used for a Japanese
Master it means to carve. Jerry was
in Hawaii from the early twenties till
he passing in 73’ so he was kind of
indoctrinated from World War 2.

He was a veteran?
Erich: to hate the Japs as we say.
Which is ironic how he ended
Erich: but he respected Japanese
culture enough that the artistry of what
the Horis were doing to communicate
with them. He was one of the few
American Tattoo Artists to communicate
with the Japanese Masters the Horis.
He traded colors they traded design
and aesthetics, everything and what
he created out of that was this amazing
blend of that bold deep line with
continental you know that Navy style
tattoo, you know, with 3 color and he
blended the shading and the story telling
and the kind of connectivity
It meant something..
Erich: Yeah.
Thanks for speaking with us
Erich: Thanks man.
Hori Smoku Sailor Jerry DVD is in stores
By E.S. Day
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E.S. Day: E.S Day here for ABORT Magazine, and we speaking with artist, illustrator, and
vinyl toy designer Frank Kozik, how are you sir?
Frank Kozik: Pretty good
ABORT: Good, we’re going to get right into this. Even though you’ve retired from the poster
scene, for quite some time, from the outside looking in, how has the poster-art scene changed
in your eyes? You’ve pointed a few things out in the current flm ‘American Architect’ how has
this changed for you, and are you getting a laugh out of the new generation of “Photoshop phonies”, so
to speak.
FK: Actually, there is an amazing spread of talent. Tere is of course, a million people doing ‘crap-work’...
I mean, there was back then, but it was crappy Xeroxes instead of crappy computer fles. I think there
is an enormous amount of activity and a lot of really good artists. Limitless actually. Too much
to really keep track of. Te diferences are now, what I’m seeing now, what people don’t
get nowadays when I was doing my posters, I wasn’t trying to be an
artist or a designer, or propel some personal agenda, I was part of
a music scene and business, and everything I did were really post-
ers for shows that were used on the street, and in stores, and as tour
promotion. It wasn’t like “I’m a designer I want to work in posters
because the music scene is cool and so I’ll do rock posters.” It was
the other way around. It was like commercial art.
I was doing it in the beginning because I was part of a really
vibrant local music scene. All my friends were in bands, I cant
play worth a shit, but I could make posters. People started
paying me money to do it, and that was fucking awesome.
Te big diference now, is that 99% of what I see is peo-
ple that are working in the gig poster scene as part
of an agenda. Tey all want to be designers, make
money, and a lot of them go to school for it. I’m
not saying that’s bad, it’s just diferent.
Now there is a few cats that are really obsessed
with certain kinds of bands and they do work
for those bands, and that’s more pure, but I
think the main thing I see is there is a much
larger volume of work being done. And
the majority of it, I’m not going to say
its false, but I don’t see that big of a
personal connection. Tey’re not
going out to the clubs and seeing
those bands on their frst tour
Rogue illustrator-turned toy designer, Frank Kozik has been an iconoclastic fgure in the world of
Rock & Roll poster art, known for his exceptional work with Nirvana, Pearl Jam, Soundgarden,
The Red Hot Chili Peppers and more. ABORT Magazine E.S. Day took the time to piss of Frank
by NOT discussing his current toy line and tries to bring him out of rock poster retirement for
a quick 21 & Under With….and we dig deep to fnd out about his latest drag car designs, Texas
B-B-Q and his love of Doom & Drone bands.
F to the K motherfuckers!
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E.S. Day: E.S Day here for ABORT Magazine, and we speaking with artist, illustrator, and
vinyl toy designer Frank Kozik, how are you sir?
Frank Kozik: Pretty good
ABORT: Good, we’re going to get right into this. Even though you’ve retired from the poster
scene, for quite some time, from the outside looking in, how has the poster-art scene changed
in your eyes? You’ve pointed a few things out in the current flm ‘American Architect’ how has
this changed for you, and are you getting a laugh out of the new generation of “Photoshop phonies”, so
to speak.
FK: Actually, there is an amazing spread of talent. Tere is of course, a million people doing ‘crap-work’...
I mean, there was back then, but it was crappy Xeroxes instead of crappy computer fles. I think there
is an enormous amount of activity and a lot of really good artists. Limitless actually. Too much
to really keep track of. Te diferences are now, what I’m seeing now, what people don’t
get nowadays when I was doing my posters, I wasn’t trying to be an
artist or a designer, or propel some personal agenda, I was part of
a music scene and business, and everything I did were really post-
ers for shows that were used on the street, and in stores, and as tour
promotion. It wasn’t like “I’m a designer I want to work in posters
because the music scene is cool and so I’ll do rock posters.” It was
the other way around. It was like commercial art.
I was doing it in the beginning because I was part of a really
vibrant local music scene. All my friends were in bands, I cant
play worth a shit, but I could make posters. People started
paying me money to do it, and that was fucking awesome.
Te big diference now, is that 99% of what I see is peo-
ple that are working in the gig poster scene as part
of an agenda. Tey all want to be designers, make
money, and a lot of them go to school for it. I’m
not saying that’s bad, it’s just diferent.
Now there is a few cats that are really obsessed
with certain kinds of bands and they do work
for those bands, and that’s more pure, but I
think the main thing I see is there is a much
larger volume of work being done. And
the majority of it, I’m not going to say
its false, but I don’t see that big of a
personal connection. Tey’re not
going out to the clubs and seeing
those bands on their frst tour
through and hooking up [with the band] You know what I’m saying?
ABORT: Yeah, defnitely.
FK: (cont.) Te Internet makes it a lot easier, you know, digital fle. Back then, it would take a fucking
week lay out a poster and you would have to alter it by hand. Tis process now, you sit down, bing
bang boom two hours you make a beautiful poster, email it somewhere, and you’ve made a poster.
ABORT: It’s a shame. I was going to say, its safe to say, that photoshop and the internet, as a whole,
seem to have ruined the vibrant allure that seem to have enticed people to own and value these prints
from back in the day, as you said its just not the same now.
FK: Te other thing that’s diferent, my stuf, is all kind of into the nineties, working with some of these
bands that got big. Ninety percent of what I did, I actually went to the show. I think that’s really changed
a lot too. Its diferent, but I’ve seen a lot of good work. It’s a mixed bag, overall thought; I think anything
creative that helps another creative scene is good. I’m into it.
I get ofers, for music work weekly, and some of it is for big pay cheques, and I always say no. I’m always
really straight with them, I don’t know your band, I’ve never heard your band, I don’t give a shit about
your band, you should fnd someone who is stoked to do it, because I’d would only be doing it for the
money. And that’s not right.
ABORT: Speaking of the new school, the new breed of artists, who is your current favorite artist, your
recommendation that we should be looking at for an up-and-comer that has maybe caught your eye?
FK: Some of the people I think are doing some really cool stuf that are doing music posters, I really like
this crew called Print Mafa. Teir shit is nice and raw, they have great sensibilities, the stuf they do suits
the band that they do it for. Tey do silk-screening, and they really take advantage of it to make their work
look better. I have to say, I really dig their shit, and usually its pretty funny too. I’m into the raw edge of
the new hard bands. Not so much into the overly baroque; ‘oh look, it’s a like a butterfy’ that’s just really
pretty, but for me, its not a music poster.
ABORT: Speaking of American Architect I’m going to go backwards for a minute, have you seen the flm
now that it’s fnished?
FK: Yeah, I saw the flm, I thought it was entertaining, it was pretty good, Te Director, [Merle Becker]
did a good job on it. I think it makes the material accessible for someone who isn’t totally obsessed with
the stuf, unlike other documentaries that I have been involved with, that just speak to people in the know.
I think this flm is decently enough put together, and entertaining enough to reach outside of the core
nerd poster audience.
ABORT: What’s on the ‘FrankPod’ these days, what do you listen to?
FK: I still sort of listen to doom metal, let me open up the fucking player, and tell you what’s on the mix
right now. We’re talking; Electric Wizard, Sleep, Holy Mountain
ABORT: Oh! So the old school doom?
FK: (cont) Church of Misery from Japan. I listen to a lot of Ambient. Tere are a couple
channels on iTunes that play Ambient Drone music,
and I’ll occasionally bust out some Haggard, in the
car. Primarily it’s blues-based heavy slow rock stuf.
Rogue illustrator-turned toy designer, Frank Kozik has been an iconoclastic fgure in the world of
Rock & Roll poster art, known for his exceptional work with Nirvana, Pearl Jam, Soundgarden,
The Red Hot Chili Peppers and more. ABORT Magazine E.S. Day took the time to piss of Frank
by NOT discussing his current toy line and tries to bring him out of rock poster retirement for
a quick 21 & Under With….and we dig deep to fnd out about his latest drag car designs, Texas
B-B-Q and his love of Doom & Drone bands.
F to the K motherfuckers!
continued on page __
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ABORT: Is the music you listen to inspiring
some of what you’re currently doing, in the
last decade, the vinyl toys?
FK: No, not really, I really made a big efort
to have the toy designs having nothing to do
with my previous work, and it worked out re-
ally well. What’s interesting, at this point, I’ve
done way more designs and made way more
money, and have a much larger fan base for
the toys than I ever did for the rock stuf. Ev-
eryone likes the toys, the rock stuf was most-
ly white dudes who went to college.
ABORT: (laughs) Has there ever been a group
or band that you never got to work with, but
wanted to, that you would come out of retire-
ment for one day only, had they asked?
FK: No, because now they’re all old. If I could
have a time machine, sure, It would be fuck-
ing rad to do some early Black Flag stuf, or a
real Sex Pistols poster or something. Or like
1970’s Sabbath.
I defnitely think most musicians need to re-
tire once they start to get chubby.
ABORT: Any gallery shows, or conventions,
anything coming up that you may be plug-
ging your new line of toys at?
FK: I just wrapped up a nice gallery show
down in Los Angeles, at Billy Shire Fine Arts,
so I did just blow out all the stops and do a
bunch of big gallery stuf. For the rest of the
winter I’m going to concentrate more on the
commercial toys, and I’ll be doing a bunch
of advertising work for Dunlop guitar picks.
No rules, I can do whatever I want, Dunlop
just wants some really wild looking shit to put
into stores.
I’m also putting together a drag car, I’ve been
really heavy into motor sports these days,
putting together a competitive drag car.
ABORT: You mean designing the art on it?
FK: Building the actual car. I’ll be starting to
run my current car every weekend in Sacra-
mento, but the real drag car will hit the tracks
in 2010. Doing an altered wheel base nostal-
gia AFX factory type funny car.
ABORT: Do you miss Texas barbeque, having
lived in San Francisco since 1993.
FK: Yes. Te barbeque out here is fucking
ABORT: (laughs) Vegan Barbeque!
ABORT: Where can we fnd Frank Kozik on
the web?
FK: If people want to see my new stuf, they
should check out the Kid Robot site, and for
my older stuf, there is a really good archive
at expressobeans.com. Also, of course, gig-
ABORT: Tanks very much, I appreciate it
FK: Take it easy.
• Fkozik.com
• Frankkozik.net
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WHAT: Painter
WHERE: Los Angeles, California
WHEN: “Flesh and Blood” solo exhibition at
Bert Green Fine Art, March 10th through April
24th, 2010
WHY: Painting for me is exorcism. All the horror
and pain, the stuf that tears you apart or
inevitably kills you I give birth to on paper, wood
and canvas. Since this will be a washing away of
the last ten years with my next solo show, “Flesh
and Blood” along with the artwork, I chose to
destroy all my personal journals that documented
the pain I portrayed. The center piece to the
show of the same title “Flesh and Blood” will be
an installation of 300 vials of my fesh and blood
suspended over the journals on a metal frame
that form the shape of a prone human. The 30
journals, 220 pgs each, are open for the viewers
to destroy. The installation/performance piece
will be accompanied by 30 paintings of oils on
wood and paper.
Purchase /Commission/Info:
Scar Tissue
Mother Issues
Cigarrette Burns
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WHAT: Film Director, Photographer, Graphic
WHERE: Bogota, Colombia
WHY: I have a very strong interest in topics
such as pain, anxiety and other human
feelings assumed by society as “negative”.
These pictures were made as a pre-work of
a big project that was called “ Imago”. This
project was my graduation project in Visual
Arts, and it consists of 5 images. One of
these is the one called “The Ostrich”, were
I characterized myself, representing some
of the characters that were recurrent in my
dreams when I had a very advanced Anxiety
The image of “Bathory” was part of my interest
in famous women with dark characteristics,
it is also a self portrait were I represent the
bloody countess known also as Elizabeth
Bathory, a woman who believed that bathing
with young women’s blood will keep her young
and beautiful.
This line of work reiterates my interest in the
area of artistic experimentation in diferent
media such as photography, flm and graphic
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Te Ostrich
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WHAT: Digital Manipulation
WHERE: Edmonton, Alberta
WHEN: “Dirty Show” group exhibition, Detroit
WHY: I've always been compelled to express
myself in any medium I could get my hands
on. Carving, painting, photography, sculpting...
but fnally settled on a combination of them.
For example: I will create and paint a mask,
develop a costume, do a photo shoot and then
take other stock pictures I've shot, as well as
specifcally directed poses, and combine them
all digitally. The process can take weeks. Each
piece is a compilation of literally thousands of
digitally combined images. I draw my artistic
inspiration from my own personal nightmares
and the documented horrors committed in the
name of politics and religion.
Title: Arrival of 1095
Year: 2008
Medium: Extreme Digitial Photomanipulation
Size: 20x32 One
Title: Rise of N5N1
Year: 2009
Medium: Extreme Digitial Photomanipulation
Size: 20x30 Limited edition of 20
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Title: devils v8
Year: 2007
Medium: Extreme Digitial Photomanipulation
Size: 8x10 Limited edition of 20
16x20 Limited edition of 25
20x23 Limited edition of 25
Title: Hellclose
Year: 2008
Medium: Extreme Digitial Photomanipulation
Size: 20x32 Limited edition of 20
Title: Malleus Malefcarum
Year: 2009
Medium: Extreme Digitial Photomanipulation
Size: 8x10 Limited edition of 25
16x20 Limited edition of 25
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Title: devils v8
Year: 2007
Medium: Extreme Digitial Photomanipulation
Size: 8x10 Limited edition of 20
16x20 Limited edition of 25
20x23 Limited edition of 25
WHAT: Airbrush/Grafti artist
WHERE: London, England
WHEN: London T.V. Talk back
WHY: Shiz has been an artist since he was
a kid. He graduated from an art college in
France (George Sand), then moved to London
in 1998.
In 2006 he started working as a freelance
artist under the alias “Shiz” and designed
some T-shirts and sold them in Portobello
market, London. He soon realised that
customers were more interested in custom
painting than just clothes. So he learned
how to do airbrushing, grafti art and body
Since Portobello he has worked with other
famous Airbrush artists and grafti artists
in the U.K. and met some of the best in the
airbrushing world, who inspired him to always
progress and be a better artist.
Shiz works mainly by himself, but also with
other artists depending on the commission.
Shiz is always looking for new ways to paint
and to evolve.
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WHAT: Surrealist | Note: The entire collection
of paintings by Vincent Castiglia is created
exclusively in his own blood (which anhydrates
as iron oxide).
WHERE: New York, New York
WHEN: Last Rites Gallery – 2nd Annual
ì13th Hour exhibition, featuring Paul Booth,
David Stoupakis, Vincent Castiglia, Chet zar,
Genevive zacconi, Fred Harper, and many
more. October 24th- November 23rd. New
York, New York and at The Stephan Stucki
Gallery, January, 2010, zurich Switzerland –
Solo exhibition | ArtCommunications.ch
WHY: Making art was unavoidable. Its
been my salvation. What I’d felt inside my
whole life, the intensity with which I work
and experience the world needed a suitable
channel, and the creative process was just
this. There came a point when my subject
matter dictated to me the requirement for
my current medium. As I felt it, the circle
was not yet complete. I was on the verge of
making images that nearly touched what I felt
inside, but using the impersonal instruments
of pen, acrylics or oils just felt wrong, as if I
were lying or something. It felt like cutting
up a newspaper and pasting together other
people’s words to communicate my own
thoughts and feelings.
I needed a more direct connection with my
work, one that could not lie or be reproduced.
In this way, my connection to my medium was
inevitability, similar to a hemorrhage. The
pressure keeps building, and sooner or later
it fnds its own way of release. In a sense,
they’re not paintings, they are hemorrhages.
It’s an almost startling realization, even for
me to this day, to step back among the
body of work I’ve produced while in view,
and to comprehend that all of it, every inch
of that material, including the seven foot
tall paintings I’ve done, previously pumped
through my heart, my veins, and delivered
life to my fesh.
Gravity- 2006, 24x48-Collection-Gregg Allman
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Te Sleep- 2006, 55x82, Blood on Watercolor.
night live
With Djs: D-Rec, Stylust, Sichuan, and Abel





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night live
With Djs: D-Rec, Stylust, Sichuan, and Abel





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E.S. Day here for ABORT Magazine and we are sitting
here with legendary artist and album cover designer
Mr. Storm Thorgerson, how are you sir?
Storm Thorgerson: Fine thank you
Now you are here for an exhibit and it’s your frst time in
Canada, why did it take you so long to come to Canada and
why Vancouver?
ST: Well it was by chance really, why Canada? No particular
reason, I think I’m known all over the place whether its
Canada or America or South Africa, I mean we have done
exhibitions in Cape Town and Mexico City, Los Angeles,
Amsterdam and London of course.
Do you plan on hitting up any other cities while you are in
the country?
The Album cover may have died in the iTunes graveyard, as we are subjected to the
loss of the gatefold, the liner note and have been subjected to endure thumbnail
jpegs of our favorite artist’s CD covers. We go back in time for this ENKORE interview
with the legendary cover designer Storm Thorgerson, the man responsible for some
of the biggest covers in the world including acts like Pink Floyd, Led zeppelin and
ST: No just Vancouver, because we have to get back to work.
And what would the next project be?
ST: Well we have to fnish a project for a Pink Floyd box set
(currently in stores -Ed), which is very exciting for us and
hopefully will be exciting for Pink Floyd fans as well, and this
box set is all the original album as “mini-vinyls” as it were.
Pink Floyd is actually more active than you would think.
Yes even with all the solo stuf etc.
ST: Yes, now this box set also includes the mono versions
and the stereo versions, which are quite diferent, so if you
are a music cognoscenti and you’re keen on Pink Floyd then
its very interesting. It also contains unreleased material.
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Now your views on the apparent Led zeppelin reunion?
ST: Yes, I heard about that. I don’t have any inside knowledge
of this.
Have you been in touch with Jimmy Page or Robert Plant? What
if they approached you to do let’s say… the tour poster?
ST: Well, I am a working As far as the band, they know where
to fnd me. As far as I’m concerned the music is still good
and I would be happy to do it.
Do you still have the younger bands after you ? I see you
have Anthrax and Audioslave etc…
ST: Oh yes, even younger.
ST: Yes I have a Scottish band called Bify Clyro, excellent
band, truly excellent band.
ST: I believe they are on a subsidiary of Warner Bros. But I
don’t pay attention to labels
Yes, I don't blame you.
ST: Well actually the record label have been very co-operative,
so I better not say anything against them.
Someone, somewhere always
loves music whether it's a
policeman or a granny or a
ST: They are a great band a 3-piece band
Oh a 3-piece, you cannot go wrong with a trio – lots of
raw energy. Does that make a diferent as to what you
conceptualize in your read as far as the album art?
ST: No we always work the music whether its new like
Bify Clyro or if you back lets say Audioslave or Anthrax or
Phish, or even further back like Alan Parsons or Pink Floyd.,
Led zeppelin, it doesn’t really matter, it’s always about the
music. Music is one of the few things in life that is…great.
It's like color or trees or dolphins, it’s one of those things
that are always okay. Someone, somewhere always loves
music whether it's a policeman or a granny or a politician, it
could be in Bangladesh or Venezuela. To me it's a privilege to
work with music, but I could do with more money (laughs).
(laughs) take note people!
ST: No, not people – take note employers!, although some
bands are funny, Pink Floyd say they have been trying to
get rid of me for years!
(Laughs) Now you’ve mentioned South Africa.
ST: Yes, exhibitions.
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Yes, of course.
ST: I actually met Paul Simon 40 years ago, he
played at my girlfriends 21st birthday party, by
sheer coincidence– I didn't know him and he
also didn’t know Pink Floyd, who also played.
What a small world. Let me ask this, how about
a up and coming act who cannot aford your
services who lets day did not have the fnancial
ST: Well we have no fxed prices, so it depends
what it is. So each case is taken at face value.
Last thing, any advice for up and coming artists
who want to break into the business?
ST: Don’t do it! I have got enough trouble getting
a job as is, I don't want to have to fght you of
as well (laughs)
Get the hell out of his way kids!
ST: Yes get out of my stream, But seriously its not
a well-paying job fundamentally you have to love
design and you have to like music otherwise
you're screwed. If you want money be a real
estate agent.
Always a pleasure, thank you for your time, and I
am now going to walk out of here with a framed
print of Led zeppelin’s “Presence”…half price!
Both (Laughs)
Storm’s latest book Taken by Storm is available now
By E.S. Day
Photos by Mark Boucher
Abort 54 Abort 55 Abort 55
Both (Laughs)
Storm’s latest book Taken by Storm is available now
By E.S. Day
Photos by Mark Boucher
Abort 56 Abort 57
The release of “The Ones I Condemn” marks a rare return to form by Canadian Thrash Metal
legends Sacrifce, whose razor sharp riffs combined with Rob Urbinati’s piercing banshee shrieks
and bestial growls made for one of the most original and intense Metal styles ever created. After a
decade and a half of dormancy, they have proven their continued relevance with a work of deadly
accuracy and diabolic force. ABORT Magazine’s Dave McCallum spoke with singer/guitarist Rob
Urbinati on their reunion and future.
M A D E I N C A N A D A W I T H :
Abort 56 Abort 57 Abort 57
Dave McCallum: It’s been six-
teen years since the release of
“Apocalypse Inside”, and now
with the release of the new al-
bum “Te Ones I Condemn”, it
kind of begs the question, what
have you been up to and what
led up to the release of the new
Rob Urbinati: Well, we broke
up in ninety-three, and previ-
ous to that Gus our drummer
lef around nineteen-ninety.
Scott, our bass player, he lef
right before our last American
tour. So basically, it was Joe
Rico and myself, and we ended
up breaking the band up then.
Since then, you know, we all
played in bands and that, and
kinda did our own thing for a
while, but we were presented
with an ofer to play a reunion
show in Toronto in two thou-
sand-six, and we agreed to
it. It was difcult for us to do,
because we all live all over the
place, you know. But we did
get together and do it and we
were solely focused on doing
that one show. We had abso-
lutely no plans to do anything
else, we were really focused on
doing it, and basically that was
the beginning of the second
time around for us. You know,
it was a really creative time for
us afer that. It took a while to
write the album, obviously, but
we just kept coming up with re-
ally great ideas.
ABORT: Your lyrics have al-
ways dealt with themes of death
and warfare, and back in the
nineties the whole thrash scene
was ofen portrayed as being
this really negative music, what
with the PMRC and all, and be-
fore Gangster Rap came out it
was like Trash and Heavy Met-
al were like public enemy num-
ber one! For people that were
into the music, there were a lot
of heavy political references and
such, and this era defnitely has
plenty of that material. Do you
feel like you consciously stay on
top of politics and refect that in
you music?
Rob: Well I do, but it’s got
nothing to do with being “for
the music” or whatever. I like
to follow world politics main-
ly, but I’m not really thinking
about lyrics or anything like
that, especially at this stage in
my life, you know. I still read
the newspaper, I’m kind of a
news junkie, so I just keep up
that way.
ABORT: You’ve also been in-
spired a fair bit by Horror Mov-
ies, any current faves?
Rob: I just fnd with the Horror
genre, there’s not a lot of good
things coming out. I mean, I
don’t dig deep like I used to, but
there’s been some original stuf
that I’ve really enjoyed, like the
“Hostel” series I thought were a
really good idea, and the “Saw”
movies, although now it’s gone
on a bit too long! (laughs all
around). Tat kind of stuf I
can still enjoy, but if I want to
really watch a movie I’ll go back
and watch “Te Exorcist” or
“Te Shining” or “Te Omen”
or something, you know.
ABORT: Just as you were asked
to regroup for that 2006 show,
it seems a lot of classic 80’s and
90’s era Trash bands like your-
selves and say Death Angel for
example have recently reformed
and put out albums to great ac-
claim, do you feel like there is
a renewed and ongoing interest
in Trash of that era?
Rob: Yeah, I mean, it’s not
just a resurgence of all the old
Trash bands, I mean I’m sure
you’re aware that there’s a whole
bunch of new Trash bands
that have come out too. I can’t
really say why, other than that
maybe Metal has got so extreme
that people want to take a step
back, but still hear extremity
within the genre. I guess things
just go in cycles, and Trash is it
right now, whatever the reason.
ABORT: Also back in that era
there was a huge divide between
Trash bands and Hardcore,
Power Metal or whatever, and
nowadays a lot of these bands
are grouped together as being
bands of the same era. Do you
feel like there’s less distinction
between genres now with a re-
newed interest in bands from
that golder era?
Rob: Not really, but it is kind of
odd that way. You know, when
Sepultura came out they were
considered a Death Metal band,
and now I guess people con-
sider them a Trash band, for
the most part. As far as play-
ing with other bands, we’ve al-
ways played with pretty diverse
bands. When we frst started,
there was no “Trash” scene,
we didn’t even call it Trash
yet, I don’t think. But we didn’t
really ft in playing with, you
know, “regular” Metal bands,
so we started playing with
Punk bands, you know, Hard-
core bands. We seemed to ft
in better there, ‘cause there’s the
speed and aggression there.
ABORT: Back in the day, mem-
bers of Testament and Death
Angel both admitted that their
guilty musical pleasures includ-
ed Madonna and Janet Jackson,
any guilty pop music pleasures
that you would admit to?
Rob: Umm..honestly no,
and I’m not just saying that!
(laughs) I mean, I fnd what I
need within the metal genre, if
I want to listen to pop music I’ll
put on some Soilwork or some-
thing! (laughs).
ABORT: Do you think that
there will be another album
with the original lineup?
Rob: Well, when we got to-
gether for this album, like I said
at frst it was just a show, and
then the album came together
and exceeded our expectations
of how good it could be. So if
there were to be another album,
it would also have to meet the
same high standards we’d set
with the last one. Maybe we
have it in us, maybe we don’t,
but I’m not really thinking of it
right now. At some point we’ll
start writing again and we’ll see
how it goes.
ABORT: On a fnal note, I in-
terviewed Sam Dunn, who di-
rected “Metal: A Headbangers
Journey”, and asked him who he
thought the greatest Canadian
Metal band of all time was...and
he said Sacrifce!
Rob: Tat’s awesome! I mean,
I see Sam all the time, and I’ve
told him that “Headbangers
Journey” is the best Metal mov-
ie of all time, so...I haven’t seen
“Global Metal” yet though.
ABORT: Well, thanks so much,
speaking as an Old School fan,
it’s been an honour.
Rob: Tanks man!
Abort 58 Abort 59
The Rickshaw
Theatre, Where
A Music Scene
Isn’t Dying
Can Vancouver’s newest live venue escape a fate worse
than death?
It probably wouldn’t have been long, until Vancouver’s under-
ground music scene could have been referred to as a buried music
scene; at the rate alternative music venues and supporters have
been withdrawing. Luckily, a breath of life has been CPR’d into
Vancouver’s music scene by one of its newest live performance
venues, the Rickshaw Theatre.
Affordable ticket prices to established and talented local bands
playing loud, experimental music is enough incentive for fans
to dare explore the most gritty, underground venues. Rickshaw’s
promoter, Malice Livet, is working with Rickshaw’s developer,
David Duprey, to bring that rebelliousness to a technologically
sophisticated and community orientated venue. Livet explains “I’m
doing an all-local new years. I love the local shows. My thing has
always been giving these local artists a platform to play. The new
year’s show is so awesome because it’s for local bands and they’re
all going to work hard.”
The Rickshaw’s elevated seats enable audiences even in the back
row, of the 500 seat capacity, or the upper balcony’s corners; to
have a clear view of the performers. But why sit when you can
stand? There’s an open foor right in front of the stage large enough
for 200 people. Plus, its ample acoustics, sound systems and array
of lights have been praised by critics and fans.
It took massive amounts of hard work and time for Duprey
to fnally get the Rickshaw Theatre. Livet says “Venues have
no chance to succeed how the laws are set up. You can’t
open a new venue if you want to have liquor. If you want to
go all ages, you can’t get occupancy. It’s a constant battle
with the city.” Vancouver’s Granville Entertainment District
is the city’s popular night club strip. Promoters working
within the GED, by comparison, have no trouble getting
liquor licences and extended service hours past midnight.
But attempting to herd the city’s youth and police power has
its drawbacks. “People who really want to be involved in
the music scene and want to get involved in the community
aren’t going to do that on Granville Street.” Says Livet.
Densixx Entertainment’s, Bryan Somerville, a promoter for
the Rickshaw, comments on the Granville nightclubs’ lack
of genre diversity; “We all know the owners of clubs gear
the money and promotions to dance and disco. For sure,
they’re paying their rent with that so they don’t care much
about the live shows.” Babalon Entertainment’s, Jessica
Keller, another one of Rickshaw’s promoters says, “There is
not much support for music, it’s more support for money.”
For Vancouver’s alternative culture the Rickshaw Theatre is
a godsend, compensating for great venues that are closing
down. Concert-goers are still talking about the disap-
pointing loss of Richards On Richards, one of the most
popular and revered nightclubs in Vancouver. Its owner,
Francesco Aquilini, the same tight collared suit who owns
the Canucks [Vancouver’s NHL team], is demolishing
Richards to make way for condominiums.
Vancouver is defnitely running out of venues quick when
the city’s favourite dive, Funky Winkerbean’s Pub, is letting
metal bands perform. Pitchers are $9 and its location is on
the doorstep of Vancouver eastside red light district. Its
reputation aside, the Olio Festival of music, art and comics,
passed through Winkerbean’s for a couple nights [in August
09] and received good reviews.
If you’re a concert fanatic in Vancouver, with facial
piercings and a hand sewn Slayer patch on your jacket,
than you may have known the best place to hear the most
extreme live shows in Vancouver, was at The Cobalt! Fans
praised the infamous bar notoriously as a pivotal haven
for Vancouver’s hardcore fans and bands. But why would
its manager, Wendythirteen, be abruptly pulled aside and
given an eviction notice [in July 09’] in the middle of a
Abort 58 Abort 59 Abort 59
raging show?
Well, for the frst time in ten years: the cobalt was getting
noise complaints and its landlords claimed it wasn’t making
enough use of its liquor license even though Wendythirteen
claims the bands, plus the atmosphere, always brought a
crowd. But the biggest party in Vancouver history, the 2010
winter Olympics, is also a suspected component. And the
concern stretches further than The Cobalt. Somerville says,
“There is some confusion regarding the Olympics right
now and what is going to be allowed.” Keller adds, “We’re
not sure if we [the Rickshaw] will actually be open, since
Hastings is an Olympic road.”
Since Vancouver was awarded the 2010 winter Olympic
games in 2003 there has been pre-Olympic “economic
cleansing” activity. Hotels and [potential performance
venues] have been closing down all over the city’s Olympic
zone from health inspectors fnding offences and not
bothering to issue fnes. Organizations like the Anti Poverty
Committee, the Downtown Eastside Residence Association
and Pivot Legal Society have their own opinions about the
closers; to put it short: the city is helping developers to
legally claim these properties where rundown buildings
and the lower-income citizens congregate, so that they may
build hotels (to accommodate everyone attending in 2010).
Reports from homeless in the area, and residents of the
downtown eastside can support the theory. But regardless,
developers are buying-up much of the remaining vacant
space in downtown Vancouver that could have been venues
to showcase this city’s culture and arts.
So go check out your favourite spot for live music because
in Vancouver, it’s never certain how long it will last. With
the Rickshaw Theatre’s down to earth management keeping
things fresh, hopefully Vancouver’s new venue will defne
itself as a cultural refuge. Livet says, “With the Olympics...
I’m going to go all out. I decided today I’m just going
to book every day. It’s going to be local, it’s going to be
touring. We could go the way of other venues and turn
into a pub for those three weeks and not do live music, but
we’re going to do live music and just see what happens.”
By Brandon Siemens
Bryan Somerville
Jessica Keller
Abort 60 Abort 61
ABORT: As a non-drinker who’s very
involved with a party scene, do you
ever see shit in the crowd or even
your clique, among users of booze
and drugs, that makes you cringe or
feel like they’re not getting the point?
Brother Ali: I do, but I don’t think it’s
necessarily because of substance. Te
fact that I don’t do that stuf doesn’t
mean I judge people who do. I think
that those things, most of em- drink-
ing and weed and stuf like that- they
just kinda take certain parts of your
personality and turn them up. Tey
don’t change your personality, so
when you see somebody acting a
certain way because they’re drunk or
because they’re high, that’s a part of
who they are that being sober helps
them keep in a certain perspective.
So, I don’t judge people solely for be-
ing drunk or solely for being high. I
mean, if somebody’s being an asshole
that’s just part of who they are.
ABORT: From what (little) I’ve heard
of “US”, your new album, it sounds
like there’s a sunnier, more optimistic
side of things being portrayed
Brother Ali: You think so? Tere’s
songs on there about slavery and rape,
homophobia, divorce. But I hope the
ABORT Magazine’s Nigel Mojica happened upon Brother Ali in
the lobby of the Ramada on Pender in Vancouver, sunk down in
an armchair with a fever of 102 degrees. Notwithstanding his
condition, the underground rap icon had astute commentaries to
offer on everything from the current leadership of hip hop, to the
personal progression that’s led to his new album “US”.
“ Every time I’ve had the first punch I pret-
ty much always win, every time I don’t I
pretty much always lose, ‘cause I can’t see,
so I need that element of surprise”
- Brother Ali.
Abort 60 Abort 61 Abort 61
ABORT: As a non-drinker who’s very
involved with a party scene, do you
ever see shit in the crowd or even
your clique, among users of booze
and drugs, that makes you cringe or
feel like they’re not getting the point?
Brother Ali: I do, but I don’t think it’s
necessarily because of substance. Te
fact that I don’t do that stuf doesn’t
mean I judge people who do. I think
that those things, most of em- drink-
ing and weed and stuf like that- they
just kinda take certain parts of your
personality and turn them up. Tey
don’t change your personality, so
when you see somebody acting a
certain way because they’re drunk or
because they’re high, that’s a part of
who they are that being sober helps
them keep in a certain perspective.
So, I don’t judge people solely for be-
ing drunk or solely for being high. I
mean, if somebody’s being an asshole
that’s just part of who they are.
ABORT: From what (little) I’ve heard
of “US”, your new album, it sounds
like there’s a sunnier, more optimistic
side of things being portrayed
Brother Ali: You think so? Tere’s
songs on there about slavery and rape,
homophobia, divorce. But I hope the
outcome of those songs, the overall
message you carry away is positive.
ABORT: Ya, I guess I was thinking
more about the singles..
Brother Ali: Ya, “Us” and “Fresh Air”
are defnitely the happiest moments
ABORT: Would you say that songs
like these mark the emergence of a
new Ali? What with so much of the
stress of your previous albums being
about overcoming hardship..
Brother Ali: Well it doesn’t mean that
I’m happy go lucky now because, the
thing is, when I came out I was strug-
gling to survive, literally. It was that
way all the way up until “Undisputed
Truth” and really even the frst year of
Undisputed Truth being out. It wasn’t
really until this year that I’ve been able
to be a little bit more comfortable, but
even now I’m still not wealthy or any-
thing like that. But I can live. I feel like
for the next year or couple of years or
whatever, I’m gonna be ok. And that’s
the frst time I’ve ever had that feel-
ing. But once you get out of that situa-
tion you celebrate where you’re at, but
if you’re any kind of good person, it
makes you think automatically about
the people that you love that aren’t
there, and starting to want to have
some relief for them too. You don’t
want to come from difcult struggle
and see the good results of your strug-
gle and then just keep it for yourself.
ABORT: How does that take shape for
Brother Ali: Well that’s what this whole
album is about. I mean, in my person-
al life I try to help as much as I can,
try to do whatever I can for the people
around me, give them opportunities,
give them jobs, give money to causes I
believe in, do a lot of beneft work, but
that’s.. my personal business, y’know
what I mean? What I do in the mu-
sic is try to shed light on who these
people really are, because my audi-
ence may not be as familiar with them
as I am. And so I want to share their
story afer all these years of telling my
story. I get all these people that come
and say “I feel like that’s me in your
music; I feel like you’re talking about
me” and the fact is that they’re not al-
bino Muslim rappers from the Mid-
West, single dad, homeless, divorced.
Tat’s not their particular details, but
the feeling in the music, they connect
with that. I started thinking to myself,
“what if I could tell the story about
the people who are addicted to drugs
and the people who sell drugs, almost
out of necessity, and the people who
are going through all these diferent
things..” I’ve been really blessed and
fortunate to be embraced and ac-
cepted- and rejected - by every group
of people almost, and I’ve had some
closeness with a lot of diferent walks
of life and so, the idea with this album
is to talk about all of them in a way
that- just talk about my relationship
with them so that the details start to
not matter any more and everybody
just sees each other for the human
part of what they’re going through:
the pain, the struggle, the hurt, the
fear. And the love and the celebration,
and the joy, and all the above.
ABORT: Are there any groups of
people that give you an unexpected
response, either positive or negative?
Brother Ali: It’s never unexpected.
I feel like there’s three categories of
people. Tere’s people that really love
what I’m doing and those are the
people that i interact with. Tose are
people that talk to me on the inter-
net, those are the people that come to
my shows, that bump my music. And
then there’s people who either don’t
know or just don’t care about what
I’m doing, and they leave me alone
pretty well. And then there’s people
that just don’t get what I’m trying to
do, y’know, and they’re pretty much
restricted to the internet. And that’s
so comical to me.
ABORT: Tey lookin at you sideways?

Brother Ali: Yeah. I hear or read a lot
of things on the internet that no one’s
ever said to me, with very few excep-
tions. Like, I wish people would say,
“why are you doing that?” or “why
did you do this?” ‘cause I could prol-
ly clear it up for them. I think every
time you’re a leader, you know, be-
ing a leader, the defnition of it is not
following what other people want
you to do or doing what your heart
tells you to do. And so, that’s not al-
ways the most common thing in any
area of life and the things I’m doing
haven’t always been done before. So
people don’t always know how to re-
act to it and people feel very defensive
sometimes. I made “Uncle Sam God-
damn” and it got characterized as this
anti-American song and it’s really not.
It’s really me saying I love this coun-
try so much that I want it to be what
it’s supposed to be and the reality is
that we’re not there yet. We’ve never
been and we’re not their now. I did
ABORT Magazine’s Nigel Mojica happened upon Brother Ali in
the lobby of the Ramada on Pender in Vancouver, sunk down in
an armchair with a fever of 102 degrees. Notwithstanding his
condition, the underground rap icon had astute commentaries to
offer on everything from the current leadership of hip hop, to the
personal progression that’s led to his new album “US”.
“ Every time I’ve had the first punch I pret-
ty much always win, every time I don’t I
pretty much always lose, ‘cause I can’t see,
so I need that element of surprise”
- Brother Ali.
Abort 62 Abort 63
Brother Ali: To me it’s about
being a leader. Te word “pro-
gressive” kinda gets thrown
around, so there people who
you wouldn’t think of as being
progressive, but they are leaders
in the sense that they’re saying
what’s real, y’know what I mean.
In a strange way, some of these
ultra-gangster dudes are leaders
because they’re talking about
what’s real. In the same way
I think that Murs is a leader, I
think Slug is a leader. I think a
lot of the people in the under-
ground are leaders and that’s
why we’re in the underground.
Y’know, obviously Dead Prez,
Immortal Technique- these
are all friends of mine that I’m
naming so I’m a little biased.
Boots Riley from Te Coup,
Saul Williams, Sage Francis..
you know, but I also think Jay-Z
is a leader. Jay-Z is probably the
president, the Barack Obama
of rap, and he’s leading us very
well. It’s easy to criticize some-
body when they’re in uncharted
territory and wish they would
do other things. Tat’s the situ-
ation with Barack and that’s the
situation with Jay-Z. But I sup-
port both them dudes for what
they’re trying to do. Te fact
that they haven’t changed the
world yet- and they each have
- but the fact that they haven’t
completely changed everyrth-
ing around them doesn’t say
anything other than people
aren’t choosing to follow them
where they’re going. But if it
wasn’t for Jay-Z, what would
mainstream rap be like? Jay-Z
is there to keep those guys lyri-
cal. In their mind, they’re being
lyrical to keep up with Jay-Z. To
us they’re not lyrical, because
we know all about Pharoahe
Monch and Rakim and stuf like
that. In their mind, they’d all be
following Soulja Boy if it wasn’t
for Jay-Z. If it wasn’t for Kanye
West their music would be less
creative. If it wasn’t for 50 they
would have less allegiance to
the streets than they do - which
in my mind are all important
things. Te raw truth of what’s
going on in the neighborhood
needs to be to talked about, we
need to keep some kind of fo-
cus on lyricism, and we need
to keep some kind of focus on
creativity in the music, and if it
wasn’t for those dudes being the
leaders, we’d be in pretty bad
shape. Same thing with the un-
derground, people take shots at
Slug ‘cause he’s the leader in the
underground. Tere’s no other..
you can’t tell me anything dif-
ferent. I’ve been around every-
body and I’ve seen everybody’s
interaction with their fans and
Slug is the undeniable leader
of this movement in music. An
people take shots, but imagine
if he wasn’t here; imagine what
it would be like. Tis allegiance
to old school principles that
Slug and Ant
bring to what
they do. If they
weren’t the
leaders of this,
these “back-
pack” dudes
would have no
connection to
the original
hip-hop in any
early work re-
fects a hun-
ger to be the
best and your
structure was
at a new level for it’s time. Your
more recent albums seem more
oriented towards painting the
most honest picture of your
subject matter. What’s changed?
Brother Ali: My goal now is to
not impress people, but to ex-
press.. that’s a rap line, “express
me, not impress you”. Yeah,
there you go, bars, always bars.
But I’m sayin, I don’t need to
prove to anybody, I’m done try-
ing to prove to people that I’m
hip-hop and I’m just trying to
express what’s inside me and
shape the way that I view the
ABORT: Can I ask you a per-
sonal question?
Brother Ali: Yeah
ABORT: Have you had to hit
anyone since “Dorian”?
Brother Ali: I didn’t have to
but.. I did. But that’s something
that I sorta made a commit-
ment with myself not to do any-
more. Tat’s a defense mecha-
nism that I learned from being
and albino and being a target in
school. Part of being an albino
is that you can’t see very well, so
if I didn’t have the frst punch in
a fght, I lose. Historically, every
time I’ve had the frst punch I
pretty much always win, every
time I don’t I pretty much al-
ways lose, ‘cause I can’t see, so
I need that element of surprise.
When I was frst on tour, and
not understanding where peo-
ple were at socially, if I thought
there was gonna be a fght, I
just punched you. I used to be
a much more defensive person,
and this music and this new life
and just getting older and hav-
ing kids and falling in love and
all that kind of stuf has made
me more understanding and
not as reactionary as I used to
be. So it’s been a long time, but
there were a couple afer that. I
used to really feel like, if a white
person said the “N” word it was
my job to..
ABORT: Set it straight?
Brother Ali: Yeah. And then
these people who are new to
rap, they don’t really under-
stand everything behind that,
and so they’d say it and I’d punch
them and it just got kinda ugly.
I started to get a reputation for
it, which is not something that I
want.. It’s been years and years
now. I used to have these wrist-
bands. One was NBA and the
other one was NFL, and to me
the NFL was “Fights in Life”, no
fghts for the rest of my life, and
NBA was “Never Broke Again”,
and I used to wear them on the
second tour I was on. Te frst
tour was God Loves Ugly with
Atmosphere. 3 months. First
time outside of my neighbor-
hood, you know what I mean?
3 months on the road, huge
shows... just not knowing how
to interact with these people. So
the second tour I went on was
Seven’s Travels, which was the
same tour again a year later and
I bought those two wristbands..
ABORT: Brother Ali, thank you
so much for talking to us!
Brother Ali: Tank you, appre-
ciate it.
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from the
from the
Photography By- Jamie Sands
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from the
from the
Photography By- Chris Webber
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ollowing a 3 year hiatus from touring which saw Devin rack up some
serious production credits, quit smoking and drinking and do a fairly
serious overhaul on his musical direction, he’s back and wasting no time.
Straight out the gate with the new Devin Townsend Project, he’s on the musical
warpath again this time with a four-part series. ABORT Magazine’s Alxs Ness
sat down with Devin to discuss his upcoming release Addicted, his experience
behind the boards and his views on the music industry.
with Devin Townsend
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Alxs Ness: You’re currently working on completing the
last half of your four part series for the Devin Townsend
Project. Can you tell us where you’re at in that right
DT: Well, like I say about 2 years ago I wrote a series of
records that kind of documented this period of personal
change, you know, a lot of things happened at one time – I
quit the band, had a baby, quit smoking pot and drinking
booze and everything- and so it’s been 3 years of just
basically cleaning my head out. During that time, the
process, the way I write music tends to be pretty cathartic
so whatever’s currently the state of my life always ends
up translating some way or another into the music and
so that personal period of time ended up being 60-some-
odd songs, 40 of which were worth listening to and 4 very
distinct styles. So the chronology of the records end up
illustrating that period and the second one’s just fnished
and working on the third one.
You’re in the recording process right now for
DT: Yeah. I mean my process is a little convoluted because
I’ve got a home studio; I start with a demo and that
eventually ends up being the fnal session. So from moment
one it’s kind of in the process and I’ve got so many songs
that I’ve been working on that this whole thing seems to
be just the ongoing thing. I’ve got so many records that
I’ve done that here’s the next one right? (Laughs)
I know you’ve been saying for each album you have a
distinct band- a different group of musicians for each
one- I was wondering, how does that work? Are they
bringing something to the table as well or do you have
it mapped out beforehand, how it’s going to go?
DT: There’s wiggle room but there’s certain elements
of it that have no wiggle room because they ultimately
afect the albums later on. For example there’s certain
parts [where] it’s not going to bother the structure if
the drummer has his way with the flls or the bass player
plays it up an octave or whatever. For the most part I’ve
got really solid vision of what I want and without trying
to be a total Nazi about it I tend to, you know…. If I fnd
that my personal relationships sufer because an album
needs to be a really specifc way I tend to just do it all
myself. More then anything else the reason why I do involve
so many diferent people is that it allows me to engage
in a social life that I might otherwise not have because
all I do is work. Having a ton of musicians in my world is
really cool.
About doing the producing thing, have you had any time
to do that lately or are you just completely focused on
doing your own project right now?
DT: Well, while I was sobering up there –not that I ever had a
nasty, nasty drug problem: just lots of weed- but while I was
getting rid of that, I realized there was a real subtle but real
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profound shift that happened internally for me and during that
time I had found that my writing process was so heavily invested
in smoking that it took me two years to actually rediscover that it
isn’t so heavily invested in drugs that I can’t do it without it. In fact
now that I’m clear, my focus is better than it’s ever been. During
that time when I was clearing it out I did a bunch of productions.
I produced a lot of bands. Most of it was heavy music and I enjoy
it. The only thing is its like, I’ve got a 3 year olwd kid and that’s
hard as hell for anybody and so babysitting 21 year old kids
doesn’t do anything for me either in all honesty. I’m careening
towards 40 and I just don’t really have the time, patience
or inclination to hold people’s hands throughout whatever
personal dramas are involved in inter-band relationships.
Just bring the shotgun with you for the next one.
DT: I’m not a really forward dude when it comes to asserting
myself I’m just kinda like “you guys go outside and beat
each other up and then when you’re fnished we’ll track
that bass part, alright?” (Laughs)
So you’re saying it was more of a transition thing for
you to do producing?
DT: Oh yeah, I mean you gotta make a living right? Really,
I ‘m qualifed to do little else other than music. I mean I
can lift things… I found that I could make a better living by
holding some bands’ hands. There’s some bands I worked
You guys go outside and beat
each other up and then when
you’re finished we’ll track that
bass part, alright?

with that were great. But than like anything I worked with
some bands that were really annoying.
Do you have some bands lined up now? Are you still
open to doing this?
DT: I’m open to mixing. I mix a lot of stuf for people. I
mix for a label called Solid State; I did a couple things
for them lately. I try to book myself so heavily with my
own music that there would just be no opportunity for
anything else.
It just kinda worked out that way.
DT: Yeah. It “worked” out that way. I mean I love working.
I love making music. I’ve got so much in my head in terms
of material that really it’s simple enough for me to just
sit here [points to sound board] and just start and then
a month later it’d be done. As long as I’ve got a place to
pee and something to eat, I’m good.
Is there any kind of obscure equipment that you enjoy
using for mixing or tracking?
DT: No, it’s what I can aford. I’ve got a C24 which is a
nosebleed version of this [points to sound board] so I’m
much happier to sit in front of this because this is the
goal. Other than that I’ve got a rack full of fancy outboard
gear that’s got tubes and shiny lights and things but
really, I made a record a few years ago called ziltoid and
for that I used a DigiO2 that cost me $1000, I used a pod
that cost me $200 and I used a drum machine. Really,
if I have the inclination to make music, I’ll fnd a way to
make it right. If I got better gear it’ll sound better, but if I
don’t, I don’t. It doesn’t really matter. Honestly I think like
when I did the ziltoid record, the principal behind making
it with such minimal gear was to prove a point in a way;
at least to myself. A lot of people [say] I can’t record
unless I have a Vintec 6176 replicated blah blah blah with
toast and dip kerfufebufers or whatever and I’m just
kind of like it’s about the music. If I don’t get the music
out it’s just going to rot and then I don’t get to do the
next stuf. It’s not like “well in the future I choose to do
this and this is my goal.” This year is bringing diferent
inspiration than last year and this is what’s coming out;
sometimes it’s mellow, sometimes it’s heavy, sometimes
it’s weird, sometimes it’s good, sometimes it’s bad. As
long as I have the opportunity to get it out then I’m happy.
Through the years I’ve recorded at the Armoury and the
Warehouse in LA, in Japan and all these places but I’ve
also had a 4-track recorder that I did a bunch of stuf on.
It doesn’t matter.
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What about vocal mics?
DT: An SM 7 I use, it’s like a 58. It’s like the SM 58’s big
brother. They’re about $550 but you can’t break them up.
If you’re doing heavy, heavy vocals, it doesn’t distort, it
just gets cooler sounding. Then for clean vocals I’ve tried
a lot of mics but the one that always works for me is the
AKG 414. But you can break those up if you’re too loud
so just one in one hand, one in the other.
As far as the music industry goes, what do you think
about 360 record deals and do you think that’s had an
effect on producers?
DT: Well here’s my view on downloading and 360s: basically,
I think music. I don’t really have an option. When I try and
stop it just backs up and then when I go again I have too
much and no time for family. I think music. I’m incredibly
luck to be able to do it, let alone for a living, you know
what I mean. I think with that in mind, if someone’s going
to put your records out in this climate, they need money.
Everybody needs money. In terms of downloading… people
are always just like “Oh my god, it’s stealing.” You know
what, at the end of the day, I would much rather somebody
download the stuf and realize they don’t like it then spend
$12 and hold me accountable for it. Also, I’m trying just
to get my name out. I don’t make a lot of money but I
make enough money to live and that’s awesome. Maybe
my aspirations aren’t high enough but I’m happy if I can
just keep doing what I do and downloading seems to get
the word out. (Laughs) In terms of 360 deals… it’s always
an option to put it out yourself. I’ve got my own label, it’s
called HevyDevy records and we license to a bunch of
people but they’re all non-exclusive so I’ve got some deals
that are a bad deal and some deals that are an awesome
deal and basically one promotes the other so it doesn’t
really matter to me I guess.
So you’re kind of separated from that side in a certain
DT: Emotionally. We’d all love to have a million dollars but
at the end of the day again, if I can use that phrase over
and over, as long as everybody’s eating and I got a kid and
he’s happy. I’ve been married for 20 years and we’ve got
a good relationship and we’ve got a house. We’ve got a
lease on a Toyota Echo and all is well. There’s people who
are living in boxes.
How did the E1 thing come together?
DT: The funny thing about Canada is I’ve never had… this
might be the 5th interview I’ve ever done in Canada. Really.
Look, I’ve got this (shows Canada tattoo on leg). Here’s
something for you (Laughs). I like being Canadian, I love
Canada but I worked with Steve Vai when I was 19 and I
think when I moved to L.A all of a sudden there’s a scene
in Canada that doesn’t really exist outside of Canada. I
appreciate that because it supports itself but at the same
time I’ve never felt really invited into the “club.” That’s
cool. That’s cool. E1- I’ve got a manager in Washington,
D.C and he set it up. I talked to Eric at E1, he’s awesome.
He’s a great guy. Again because I’m Canadian I’d love to
make some sort of a statement in Canada but at the same
time you go where you’re wanted. It’s not like going with
your tail between your legs because all my best friends
are from Canada it doesn’t really matter.
You do what you gotta do.
DT: You do what you gotta do. You gotta feed the family
and if Canada doesn’t want to have anything to do with
you then what are you going to do. Sulk? (Laughs)
That’s one option.
DT: Yeah I’ve been through it. No one listens after a
Allright well that’s all I’ve got for you now. Thanks for
your time.
DT: Thanks very much for the interview. Good luck guys.
I would much rather somebody
download the stuff and realize
they don’t like it then spend
$12 and hold me accountable
for it.?

Addicted is on Century Media and is currently available
worldwide. Check out HevyDevy. com to stay updated!
By Alxs Ness
Photos by Scott Alexander
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SenSe and SenSibility and Sea MonSterS
By Jane Austen and Ben H. Winters
Quirk Books
While Sense and Sensibility and Sea Monsters, the follow-up to 2009’s
wildly popular and nerdalicious Pride and Prejudice and zombies, seems
on the surface to simply be a thinly-veiled attempt by a publishing
company to cash in on a classic piece of public domain literature,
which it totally is, that does not change in any way the fact that it is
quite the literary triumph.
Sense and Sensibility and Sea Monsters follows the basic plot of
Austen’s Sense and Sensibility, which of course you, dear reader, have
wisely avoided due to its horrifc boringness. It chronicles the trials and
tribulations of the female members of the Dashwood family (the mother
Mrs. Dashwood and her daughters Elinor, Marianne, and Margaret)
in Regency-era England as they are deprived of the comfortable life
promised to them with the dying breath of the late Mr. Dashwood by
Mr. Dashwood’s son from a previous marriage, Mr. John Dashwood, and
his vulturesque wife Fanny.
The ladies Dashwood eventually come to reside with a distant relative,
Sir John Middleton, as well as his wife and family and the various
members of his social circle who live near the Dashwoods’ small home
on Pestilent Isle, of the Devonshire coast. Intrigue, as one can imagine,
swirls constantly as the girls face the assails of love, loss, rejection,
betrayal, and adventure. The only diference, really, between Sense and
Sensibility and Sea Monsters and the original is that it takes place in
an alternate reality where the world is overrun by fucking sea monsters
bent on destroying the human race. Writer Ben H. Winters weaves
plot points such as The Devonshire Fang-Beast, Sub-Marine Station
Beta, and giant hyper-intelligent lobsters together so seamlessly with
whatever tedious crap was in the original that one has a hard time
telling his additions apart from the initial prose.
Amid the churning chaos of the Alteration, as the characters refer
to their monster-flled state of afairs, the youthful, pretty Marianne
is courted by both the swashbuckling Willoughby and the facially
deformed Colonel Brandon. At the same time the elder, prudent
Elinor tries to fgure out the meaning of her relationship with the
shy, awkward Edward Ferrars as all the while the ominous secrets of
the Alteration and Pestilent Isle slowly rear their ugly heads. In an
age where originality seems to be dwindling faster than our supply of
oil and naturally-breasted porn stars, Sense and Sensibility and Sea
Monsters combines violence, gore, and dark humour with Austen’s
beautiful (if wearing) writing in a way that while not truly original at
least tries and comes pretty close.
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art by tattooiStS: beyond FlaSh
By Jo Waterhouse
Laurence King Publishing
Throughout the last decade the world of tattoo art and culture has
exploded straight through the veins of popular mainstream. Television
shows like Miami/LA Ink and clothing lines inspired by the art of vintage
tattooist (Sailor Jerry, Ed Hardy) have helped the masses take a deeper
look into an art form that some may consider ‘Low Brow’. While most of
the twenty-six artists featured in this book take direct infuence from
their profession they all feel more freedom to express when working
on canvas. The result of this freedom is 124 pages of extraordinary art
ranging in themes from traditional fash to abstract imagery.
Guy Aitchison describes his work as “Concrete Abstraction. The notion
of an impossible thing that is nonetheless presented in a believable
way”. His medium is mostly oil and acrylic on canvas. Aitchinson
possesses a strong eye popping style and an interesting use of colors to
create and abstract piece with intertwined imagery that seems familiar.
Technically, this guy is is a genius and with his wide popularity in the
tattoo community, his canvas work is no doubt in high as a demand
as his body work.
Dalmiro covers illustration board with bold lines, powerful color contrasts
and a perfect harmony of typical tattoo imagery with a deeper, darker
fnish while art by Angelique Houtkamp and Carnie Marnie draw a more
obvious inspiration from characters of classic tattoo art.
The art of Gillian Goldstein and Cody Meyer are the most outstanding
pieces this book has to ofer. Goldstein takes religious and female
fgures and delivers them to paper with impeccable detail and soft fnish
(check out her piece titled ‘Mother’) while Meyers has a bolder approach
in his line work combined with an obvious Japanese infuence.
From skin to canvas these artists featured within, truly break the
barriers of being just a tattooist. Art delivered from professionals
who are given the freedom to create what they feel, this book is an
epic collection of pieces that should make these artists a proud part
of the ‘Low Brow’ community.
By Kassandra Guagliardi
lickShot: a Photo ScraPbook
By Ben Watts
Princeton Architectural Press
Clichéd literary critic types expound upon the latest trendy tomes
as being “a page turner” or “impossible to put down.” Schlepping
through some of these grandiose examples of “compulsive reading”
can involve putting your life on hold for days at a time for a payof as
potentially exciting as cleaning the fridge. Finally, photographer Ben
Watts presents an alternative to literary bullshit with his latest opus
entitled Lickshot: A Photo Scrapbook. This book of photographs will
draw you in and defy any attempt you make to put it down without frst
looking at each and every page. This isn’t a threat, this is a promise!
When Ben Watts isn’t shooting advertising campaigns for Nike, Kodak
and Sony Music or contributing to magazines like GQ, Interview, Rolling
Stone or VIBE, (hey, we all need a day job), he’s capturing the likes of
Heath Ledger, Mary J. Blige, Benicio del Toro, Tom Waits, B. B. King, Guy
Pearce, Lance Armstrong, Lou Reed and Jay-z (to name only a few) in
both contrived and candid shots and assembling them into what can
only be called a paparazzo’s wet dream. Ben cuts a wide swath with
Lickshot and brings together some unlikely subject matter in this
beautiful ode to modern imagery and celebrity worship. Whether its
Kevin Bacon after too many beers or Nelly humping a ghetto blaster,
no one is safe from the ever capturing eye of Ben Watts.
Cool cars, cool grills, cool clothes and cool people is what this book
is all about and not one of Ben’s pictures misses the mark. Ben is
either a gifted photographer or he takes more pictures than you do
in a lifetime to come up with so many quality shots. Also included is
an interview conducted by Ingrid Sischy, (editor in chief of Interview
Magazine) with Ben that sheds some light on his life and work.
Pick it up, but be warned! Lickshot: A Photo Scrapbook truly is
impossible to put down.
By Grimm “Say Money” Culhane
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Marijuana iS SaFer So Why
are We driving PeoPle to drink
By Steve Fox, Paul Armentano, Mason Tvert
Chelsea Green Publishing
Weed activism has gotten much simpler thanks to Marijuana is Safer. Contains
everything a budding activist will need to get started in doing their part to end pot
prohibition. From knowledge to implementation. Unlike previous eforts at debunking
marijuana myths, Marijuana is Safer adds one element previously missing from
the doobie legalization debate.
Alcohol. By making a comparison to booze, the authors’ easily make their points
on why weed should be legal. Police concede, according to the forward written by
former Seattle police chief Norm Stamper, Friday and Saturday night drunks are
the cause of most of their problems. Not pot. Domestic disputes usually are the
result of one or both partners drinking. In the UK, some 70 per cent of emergency
room hospital visits on Friday and Saturday are from drinking at the pub. Thankfully
Marijuana is Safer is an easy to read 181 pages. Don’t think college-cannabis text
book.It’s simple to pick up and read in any order. From front to back to middle to
end. On the toilet or between bong rips. Complete with notes and index to easily
fnd information when debating a prohibitionist or calling into an afternoon radio
show to speak about legalization.
Broken up into three simple to read sections. Section One The Choice: Marijuana
vs Alcohol sets the historical tone and provides a primer on pot. Laying down
good ganja groundwork. Section Two Choice, Interrupted doesn’t get fascinating
until page 74. Though the historical info on jazz and joints will be interesting to
those who didn’t know pot prohibition came about to control jazz musicians and
Mexicans. The chapter ends well by wondering aloud how society is driving us to
drink. Demonstrating how athletes Micheal Phelps, Santonio Holmes, Kevin Faulk
and most famously Ricky Williams are punished when caught publicly pufng pot,
but could be drunk dicks at a party without punishment. Or how regular Americans
can show up to work hungover, but with a little remnants of Friday night cannabis
session still in their body fat, will result in a job loss. Should their employer opt
to do drug testing.
Chapter Three Freedom of Choice is the knockout blow to prohibitionists’ arguments.
If the frst 100 pages haven’t convinced them. From Theory to Practice is where
the real gems are for me. Once loaded up with knowledge spreading it to friends
and family is the frst step in creating change. The authors slowly chipped away at
cannabis prohibition in their Colorado community by creating debate. Convincing
people marijuana is less harmful than booze.
Marijuana is Safer is an excellent toker training manual. Arming activists with
knowledge, then ideas on how to tackle prohibition in their community.
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DVD Review – Flyin’ Cut Sleeves
Directed by Rita Fecher & Harry Chalfant
For everyone who has marveled at the intricacies of early 70’s
NYC gang culture, and wondered just how true to life such
pre-Hip Hop shock action ficks like “The Warriors” really
are, this is the hard edged testament to a time long buried
beneath wave after wave of street culture, with ever increasing
armament. This hearkens back to an era of baseball bats and
lead pipes, of hand painted “colours” on denim and leather, of
funk, rock and heavy metal, before there was money in crime,
which means essentially pre-crack.
Co-Producer Rita Fecher taught in the poverty stricken schools
of the South Bronx from the late 60’s into the 70’s, becoming
almost a family member to many of the kids who went on
to become the most deeply involved in gang activity – and
family is the operative word, for that is exactly the slang used
for these collectives. Lacking support and discipline at home,
these youths turned to each other, and with many of their
leaders being veterans already, the structure became essentially
military. Yet even though most initiations involved “jumping
in”, or getting beaten on by all other members, many gangs
went on to become organs of community support, infuenced
frst by the Black Panthers and Latin Kings, and then by the
Young Lords, whose constant presence on the block is likened
by one observer to a host of Native Americans constantly
watching from a ridge.
These are stories of waves of Puerto Rican immigrants whose
ready cash, made by selling family landholdings back home,
quickly disappeared in the barrios of New York; of the Ghetto
Boy’s Black Bennie, killed while trying to broker peace
between two rival gangs; of kids caught in a deadly turf war
while trying to improve conditions for their people. While
conditions for the present generation have become steadily
worse, with community centers closing down and an arms
race that now has pre-teens strapped with semi-automatic
weaponry, it’s amazing to see how many survivors of the 70’s
have become community leaders, teachers and role models
to youth caught in the streets, able to counsel kids without
judging them for choosing the gang life.
This era of pre-Hip Hop, pre-“gangsta” gang culture
is worthy of much further study, as it marks a turning
point from the methodical politicization of the
people through the Black Panther Party and other
revolutionary organizations, to a time when the
potential for gang culture to destroy whole commu-
nities by keeping them in a state of constant warfare
became the State’s preferred method of oppressing
its underclass. While groups like the Latin Kings
became increasingly political, only to be ruthlessly
persecuted by the police, most gangs seem to have
become agents of personal aggrandizement and civil
destruction with the arrival of crack money.
By Dave “Corvid” McCallum
DVD Reviews
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DVD Review – Gnaw
Directed by Gregory Mandry
Dark Sky Films
Yorkshire blood pudding anyone? Young adults go on a trip to
the countryside, the characters unfold, the snob, the bitch, the
Goth, the geek, yes it’s all been done, but the Brits have put
their own twist on it and it works. For the most part.
Buried in the forest lurks a sinister evil, one who takes the
subtleties of Hostel with its “torture reigns supreme” attitude
and churns out some feshy ground round. They could have
called this “Gnawstel”. At least the Hollywood cheese has
been left off this bloody burger and we get pure Grade “A”
gore. Our killer is unmasked early in the picture so no guessing
and that’s a good thing as we can get down to business.
The kids nestle in the Bed & Breakfast and it brings back
memories of Farmer Vincent in Motel Hell as a good chuckle/
reference and it all comes complete with a comfort-food
cooking mum to keep you all warm at night. Directed by frst-
timer Gregory Mandry, surely he and the writers wanted you to
save plenty of room for dessert as there are more than enough
Steak & Kidney jokes to go around as food intently plays a
“roll” in this. A maggoty buttered one at that.
Texas Chainsaw comparisons will most certainly be made as
a bit more as an infuence, but not a rip-off and the Dark Sky
Film team actually pull this off.
Time to sop up the gravy!
DVD Bonus:
Audio commentary by director Gregory Mandry
“Making of” Featurette
By E. S. Day
DVD Review – Seventh Moon
Directed by Eduardo Sanchez
Ghost House
Here we have director Eduardo Sanchez (The Blair Witch
Project series) taking a stab at an Asian-inspired look into what
could be a part of The Descent franchise. Pale-white ghastly
ghouls who are bald and like fesh and who live in caves, are
prancing about rural Chinese provinces, snatching up live
offerings from the locals, which occur every seventh moon.
Amy Smart and Dennis Chan star as the newlyweds who
decide to hoof it over to China for some cultural awareness
on their honeymoon, and get caught in the “Hungry Ghost
Festival”. Nothing exceptionally original here, effects are
minimal, but the spook factor gets a 6 as far as, well…
Great little rental if you have your missus in tow, however
the plot thins quickly, the storyline is predictable and the
blood does not fow nearly enough. Nocturnal cave-dwelling
skinheads who are doused in Robin Hood four has The
Descent comparisons come to mind more than once. Shame,
as this could have been a keeper had the script let itself run
wild, beyond her trying to rescue her soon-to-be kidnapped
husband. Love is in the air, but the horror is not. Not much
more to be said without spoiling. Also the “too-dark-use your
imagination” bit (as with Blair Witch) is quite present and quite
annoying, as you already know who and what – the goblins are
. So this becomes useless, almost instantly.
Hopefully it will be 7 more moons before Sanchez decides
to steal the public’s money during the ‘Hungry Director for
Dollars Festival”
By E. S. Day
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DVD Review - ZZ TOP
Double Down Live: 1980-2008
Eagle Vision
The last time I remember listening to ZZ Top was the night I got
shit-faced in the basement of the Zanzibar tavern in Toronto
with 2 of the band members. The boys had just played a sold
out show at Maple Leaf Gardens and had ventured forth
into the legendary Yonge St. abyss of sin, where the manger
promptly shut the bar down 1-½ hours early to let the boys
enjoy themselves. While rushing perverted patrons out the
front door, the Brother of Beards: Billy Gibbons and Dusty Hill
(minus the non-bearded Frank Beard) found their way to the
basement area bar, which had nothing. Just a bar. No girls, no
distractions…no nothing. That’s exactly what they wanted.
Even though the entire strip club upstairs was at their disposal,
they wanted nothing more than a bottle Jack Daniels and some
good ‘ol boy conversation. “Scott! Fetch us some tunes” yelled
Billy, I shat myself at the mere thought of being ordered by
a living legend of Blues Rock Royalty and ran to get a ghetto
blaster while pocketing the frst CD I could fnd within an
arms reach. “The Sky is Crying by Stevie Ray Vaughn?” I said
looking for a seal of approval “Perfect!” said Billy, “Now we
can drink” and drink they did. A few road stories told, some
reminiscing about Stevie Ray and it was off to Hamilton for
another sold out show with George Thorogood as support.
However, on the way out they stole the infamous “NO
sign on the wall. It had been a fxture in the bar since the 70’s
and now it was gone. Better them have it than it going in the
garbage during the renovations that came later that decade.
What does has to do with the DVD you ask? Plenty. That
experience not only proves that a trio of shit-kicking barroom
bravado inducing musicians truly live and practice what they
preach, but are real rock stars in all their glory, and prove that
through every track on this DVD, plus I needed an excuse to
tell that story.
The frst DVD “Then” was captured live Germany on the
Rockenpalt TV show in 1980, the band showcases their musi-
cianship with younger more energized renditions of classics
such “I’m Bad I’m Nationwide”, “Heard it on the X” (done
brilliantly) and more. The grey hairs are not showing, but the
world’s most famous rock and roll beards are and you cant
help but think back to a time when true blues still had a main-
stream following, instead of an older obscure one.
DVD 2 showcases the “Now” with footage on the road during
their 2008 European tour and has the gents still kicking
more arse than ever before. Kicking off with “Got Me Under
Pressure” from the their best-selling album Exterminator.
Of course “Tush” is there, as is “La Grange” and a bevy of
classics that will more than satisfy any ZZ Top fan although the
nostalgic Disc 1 is a rare and thoroughly enjoyable throwback,
that leaves you craving for more the true Kings of Outlaw Rock
n’ Roll.
By E.S. Day
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Help us
to end
To donate www.bwss.org
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Film Review – A Serious Man
Directed by Joel and Ethan Coen
Alliance Films
The Coen Brothers return with what is indoubt-
edly their blackest of black comedies entitled A
Serious Man. Set in Minnesota in 1967, A Serious
Man tells the hard luck story of Larry Gopnik
(Michael Stuhlbarg) a Jewish physics professor and
family man. His wife Judith (Sari Lennick) wants
to divorce him, his son Danny (Aaron Wolff)
smokes too much pot, his daughter Sarah (Jessica
McManus) is abrasive and demanding, his brother
Arthur (Richard Kind) has a gambling problem
and a Korean-born student of his, Clive (David
Kang) is framing him for a better grade. What’s a
besot upon man supposed to do when life goes
from bad to worse to totally fucked up? Well, in
this latest Coen Brothers offering, besides visiting
several Rabb he doesn’t do much.
Written and directed by Joel and Ethan Coen,
A Serious Man is a serious departure from flms
such as Raising Arizona and The Big Lebowski
or any other Coen Brothers’ flm for that matter.
More like Fargo in it’s composition and execution,
(which is where the comparisons end) A Serious
Man is as deadpan as movies get, eliciting laughs
out of the sheer awkwardness and discomfort
of the characters and the situations they fnd
themselves in. If you enjoy laughing at the trials
and tribulations of others, watching them squirm
as their problems go from bad to worse, then you
will probably enjoy this movie.
Although Coen Brothers fans are going to eat this
flm up like so much knish, those less familiar
with their work may fnd this flm rather dull,
slow paced and ultimately unsatisfying. This isn’t
surprising because none of the characters are
particularly likeable and their self imposed “woe
is me” lives are insular and dull. Still, this isn’t a
poorly made flm and a strong performance at the
box offce is all but guaranteed for as fawed as
this flm may be, its still 70-75% better than most
of the shit out there presently.
By Grimm “Pass That Fucker” Cul-
Film Reviews
Film Review – American
Artifact – The Rise of Amer-
ican Rock Poster Art
Directed by Merle Becker
FreakFilms Inc.
Since the frst “Wanted” poster was nailed
to a post in the Wild West, the eye catch-
ing, multi-colour silkscreen print has been a
hallmark of American popular art, and it is on
this rich tradition that the relatively recent craft
of the Rock poster is built. This eye-popping
and historically fascinating flm documents the
evolution of the poster, from early Elvis and
Jerry Lee Lewis ads that now look better than
Warhol, to the “lysergically” altered percep-
tions of the San Francisco 60’s, to the black
and white Kinko’s specials that mark the dawn
of Punk Rock, to the retro-futuristic work
inspired by 90’s Alternative and Indie Rock
Witness the marvels of Wolfgang’s Vault –
legendary concert promoter Bill Graham’s
treasure trove of rare and vintage 60’s post-
ers, and the meticulous care lavished over
these priceless works of mindfuckery. From
Rick Griffn’s famous “fying eyeball” image,
beloved of hippie love children and sherm-
addled suicide punks alike, to the deliberate
warping of convention by Victor Moscoso, who
managed to unwittingly achieve the desired
results by turning the rules of poster making on
their heads – using bright contrasting colours,
and making the image as dense and seemingly
illegible as possible. Detroit’s Gary Grimshaw
relates his city’s trend towards highly detailed
and exacting design to its great history of
craftsmanship in all trades, and explains how
for many the fyers are the only documentation
of the socially evolutionary events they adver-
tise, encapsulating the spirit of the early MC5
shows in a visual language of revolution.
Just as burnout 60’s artists had drooled their
way halfway through the 70’s, the Punk Rock
explosion came with bands like The Avengers,
who made posters out of simple photocopier
collage. Inspired by the Dadaist movement
of the 1920’s, their take on revolution was to
do something that anyone else could do, and
thus inspire millions of others to start their own
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bands. Just as in the 60’s, these posters and
fyers speak a cryptic visual language meant
only for the initiated, and record a movement
now lost to posers.
Texas legend Frank Kozick kicks off the
modern era with his often gut-wrenchingly
funny distortions of Pop Culture icons like Yogi
Bear and Bettie Page, in a 90’s drenched in
cynical self -destruction typifed by bands such
as Nirvana and the Stone Temple Pilots. In a
world where cute teddy bears carry handguns
and hot devil babes chop off limbs, the mind
expanding realms of the 60’s give way to the
current American nightmare.
The narrator’s occasionally lackadaisical tone
aside, this flm is a rich visual and historical
experience worthy of repeated viewing. The
blueprints laid by the artists of the 60’s are still
paradigmatic today, and many of the styles
have clearly infuenced the development of
Graffti lettering styles. Now that most post-
ers are made in Photoshop by 20 year olds,
only to be torn down in days by Community
Block Watches, and many events exist only
on Facebook, such artifacts have become rare
indeed, which may also mean that those who
choose to step up to the challenge of main-
taining and pushing forward the art of the
Rock poster will shine through the shit that
much more brilliantly.
By Dave “Corvid” MCallum
Film Review – Let The
Right One In
Directed by Tomas Alfredson
Magnolia Pictures
Let The Right One In is a horror flm that
doesn’t try to scare you, and it works
completely. Set in 1982 Blackeberg, a suburb
of Stockholm, it follows the relationship
between Oskar, an angst-ridden pre-teen, and
Eli, the 12-year-old vampire girl who moves
in next door. Shot in a style that conveys the
harshness of Sweden’s cold, bleak winter
landscape, the entire movie seems numbed
by the winter snows that it depicts.
The flm opens with Oskar alone in his room
acting out some kind of strange fantasy
with a knife, stabbing the air and talking to
himself. At the same moment Eli and the old
man who seems to be her father, Hakan,
move in next door with few belongings.
Eventually, reluctantly, Eli and Oskar start
“going steady.” Director Tomas Alfredson lets
his central theme rest around the loneliness
of isolation and the redemption (to a degree)
possible through love. Oskar is a very nice
boy, very polite and well meaning, but his
creepy tendencies make him an easy target
for Conny, the bully, and his cronies. At frst
Conny seems like a quite likable character,
bullying Oskar by always hilariously telling
him to “squeal like a pig.”
We eventually see Conny for the sociopath
he is during a disturbing scene where he forc-
es two of his henchmen to whip Oskar with
a switch, one of them succumbing to tears in
the process. This helps form the relationship
between Oskar and Eli, as she tries to help
him awaken his innate savagery and stand
up for himself and he tries to both convince
her to stop killing and come to terms with the
fact that she can’t. Their relationship is the
strangest and most central part of the flm.
While never overtly sexual, Eli and Oskar
defnitely engage in activities on the fringe
of propriety, such as Eli jumping naked into
bed with Oskar, cavorting together whilst Eli
is wearing only a man’s t-shirt, and of course
their frst, blood-soaked kiss. And all the
while the bodycount climbs higher.
This all seems perfectly normal, of
course, as the two kids’ brilliant,
mature acting coupled with their very
adult wardrobes make it seem as if
they are miniature adults instead of
children. Let The Right One In is not
a scary movie in that it makes you
jump with loud noises and sudden
movements, it isn’t satisfed with that.
Let The Right One In disturbs you
with its realistic content and brutal
imagery, giving you that split-second
pause, as you unlock your door
coming home from the theatre.
By A.W. Reid
continued >
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Film Review – Pandorum
Directed by Christian Alvart
Marketed as just another “in space no one
can hear you scream” movie, Pandorum will
turn out to be a pleasant surprise to sci-f fans,
as it is much more than just a deep-space
horror. Visual-art-wise the setting of the movie
is somewhat close to the now classic Event
Horizon, although Christian Alvart’s creation
has surpassed it noticeably, considering just
how reinforced it is by the mind-gripping
As with any complex and interesting plot,
there are gaping holes in the concept, but at
the same time they are skillfully mended by
other parts of it. In the end of the movie you
are left with numerous little questions and
logical inconsistencies but it all falls into place
as neatly as any other distant future sci-f fick.
Literally beginning in complete darkness, both
physical and mental, the viewer is presented
with little or no information about what’s going
on, but the time for questions is yet to come
as Bower (Ben Foster) fnds something has
gone completely wrong aboard the spaceship,
destined to be the hope of humanity.
Wandering in the graphically perfect dead
corridors to a killer dark ambient soundtrack
(which will remind you of Deutsch Nepal,
Coph Nia and Closing the Eternity), Bower
discovers them (corridors) to be very much
alive and hungry. The moment you begin think-
ing this is a yet another carnivorous human
mutant movie, Pandorum presents you with
new and new mysteries and characters. With a
veteran of the scene on board, Dennis Quaid
(Payton) and the aspiring Antje Traue (Nadja),
who will probably carry a subconscious
resemblance to the Resident Evil series hero,
the actor line-up fts Pandorum like a glove fts
a hand.
The details are pretty much too good to give
away. Whatever you think about the concept
in the end, whether or not you really like the
big picture and the morality issues presented,
Pandorum will still remain a high quality sci-f/
horror/post-apocalyptic hybrid blend, increas-
ingly tough to fnd these days. Allow yourself
to be taken away by the plot and dig deeper
into it. Who knows what you will fnd. A hint:
the mutants are probably the least of every-
body’s concern.Pandorum is above everything
else a work of art.
By arceon
Film Review – Prom Night
In Mississippi
Directed by Paul Saltzman
Emerging Pictures/Kinosmith
Unbelievable as it may seem to today’s urbane,
politically correct viewers, the entrenched
racism and segregation of a previous era
are alive and well in Charleston Mississippi,
hometown of widely respected actor and
activist Morgan Freeman. Incensed upon
discovering that the local High School still
maintained a tradition of segregated black and
white Homecoming events for its graduates,
he frst inquired of the students whether or not
they would prefer an integrated prom. With
a resounding yes from at least ninety percent
of the students, Freeman made the magnani-
mous offer to foot the bill for the entire event.
What resulted was not only a new tradition
of integrated proms (while some of the white
students still attended a white-only event, paid
for by parents…), but a profound dialogue on
the deep issues of racial segregation and long-
standing prejudice.
While white students rarely express overt
bigotry, they echo the sentiments of their
anachronistic parents who may threaten savage
beatings on kids who are seen with black
youth (and god forbid they be of the other
sex…), or merely try to politely frame their
hillbilly worldview in terms of “respecting
differences”, claiming that “god made every-
one different and if we mixed we’d all be the
same!”. As convinced as they may sound to
themselves, there is clearly a self imposed ban
on logic and compassion that even a hardened
redneck father can admit to. “Just don’t ask me
to change, and we’ll do fne” – decent country
manners indeed, but when the horrifying spec-
tres of slavery and lynchings are cast into view,
this is exactly the morbidly inhuman attitude of
the past massas passed on into new vessels.
The youth of 2008 however have a differ-
ent perspective. While there are few biracial
couples in the school, most students express
interest in dating someone of another race, and
yet are mostly constrained by their families.
Black kids are told to avoid white so as to stay
away from potential trouble, while one white
student (who concealed his face to protect his
family) speaks candidly of his people’s overt
hatred and his own compassion for them in
their ignorance. Just as the white-only prom
goes humourously awry, with awkward danc-
ing and a drunken brawl over a girl, their
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own insular culture is just too surrounded by
the “other” to ever feel at ease and away from
confict. As Morgan Freeman so eloquently
puts it – “if I choose to hate blue eyed, blond
haired people, I’m doomed. Doomed means
you can have no future, can never truly be
happy…because there’s just too many of
As for the event itself, it is a raging success,
complete with Rock band, Crunk style Hip
Hop crew, DJ, dance offs, and general exuber-
ance. Parental fears of potential violence are
quelled by the overall joyful vibe, making
this a true feel-good flm, one that could even
be shown to younger children (if you’re not
afraid to let your joy be framed in hard edged
truth…), and should defnitely be shown in
High schools around the world.
Now if such a flm were made in Canada,
perhaps in a small northern town right next to
a Native Reservation, would people believe
segregation is also alive and well in the
Great White (?!) North? Well they’d better,
because the South Afrikan Apartheid system
was based on the Canadian Native Reserve
and Residential School System, and genocide,
eugenics, and overall population control have
always been the mandate of this colonial
system, and that’s real talk.
By Dave “Corvid” McCallum
Film Review – Surrogates
Directed by Jonathan Mostow
Touchstone Pictures
Imagine a world where you don’t have to
rely on your body. A world where disability,
appearance and age doesn’t matter. Finally, a
world where sex is not a matter of importance
anymore. Existence through a surrogate, a
robot under you control, that can transfer exact
feelings and perceptions directly to your brain,
is an alluring option and everybody’s doing it.
Even though questions of morality naturally
arise, the crime rate is down, everybody’s
happy. You can’t die while you’re connected,
or at least that’s what everybody thinks. So
when Tom Greer (Bruce Willis) fnds himself
looking at a homicide with an unknown
weapon that shouldn’t, can’t exist, he is pretty
damned puzzled.
Not one, but two homicides, including the
son of Canter (James Cromwell), creator of
surrogates, naturally at frst point to the robot-
free patches of the world as it is, so called
reservations where people live in their real
bodies. Guided by a rather cliché character,
Prophet, they are offcially at war with the new
way of life. But as it turns out the the story is
so twisted that you don’t even get a chance to
look at your popcorn while you’re eating it.
Tom Greer lost a child, his wife never leaves
the house, always uses the surrogate and his
personal state is heavy suffering. In the course
of the investigation he loses his surrogate and
is forced to use his own body to solve the
case, being suspended to top it off. Not to
give anything away, let’s turn to actors’ work.
There’s nobody that stands out, Surrogates
probably won’t receive mighty praise and in
general is just an average sci-f fick. Very much
Mostow style, it’s simple and straightforward,
but if you think about it, it’s not that simple and
almost everything makes sense.
The ending doesn’t come as much of a
surprise, but in the end you feel a great deal
of satisfaction. If you recall Brainstorm, you
wouldn’t say it was sophisticated too. Not until
you thought about it the second time. And
then the genius revealed itself.Choose your
By Arceon
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Film Review – The Fourth
Directed by Olatunde Osunsanmi
Maple Pictures
Another interesting entry in the science fction/
thriller/horror genre comes in the form of
director Olatunde Osunsanmi’s documentary
reenactment called The Fourth Kind. Milla
Jovovich, Elias Koteas and Will Patton star
in this terrifying fact based thriller involv-
ing ongoing unsolved mysteries plaguing the
city of Nome, Alaska. Dr. Abigail Tyler (Milla
Jovovich) believes residents are the victims of
alien abductions (or encounters of “the fourth
kind”) after several patients share similar
details of disturbing occurrences.
With the help of friend and fellow psycholo-
gist Dr. Abel Campos (Elias Koteas), Dr. Tyler
begins videotaping sessions and exposes
evidence of alien abduction in her terrifed
patients. When one patient returns home after
a particularly disturbing session while under
hypnosis and kills his wife and children before
killing himself, Sheriff August (Will Patton)
decides these sessions have to stop, but the cap
has been removed and the genie is not going
back in this bottle.
Interspersed with terrifying actual patient foot-
age as well as interview clips between the real
Dr. Tyler and director Osunsanmi, The Fourth
Kind is a frst rate scare-fest that grabs you from
the start and doesn’t let go. This is an atmo-
spheric flm that relies more on the feeling of
impending doom and creeping suspense rather
than a high startle factor and gut churning
sound effects.
Unlike recent horror releases that rely on
a single camera and a long, boring plot in
which nothing really happens, The Fourth
Kind has chills around every corner. As Dr.
Abigail Tyler, Milla Jovovich shows off her
acting chops with an excellent performance
as a woman right on the edge of sanity. The
other stand out here is Will Patton as Sheriff
August. His frustration at the situation here is
more than palpable as he portrays a man who’s
not used to having things beyond his power to
Director Osunsanmi has crafted a taut, creepy
sci-f/thriller that does everything a good
horror flm should do, short of walking up and
slapping you in the face. If real terror is what
you crave then The Fourth Kind should not be
missed! TheFourthKind.net
By Grimm “I wet myself again!”
Film Review – The Men Who
Stare at Goats
Directed by Grant Heslov
Maple Pictures
Amidst the foolish remakes and faulty reboots
and movies that are just plain full retard comes
something Hollywood has seemingly forgot-
ten, an entertaining and original idea. Director
Grant Heslov helms this hilarious take on the Jon
Ronson’s non-fction bestseller about a reporter
caught up in uncovering an experimental U.S.
military unit designed to generate a legion of
psychically empowered Jedi warriors. Inspired
by the top secret true story, The Men Who Stare at
Goats is so unbelievable it just has to be true.
Ewan McGregor plays the hapless reporter Bob
Wilton determined to get over the loss of his
girlfriend by throwing himself into the Iraqi
confict. On his way to Bagdad, Bob encounters
Lyn Cassady (Academy Award® winner George
Clooney) who claims he was part of a military
experiment to create a legion of “Warrior Monks”
(called The New Earth Army) with boundless
psychic powers, the ability to pass through solid
objects and capable of killing things (especially
goats) simply by staring at them. Bob is intrigued
(and only a little “very” skeptical) and when the
program’s founder Bill Django (Oscar® nominee
Jeff Bridges) goes missing, he and Cassady set out
to fnd him.
What begins as a rather high concept exposé of
the apparent madness at the heart of U.S. military
intelligence quickly becomes a hilarious and
masterfully convoluted parody penned by Peter
Straughan and based on the book and TV docu-
mentary of the same name. Not only will George
Clooney’s presence bring back memories of 3
Kings, but the humour, intelligence and a qual-
ity supporting cast (including two-time Oscar®
winner Kevin Spacey as the envious psychic Larry
Hooper) will only enhance that comparison.
With strong performances from all involved
and an original and truly hilarious script,
The Men Who Stare at Goats is easily the
funniest flm you’ll see this year. Besides,
how often do you get to peek inside the
truly ridiculous nature of the U.S. military
while holding your sides in gales of laugh-
By Grimm “Warrior Monk” Cul-
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CD Reviews
Backtracks 1 & 2
Columbia/Sony Music
No one, not even Bon Scott himself, could
have predicted the career insurgence AC/
DC has had over the past twelve months.
Defying all odds by snubbing iTunes and
releasing its frst CD of new material in
over eight years exclusively through Wal-
Mart, the Aussie rockers rose once again to
stratospheric heights with global concert
sell-outs and a monster hit with Black Ice
in 2009.
So what better time than to strike while the
iron is hot as, not coincidentally just in time
for the holidays, a box set of rarities and
live material fnds its way to consumers.
Backtracks, the band’s second compilation
following 1997’s ill-received Bonfre, is
being released in several formats ranging
from a stripped-down two-CD/DVD afair
available everywhere for around $30 to a
lavish, multi-disc behemoth that can be
purchased only through AC/DC’s website
and includes a hardcover book, a vinyl LP
and other trinkets housed in an actual
working guitar amplifer that will set Angus-
philes back almost $250.
The frst CD features rarities, b-sides,
soundtrack cuts and songs found only the
original Australian releases of AC/DC’s early
catalogue. Naturally, things are hit-and-
miss but fortunately the “hit” defnitely
outweighs the “miss.” “Big Gun,” originally
found on the Last Action Hero soundtrack,
is a big, booming rocker similar in vein to
“Thunderstruck,” while “Stick Around”
rips along with Bon Scott’s youthful snarl
and Angus Young’s trademark rifs. Many
listeners will revel in the blues-y “Crabsody
In Blue,” while others will fnd just as
much to love in the punchy “Cyberspace.”
On the other hand, “Love Song,” a slow
ballad featuring a crooning Bon Scott, is
as uncomfortable as it sounds, but in the
band’s favor will do plenty to silence its
critics who have dogged AC/DC’s three-
chord rock for over 35 years.
The second disc really heats up, though,
with live performances drawn mostly from
the Brian Johnson-led era of the band.
Covering 1977 through 1991, fans are treated
to the obvious staples (“Hells Bells,” “Back
In Black”) but the inclusion of live versions
of deep album cuts like “Guns For Hire” and
“This House Is On Fire” is what ultimately
makes Backtracks special.
As an added bonus, a DVD featuring all of
AC/DC’s music videos from 1993 to 2009
is included, adding a third volume to the
band’s 2005 release, Family Jewels. Some
added live tracks and a pair of “making of”
featurettes further sweeten the deal.
For the casual fan, there probably isn’t
too much of a draw here but AC/DC die-
hards will have plenty to drool over as
the band’s vaults continue to be mined
with Backtracks. Besides the collectors
who undoubtedly own mint copies of the
band’s original Albert Productions LPs,
hearing these songs for the frst time all
spit-polished and remastered—many on
CD for the frst time ever—will be enough
of an incentive to part with a couple hours’
By Sean Cowie
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CD Reviews
Black Cobra
Southern Lord Records
Yet another example of the “less is more” band
scenario presently populating the musical landscape
is Los Angeles, California’s Black Cobra. By “less”
I’m referring to the stripped down sound of two
guys, a guitar, a drum kit and a whole shwack of
efects pedals and by “more” I mean their latest
album Chronomega and the guttural and sweeping
Sludge/Doom perfection found signifcantly therein.
Together since 2002, Black Cobra manages to pump
out album after amazing album of timeless, rif
heavy durge that comfortably bridges many genres
without relying too much on one sound, one efect
or one monotonous vocal pattern. Guitarist/Vocalist
Jason Landrian and drummer Rafael Martinez carve
a Stoner/Doom/Sludge niche for themselves with
songs such as “Negative Reversal” and it’s droney
wankfulness (yes, new words, don’t bother looking
them up) and the sweet, symphonic intro fowing
efortlessly into the pounding prowess of “Catalyst.”
Merely two examples of the nine solid tracks found
on Chronomega that (unlike some modern “stoner”
related outfts), collectively refuse to disappoint,
mirror predictability or carry the listener to lengths
of thorough and utter boredom.
Let’s face it, for two guys with two instruments (and
maybe a few efects pedals) this is some heavy,
heavy shit! The only marginally similar band to Black
Cobra would have to be noise-core preponderants
Lightning Bolt, but what sets Black Cobra apart are
their tight song arrangements, clean production
values and a gut level Sludge/Doom quality that
grabs the listener and refuses to let go.
Worth the investment of multiple listenings,
Chronomega carves Black Cobra a well deserved
place in the annals of the Sludge/Doom genre and
shows the depth of a band not satisfed with
merely regurgitating the same sounding album
again and again.
By Grimm “Squify” Culhane
Del The Funky Homosapien
and Tame One
Parallel Uni-Verses
Gold Dust
The powerful union of Hieroglyphics Del
The Funky Homosapien and Tame One from
Artifacts is a force not to be reckoned with.
Gritty styles of the East meet the creative
fow of the West; Parallel Uni-verses is
everything in between.
From the brassy up-beat tempo of “Intro
(Magic)” to the airy outro of “Gaining
Ground”, Parallel Uni-Verses has the
comforting familiarity of a classic hip-hop
album while maintaining lyrical originality
over fresh beats. The duo gives out props
to the greats in hip-hop on “Flashback”
before showing of witty wordplay on “We
Taking Over” that has Tame spitting “you
critics can get the dick like my button fy
popped open”.
Del tells a grimy tale on “Teddy” with dirty
verses containing rhymes like “I’m sitting
pretty in a bucket with two chickens that
trick and suck dick” over a beat that sounds
like a Dick Tracy movie score. “Keep It Up”
proves Del has a fow that can’t be fucked
with while Tame owns “The Franchise” with
his on-point verse rhyming “My infuence
is wild style/and add a New Jersey steez for
OG’s like Scott La Rock and Frosty Freeze”.
Unlike most hip-hop albums lately, the
absence of fashy production, dozens of
guest appearances and most importantly
auto-tune is part what gives this album
the raw inventiveness that makes it so
While both MC’s are unique in their tone
and lyrical content they complement each
other with a like-minded style of spitting
unconventional rap fows. Combined with
solid production from Parallel Thought and
smooth groove based beats Parallel Uni-
Verses brings together a well paired match
to induce the vibe of “that back in the day
By Kassandra Guagliardi
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Devin Townsend Project
HevyDevy Records/Century Media/E1 (Canada)
Let’s face it, for most artists who decide to sober up, the music
they produce in their new founded clear-headedness becomes far
removed from (and often inferior to) the music they produced with
the help of their “friends.” Not to say that drugs are necessary to write
good music, but if an artist usually writes in this way, removing one
of the main ingredients in their process can lead to substandard
results. An extreme exception to this rule is the recent work from
the now sober Devin Townsend. Although he’s admitted that after
quitting drugs he had some trouble getting back into writing, after
3 years away from the rigors of touring and fronting an active band,
he’s managed to produce an abundance of quality material which
he compiled into a four-part series consisting of the now-released
Ki, the upcoming Addicted and the later Deconstruction and Ghost.
While each track contributes to the overall feel of the album, some
that really stand out include “Awake,” “Resolve,” the beautifully
powerful “Supercrush” and the ziltoid cover “Hyperdrive” which
Anneke van Giersbergen –who helps take on vocal duties – sings
solo. While Addicted might take a couple run through to hook you,
once it does it just gets better and better with each listen; it has a
kind of reverse efect- the more you listen to it the less repetitive it
gets. This can be attributed to the insane amount of subtle details
Devin has worked into each track, many of which seem to emerge
as your ear gets accustomed to the music.
While diferent from his work in both Strapping Young Lad and the
Devin Townsend Band, there are many times when Addicted feels
like a merging of the two, this time with more subtle and delicate
layers woven in. The wall of sound is still present but in a more
intricate and less extreme form as it was with Strapping. Shifting
moments of introspection, power, uncertainty and determination
create a diferent kind of intensity. Nonetheless, no matter which
band or character he’s assumed throughout his career, Devin
Townsend’s music has always retained an unquestionably unique
feel; Addicted is no diferent.
Addicted is in Stores worldwide November 17, 2009.
By Alxs Ness
Dizzee Rascal
Tongue N’ Cheek
Dirtee Stank
One thing’s for sure from the opening bars of “Bonkers”,
with it’s heavy club beat courtesy of Armand Van Helden
– Dylan’s on a hype ting now!!! From the tortured self
analysis of “Boy In Da Corner”, to the paranoia saturated
“Showtyme”, to the ballistic salvos of “Maths and English”,
Dizzee’s true aim has always shone through the fog and
grime of the South London boroughs – to rise above the
shite and have a bloody good time doing it! In short, his
latest gem “Tongue ‘N Cheek” turns the colour tones up
even brighter, and sounds like the man’s spent the last
six months at Ibiza on MDMA scooping girlfriends and
beating down consternate boyfriends.
Weighing in at a breezy eleven tracks with no fller, Dylan
the Villain spits his characteristic chronic cockroach
fows over a palette of ever brighter sounds that could
be easily mixed into a house/jungle/drum n’ bass set
to provide unexpected lyrical terror, as the hypeness
of the beats in no way compromises his venom. “Road
Rage” gives vent to his pent up adrenaline better than
Ludacris ever did – for those that don’t recall he was
popped for just such an incident several months ago,
in which he pulled not a gat but a fucking baseball bat!
(just like he said he would in “Pussyole”…)
The chart topper “Dance Wiv Me” bumps in a way that
no American Hip Hop party track ever has, melting
panties across the E.U. while North Americans rock
to “Lollipop”. “Freaky Freaky” would give 2 Live Crew
pause for concern, while “Can’t Tek No More” taps into
Dizzee’s Jamaican roots for some social conscience
from a modern day B-boy. “Chillin Wiv Da Man Dem” is
a wickedly mellow ode to bromance (no homo…okay,
I didn’t just say that…), for times when your dick’s too
sore to fuck and you’re better of with some homies,
some herbs and some Playstation. “Dirtee Cash” and
“Money Money” are the type of hustler’s anthems that
truly justify the pursuit of materialism – remember of
course the story of young Dizzee’s rise from the South
Ends to a level beyond what an American market could
ever provide. “Holiday” is the ultimate house/rap banger
complete with four on the foor breakdown guaranteed
Abort 88 Abort 89 Abort 89
Kings of Punk, Hockey and Beer
Sudden Death Records
If you don’t enjoy hockey, beer,
and punk rock, chances are you
aren’t going to enjoy Kings of Punk,
Hockey and Beer, the new album
from grizzled Vancouver-based punk
legends D.O.A.. But upon listening to
the album, one gets the feeling that
if you don’t like those things the boys
of D.O.A. would prefer if you fucked
right of anyways, eh. Bursting at
the seams with Canadiana, Kings of
Punk, Hockey and Beer is a collection
of songs from previous albums as
well as a few previously unreleased
tracks and plays like an ode to the
most gloriously badass sport ever
conceived: hockey.
D.O.A. doesn’t re-invent the wheel
here and they probably aren’t trying
to. What you get with this album is
just what you would expect: 13 simple,
solid punk tunes that pay homage to
Canada’s national pastime, which is
of course getting loaded, throwing
on a pair of skates, and kicking the
shit out of your buddies on a pristine
sheet of ice. The songs’ style is
distinctly old-school with relatively
slow, singalong-style rhythms and
the songs all seem to tell a story in
one way or another, whether it being
about beating on some hockey-
challenged nerd like on “Pencil Neck
Geek” or having no choice but to
break into a brewery for some wobbly
pops in “Beer Liberation Army”.
References to Canada and Canadian
culture run rampant, such as their
sped-up, catchy cover of Stompin’
to have the ladies sweating (and I can’t believe
I’m approving the mix of Hip Hop and house,
but it is Dizzee…).
Six years into a career that promises at least a
good twenty more of good tunes, Dizzee Rascal’s
dabbling in contemporary electronica and the DJ
party music scene has yielded a unique hybrid
that has grown well beyond it’s roots in grime and
dubstep. Clearly not giving a fuck what the critics
will say, this album is for the people, a manifesto
of party vibes to lift us above all the hustling and
grafting so intimately described on his frst three
albums. While he’s always had a wicked sense
of humour to keep things bouncing, “Tongue
N’ Cheek” ofers up equal doses of both – an
untouchably precise lyrical fow coupled with his
irreverent and increasingly flthy minded subject
matter. Dylan’s on a hype ting now, and if it’s true
that all he thinks about is “sex and violence” and
“money, money, money, girls girls, cash cash”,
doesn’t the kid who was stabbed ten times in the
chest two weeks after his frst release deserve it
all, and more, for fuck’s sake?
By Dave “Corvid” McCallum
Tom Connors’ “The Hockey Song”,
their cover of Bachman-Turner
Overdrive’s “Takin’ Care of Business”
and innumerable others like calling
out the names of Canada’s great
classic bands on the fddle-driven
“When Power Came to Canada”
and the awesome liner notes which
read like hockey game recaps and
mention greats like Toe Blake and
Stu “The Grim Reaper” Grimson.
While you’re not going to fnd
anything mind-blowing on this album
it plays as the perfect soundtrack
to listen to with your bro’s or
broettes during those Saturday
double-headers while you’re shot-
gunning beers in your living room
during the intermissions. If you’re a
die-hard D.O.A. fan chances are you
already have most of these songs
so it isn’t really a must-have unless
you are a collector. But if you’re a
fan of punk, hockey and beer you
could do a hell of a lot worse and
Abort 90 Abort 91
Unexpected Guests
Gold Dust Media
Back on his usual grind of releasing several albums per year,
this time DOOM (yes, it’s just straight DOOM now…) drops a
best of style collection of collabos, b-sides and hard to fnd
tracks to satisfy heads fending for another dose of head
spinning lyricism from the one and only Supervillain. Strung
together mixtape style; with superhero movie snippets by
the villain himself, this is a welcome addition to one of the
most thoroughly entertaining catalogs in Hip Hop.
The proceedings commence with the De La Soul posse cut
“Rock Co. Kane Flow”, with it’s distinct speed up/slow down
pacing and the combined skills of four heavyweight veterans.
“Fly That Knot” features Talib Kweli on some seriously hot
shit, while personal favourite Vast Aire of Cannibal Ox reps
“Da Supafriendz” over a loop lifted from the Fat Albert
theme song, augmented by the sounds of wailing cats. “All
Outta Ale” sounds like the most painful hangover ever, and
begins with the best sample – “one more beer, and I’ll take
on all of you!!!”. “My Favourite Ladies” is one of Doom’s best
storytelling tracks, and the video is defnitely worth a spin
on YouTube. The closing remix of “Street Corners” with Masta
Killa, Inspectah Deck and the GzA ends the novel with some
slow street corner thuggery that bumps with deadly lyricism.
As ever, Doom’s work is so dense and intricate that it merits
many repeated listens to catch every mind nimbing turn of
phrase. With a heady assortment of fresh herbs and spices
lacing the grimy beats and an army of lyrical swordsmen at
his side, Doom’s tyrannical conquest of all humanity has been
distilled into a potent spirit that could strip the paint of a
wall. An icon to struggling people everywhere, a leader of
men, and a shining role model for our youth all in one, Doom’s
example will resonate for ages as a man who forged his own
path through a haze of bluntsmoke, brew and ladies. As the
astonished cartoon voice keeps repeating on “Unexpected
Guest”, “Wow, Doom’s as evil as ever!!!”.
By Dave “Corvid” McCallum
Flip Skateboards Presents:
Extremely Sorry
What else could a diverse music lover
ask for when you take one of the UK’s
top DJ’s and then combine him the likes
of Motorhead’s Lemmy, Slayer’s Dave
Lombardo, hipster rockers Black Mountain
and Pennywise’s Jim Lindberg?, well
you get a trip-hoppy metal/rock mash
up that almost compares with the Liam
Howletts “Dirtchamber Sessions” minus
the sampling. No, that’s not an insult.
The DJ known as Baron (now L.A. based)
had recorded this to accompany the flm
that bears the same name, this potpourri
of audible fragrance’s are a pleasure to
snif and relax your mind, especially when
the calming (?), soothing sounds of Lemmy
breaks through on his interpretation of Ben
E. Kings “Stand by Me”. Not since his duet
with Wendy O. Williams covering Tammy
Wynette’s “Stand by Your Man” have we
heard the soft side of the grouchy growler
and he does it with fanatical fnesse.
Dave Lombardo screeches things to a halt
as the drummer for Slayer executes the
aptly tilted “Drum Solo“, that of which
it is not. But it’s good. Really good. An
ambient and elusive swaying of rhythm
show his ability to break out of the Death
Metal shell and ooze musicianship in under
1 minute and 11 seconds. Hit repeat on this
4 times to make a fully enjoyable track.
Six more tracks as instrumentals ranging
from a Tricky/Massive Attack sounding
hybrid to a more harder electronica-
pounding coupled with guitar licks, gives
this album more creditability than one
would expect, not your average skate
soundtrack. Regardless, West coast rapper
Warren G. and the ever-blunted Snoop
Dogg grace the last track “Swagger Rich”
with yes – swagger.
Roll, rewind, repeat.
By E.S. Day
Abort 90 Abort 91 Abort 91
Fu Manchu
Signs of Infnite Power
Century Media Records
Fucking Fu Manchu man, 19 years and ten
albums into their career and they still kick
supreme ass! Their latest entitled Signs of
Infnite Power is their most aptly named album
thus far and quite possibly Fu Manchu’s best
album to date. What would you expect from
a band that never fails to impress? Thus far
this year’s leading contender in the lifeless
feld of album of the year.
Its not just die hard fans of Fu Manchu who
are in for a treat with the release of Signs
of Infnite Power, those unfamiliar with this
California crew’s brand of stoner/dessert
rock would be wise to pick this disc up and
acquaint themselves with Fu Manchu’s
masterful stoner drone superiority. As far
as gateway albums are concerned, this is like
starting with cocaine and working your way
up to more cocaine!
Signs of Infnite Power is the defnition of
what Fu Manchu does best. Drawn out,
drone laden, head nodding numbers rolled
perfectly and served with distinction. Tracks
like “Against the Ground” with its curious
verse arrangement made perfectly clear with
grandiloquent choruses and sonorous solos.
“Webfoot Witch Hat” is pure Fu, catchy lyrics,
sludge flled chorus and hooks galore. The
chances of you getting into your GTO Judge
and not matting it through the neighborhood
with “Take It Away” playing on the stereo are
slim to none.
Fu Manchu once again proves there is little
need to improve on perfection, just keep
polishing it. This mature and polished
approach is exactly what makes Signs of
Infnite Power not just another exceptional
Fu Manchu album but a true classic of its
genre. Yes, it’s that fucking good.
By Grimm “Gargantuan” Culhane
Kottonmouth Kings
Hidden Stash 420
Suburban Noize Records
One thought comes to mind upon listening to the
frst few songs of Kottonmouth Kings’ new monster
40-song double album Hidden Stash 420 and never
leaves through the entire thing: “Man, this totally blows.”
Rapping over beats that sound like they were stolen
out of a bin marked “too shitty to use” in Timbaland’s
basement, Kottonmouth Kings hit you with every rap
cliché in the book and expect you to act like you’ve
never encountered them before. Rapping on subjects
like smoking weed, sex, smoking weed, pimpin’, smoking
weed, partying, and every single other hip-hop-ism you
can think of, Kottonmouth Kings display just how little
they seem to have been paying attention to mainstream
media for the last ten years as they reach into their lyrical
bag of tricks and come up with the same rhymes that
artists like 50 Cent and Nelly have been slanging for a
While their abundance of relatively uplifting raps is to be
commended (if you like that kind of thing) just because
it’s diferent from most other hip-hop out there today,
one could just as easily listen to someone like K-OS
or K’naan for a taste of rapping that is not only more
upbeat but is more original, more fun to listen to, and
doesn’t come with the prerequisite bullshit thugishness
and brain-raping Auto-Tune. The only real highlights on
disc one are the last track, the upbeat “Let The Music
Play”, Tech N9ne phoning in his verse on “Sacrifce”, and
a 6-second sample of an interview with Rosebudd(“two
d’s for a double-dose of this pimpin’!”) from the Hughes
Brothers’ legendary documentary masterpiece American
Pimp on the track “Stoner Bitch”.
Disc two features nearly identical crap as the songs all
blend together like the bodily fuids of a prison inmate
getting ready to get a bit of revenge on an abusive guard.
It’s all just more of the same, more rhymes about weed,
more girlish R&B singers butting in inappropriately with
their electrically-enhanced vocals, more beats that sound
like they were mass produced by sweaty old ladies in a
Chinese labour camp. If you’re already a big Kottonmouth
Kings fan then you will no doubt absolutely love this
album but for the rest of the brain-having public, a polite
headshake and a quiet “dumbass” under one’s breath
should sufce when asked if you’d like to have a listen.
By A.W. Reid
Abort 92 Abort 93
Metalocalypse: Dethklok
Dethalbum II
Williams Street Records
The infamous cartoon metal band Dethklok is
releasing its second full-length album, Dethalbum
II on September 29th. This one takes a slightly
diferent approach from the frst, with fewer
tracks, less hooks and more dynamics. Some of
the more noticeable changes include a step away
from the very tongue-in-cheek lyrical concepts
and extremely catchy choruses. Also, Nathan
Explosion’s vocal style has undergone a very
perceptible transformation. He’s not exclusive
to the real low, death grunts anymore. Tracks like
“The Gears” and “Laser Cannon Deth Sentence”
fnd him venturing into a Johan Hegg-type range;
screams that are higher in range yet equally as
Overall it feels as though Dethklok -comprised
essentially of Brendon Small: guitars, bass,
keyboards and vocals and Gene Hoglan on drums-
has evolved as an actual band rather then just a
cartoon parody of a metal band. Perhaps some of
the original formula was altered through trial by
error while they were on the road or perhaps it’s the
incessant drive to continually evolve. Whatever the
case, they obviously decided to make Dethalbum
II into a kind of Dethklok experiment rather then
simply play it safe.
There’s defnitely a lot of risk involved in trying
to follow-up tracks like “Murmaider”, “Go Forth
and Die” and “Blood Ocean?” While Dethalbum II
doesn’t hit the same level of originality as the frst
(it is the second after all), it contains enough gems
to make it awesome in its own right. Songs like
“Bloodlines”, “Pull the Plug”, “The Cyborg Slayers”
and “Murmaider II: The Water God” combine the old
and the new in a perfect soundtrack for torture,
destruction and bloodshed.
By Alxs Ness
Mötley Crüe
Greatest Hits
As consumers continue to shift their focus
away from brick-and-mortar music stores
and get their tunes online (either legally or
illegally), one has to wonder how relevant a
“greatest hits” release is in 2009. After all,
the “album” format has been tits up for several
years what with half-baked artists churning
out empty cookie-cutter records with barely a
worthwhile song or two. Music fans got tired
of ponying up ffteen bucks for what would
ultimately be a bunch of throwaway tracks.
With the freedom to pick and choose songs a
person likes to build their own “greatest hits”
of their favorite artist, the business model
seemed dead in the water to anyone with even
the slightest foresight.
Of course, bands like Mötley Crüe, who it should
be noted has only released a pair of albums of
new material in ten years, continue to crank out
compilation after compilation of re-packaged
“hits,” hoping fans will think, “You know…I DO
need another version of ‘Home Sweet Home’.”
This latest entry in the burgeoning Crüe canon,
imaginatively titled Greatest Hits, hopes fans
will forget the other Greatest Hits that came
out in 1998 which features fourteen of the
same songs as the new release but with a
revamped track order.
They’re all here—“Looks That Kill,” “Smokin’ In
The Boys Room,” “Shout At The Devil,” “Girls,
Girls, Girls,” “Dr. Feelgood”—so no one can
deny that people who do buy this are getting
plenty of bang for their buck. Admittedly,
“Kickstart My Heart” is one of the greatest
songs to put the pedal to the metal that has
ever been laid down but in one of the more
curious moves, the boys have the balls to
throw in a token song from 1997’s colossal dud
Generation Swine while leaving of “Live Wire.”
And for anyone who didn’t pick up 2005’s Red,
White & Crüe, the two new songs from that
hits package fnd their way on to this one, so
all bases are covered.
It shouldn’t take a genius to see the irony
in the two dollar signs emblazoned on the
cover of Greatest Hits as this latest release,
admittedly flled to the brim with Crüe classics,
is a blatant cash grab for the holidays a la
KISS. In the last ten years, Mötley Crüe has
released two Greatest Hits, a two-disc hits
collection, a pair of double-live CDs and re-
released its entire back catalogue not once,
but twice! So let’s be honest before parting
with another twelve bucks…do we really need
another version of “Home Sweet Home” or
would the money be better spent on that
new Methods of Mayhem blockbuster that
Tommy Lee is promising us? Well, come to
think of it…
Abort 92 Abort 93 Abort 93
Live at Reading
Its been a few years since anything Nirvana
has been released so you could defnitely
see this coming. Considered by many to
be “Nirvana’s No. 1 Greatest Moment,”
Nirvana – Live at Reading has fnally been
released in it’s entirety and fans of the fab
three will defnitely not be disappointed.
Recorded in 1992 at the Reading Festival
(and considered one of the most bootlegged
concerts in the annals of rock and roll),
this 24-song set captures Nirvana on the
crest of their insane career, saving the
disheveled, record buying masses from the
scourge of posers and hair metal.
Coming half way between the release of
Nevermind and In Utero, their 1992 Reading
Festival appearance was the perfect
opportunity for Nirvana to highlight their
current song roster (at the time) and to
showcase new songs from the forthcoming
album, In Utero. Playing Nevermind almost
in its entirety (excluding “Something in the
Way”) as well as half of Bleach and three
yet to be recorded tracks of of In Utero,
this is Nirvana at their peak both creatively
and performance wise. Included in their
set were the covers “The Money Will Roll
Right In” by Fang and “D-7″ by The Wipers,
infuential artists in Kurt Cobain’s vision.
Considering the lows Nirvana eventually
went to (especially Kurt Cobain), this 78
minutes is a testament to a band that, in
a very short period of time, single handedly
defned a generation.
The sound quality here is excellent and the
set-list covers Nirvana’s entire spectrum.
Between song banter is kept to a minimum,
(most words being spoken by bassist
Krist Novoselic) and a better quality,
more inclusive recording of a Nirvana
live performance is not likely to surface.
Amidst the turmoil of Kurt’s life at the
time, the drug usage and the hospital visit
in Rome, the self mockery of being rolled
out onstage on a wheelchair by journalist
Everett True, its amazing this performance
took place at all. Truly one of rock and rolls
best performances. Now you can stick it in
your ears and blast away in the confnes
of your own attic, or wherever.
Born Again
Crucial Blast
French sludge titans Overmars are
compared to Neurosis way too often and
not without reason. Their previous work has
resembled the originators in many a way,
sparkling some originality nevertheless.
Now if you say they are regurgitating, plug
in their new Born Again CD, press play and
think again.
Overmars is a great talent and there really
is no other way but up for them, and the US
re-issue of their latest full-length album
is testament to what they are capable
of. Born Again is a must for everybody
who likes Sunn O))), Boris, Neurosis, early
Nadja, Jesu and 5ive. Carrying amazing
dark ambient atmosphere, drone-heavy
guitar passages and a classic sludge sound
on top of that, they are ready to discuss
the matters of falling into the abyss, going
insane, burning to ashes and being reborn
again (no pun intended).
At three in the morning, drunk/stoned/
deadly tired/sacrifcing small domestic
animals (pick any), listening to this album
will render a perfect accompaniment.
Whether they intend to or not, Overmars
apart from everything else deliver a mighty
slap on the face to everybody who says
sludge metal and stoner rock don’t have
any volume to them and feel like jerking
of in monotonous oblivion.
As a bonus you can expect to hear head-
banging inducing rifs towards the end of
the 39 minute long hymn to your craziness.
Overmars, just the way we like it.
By Arceon
Abort 94 Abort 95
What We All Come to Need
Southern Lord Records
Instrumental in both approach to playing and
defance of genre labeling, Pelican has been
producing some of the most innovative and
memorable music in the last ten years. Now the
sludgy, post-metalists return with their fourth
full length album entitled What We All Come to
Need. This time the boys from Chicago take a
decidedly more subdued approach compared to
earlier releases, but the extended track lengths
and dense melodic combinations remain pure
Straddling the blurred lines between Metal, Stoner
Rock, Doom Metal and Post-Rock, Pelican’s melodic,
rif laden library of music is both relentless and
memorable. Albums like Australasia and The Fire in
Our Throats Will Beckon the Thaw set the stage for
post modernist metal/rock and ushered in a new
appreciation for instrumental music. Continuing
that process of infuence and innovation can’t be
easy, yet Pelican remain unperturbed in their sense
and sensibilities, drive and direction. Sometimes
that excursion is along the interstate at 70+ miles
an hour, other times it’s a scenic drive down a
secluded back road.
What We All Come to Need is that scenic drive.
Songs like “Glimmer
” and “Ephemeral” with their sliding chord
progressions and formidable beats are reminiscent
of all things Pelican, while new ground is covered
with songs like “Specks of Light” and especially
“Final Breath” which includes, for the frst time
in Pelican’s career, vocals by Allen Epley from
The Life and Times and Shiner. Other notable
musicians making appearances here include Greg
Anderson of Sunn O))), Aaron Turner of Isis and
Ben Verellen of Harkonen and Helms Alee.
Produced by Chris Common, (who’s worked with
the likes of Minus The Bear and These Arms Are
Snakes), What We All Come to Need is decidedly
lower key for a Pelican album, but this still remains
one of the better releases of 2009 and further
solidifes Pelican place in non genre-specifc
Godlike rifdom.
Protest The Hero
Gallop Meets The Earth
Protest The Hero releases their frst live
album, Gallop Meets The Earth, as a two
disc CD/DVD set. The CD is a live recording
of a show in Toronto and the DVD includes
a HD video of the band performing the
same show along with music videos, a small
documentary based around the day of their
show and small clips like “Wake And Funnel
[beer]” of the band’s adolescent mischief
and gross frolics.
Gallop Meets The Earth is a great
representation of experiencing the band’s
live show. The sound is recorded with
such clarity you’d think it was a studio
album: every screaming fan can be clearly
diferentiated from the music, none of Moe
Carlson’s rapid-fre blast-beat drumming is
mufed in what could have become a swamp
of noise with Tim Millar and Luke Hoskin’s
intricate and fast picking guitar style, but
every note is easily heard making it all
sound signifcant. What makes the tracks
on Gallop Meets The Earth diferent from
the original recordings are the interludes of
banter between lead singer, Rody Walker,
and the audience. It’s hilarious how fast he
can switch from pumping up the crowds to
brutally insulting them and pull it of with
a sense of humor.
Unfortunately, the two-disc set doesn’t
include any new band material, but its
powerful track list is played fawlessly.
Songs like “Nautical” and “Limb From Limb”
of of the band’s preceding albums, Kezia
and Fortress, are performed seamlessly into
each other leaving no down time. The whole
performance maintains a pulsing intensity
with fast tempo songs, unstoppable energy
from all fve band members, and a style
reminiscent of British power metal that’s
incorporating technical death metal.
Now you can watch over and over again the
attitude, talent and sense of humour that
has built Protest The Hero’s reputation.
By Brandon Siemens
Abort 94 Abort 95 Abort 95
Psyclon Nine
We The Fallen
Earth, 2210. As the alien cyborg’s leg
smashes the skull of a member of the
feeble human resistance fghters, you can
hear the sound of it’s hybrid heart and
that’s exactly the beat of “We The Fallen”
from the album of the same title by Psyclon
Nine. We know the band all too well to
understand that they don’t play any games,
but this new release outright kills.
If you imagine a dark overcast sky of the
distant future, scorched Earth, bodies,
buildings and bunkers disintegrated by
ion cannons and add “Bloodwork” playing
in the background you’d get a perfect
picture of the apocalypse. Chanting the
hymn of total destruction and doom and
overseeing the end is Nero Bellum, who
proudly carries the fag of the modern wave
of American harsch ebm/electro-industrial.
Only this time it’s heavier yet again with
passages that many industrial metal bands
will envy.
If you take “The Derelict [God Forsaken]”,
a combination of insanely fast beats, rifs
and dark atmospheric samples, you’d get
what would make any industrial rock artist
proud. Well, if you are ready to be burned
alive for blasphemy, calling it anything rock.
It’s supposed to blow your mind and that’s
exactly what We The Fallen is going to do.
If you don’t believe it, strap yourselves in
and let it pump the blood in your veins for
you, since your heart won’t be necessary
in a place this dark, the place where this
album will take you at once.
By arceon
Kamaal The Abstract
Q-Tip isn’t only back in house; it’s like you went out, and
when you got back to the house Q-Tip had converted
the living room into a living lounge and re-upholstered
all your furniture with Jamiroquai’s hats. Kamaal The
Abstract takes the soothing approach. Largely a jazz/
funk album and a far cry from the boom bap days, this
episode fnds Tip (Kamaal) kickin’ it with a slick band
turning out sultry joints and humbly backing out of
the spot light to showcase the live instrumentation in
a manner almost un-heard of for rappers. As result,
The Abstract actually sounds abstract and totally airs
out the game as regards our expectations of a hip hop
album. The album was actually recorded around the
turn of the millennium, but Arista execs deemed it
“un-commercial” and slept on it. Nearly a decade later
it sounds current as ever and funky as the dickens.
Opening jam, “Feelin” plants us on the sunny side of
things right of the bat with an optimistic rhyme. “Had
this good feelin’ when I got up today/Like everything
was cool so I went on my way.” With his trademark
thoughtful simplicity, Kamaal comments on the
misplaced values of the day and poses a question we
can all relate to- “What happened to that feeling?”
– and meanders into a nice long instrumental break
for us to think it over.
Track 2, “Do You Dig U?” is a gram and a half of
organic chill-ness, jazz fute and all, showcasing a
vocal style from Q-Tip so smooth it makes Remy
Shand sound like Judas Priest. This is that joint you
sing into the hairbrush, waiting for the bath to draw.
The mellow-fest heats up on tracks fve and six,
“Barely In Love” and “Heels”, respectively. The former
shows Kamaal’s songwriting prowess and captures a
Chambers Brothers-esque vibe over a driving backbeat
and thick organ. “Heels”, a defnite highlight, brings
it back to the rhymes with glorious originality. Not
unbeknownst to Q-Tip either who admits that he’s
“Killing when I go back to my rap for a living”. Especially
because the song is about women’s shoes. Finally,
A mark of Kamaal The Abstract’s success is that fact
that the immaculate grooves, and not the artist’s
familiarity, make it hot. Were it a debut album it
wouldn’t lose efect. Dude can rap, he can sing, he’s
got a cool band and a neat hat…don’t see much not
to like. Changing shit up like Obama in here; boom it
in ya jeep!
By Nigel “Most Gnar” Mojica
Abort 96 Abort 97
Breathing the Fire
Prosthetic Records
Skeletonwitch’s latest release Breathing the Fire is a logical
next step in their hell-raising, mosh-pit inducing course of
auditory destruction. This 12 track epic is characteristic of
the band without any dramatic changes in delivery. Except
for perhaps a touch more black metal added to the recipe,
fans can expect the same straight up, no bullshit thrash/
black/death metal style they refned with 2007’s Beyond the
Permafrost. Though the style’s much the same, they sound
noticeably more focused; both in each song’s composition
as well as overall production. This is undoubtedly their
strongest release to date.
“Submit to the Sufering” starts the album with a quick rif
and energetic verse. Chance’s vocals are brutal yet clear as
ever. When he breaks into the chorus N8 Feet Under (guitar)
and Scunty D. (guitar) follow suit with a rif that will get
everybody moving in seconds. The great thing about this
track is that they keep it short and sweet. Though they use
a very catchy chorus (which they could have exploited by
repeating 3 or 4 times) they keep the fller down to nil. Rather
then forcing the listener to wait through boring sections to
get to the good stuf, they pack as much killer metal as they
can into relatively short songs. This makes for an album that’s
as interesting to listen to the 10th time as it was the 1st.
Other highlights include the relentless “Crushed Beyond
Dust” and the epic “And Into the Flame”- complete with
intro, interlude and outro all crammed into 3:43. Also, with
a noticeable musical preference for dark over fast this time
around, the album artwork –sinister and less surreal than
John Dyer Baizley’s concept for the Beyond the Permafrost,
has proven extremely complimentary. It stands to make an
accurate frst impression of the band’s intentions for 2009;
leave ‘em for dead.
By Alxs Ness
World Painted Blood
American Recordings/Sony Music
If Tom Araya’s 2007 hint that the follow up to Christ
Illusion could be the last for Slayer, World Painted
Blood is defnitely the right one to end with. Front
to back, WPB is balls to the wall metal brutality,
with just enough variation to keep the momentum
going. While Christ Illusion certainly brought the
band many accolades including 2 Grammy’s, World
Painted Blood is like a fash-fre of Slayer trademarks;
in 11 tracks it sums up the band’s 28-year career.
Sure there’s a formula –you know a Slayer album
when you hear it- but this isn’t a rehashing; these
are the kind of seasoned tracks that come after
nearly 3 decades of refning a particular sound and
playing style.
The epic title track introduces the album. Though it
starts of slow (by Slayer standards) “World Painted
Blood” wastes no time working into a frenzy that
doesn’t stop building intensity until the fnal rif. A
nice touch here is when Araya follows an obscure
guitar solo with a spoken word vocal part. With
a breakdown rif in the background, this section
works seamlessly to give slight pause in the musical
intensity (no slack in the lyrical department though)
before launching head frst into another driving rif.
The last chorus features Dave Lombardo (drums)
kicking the shit out of the bass drum and crushing
the toms into dust. Though obviously not such
a surprising move coming from “the godfather
of double bass,” the efect it has on the song will
no doubt set of the crowd in a live situation and
cause some stadium seats to meet their untimely
demise. RIP.
There are defnitely a few tracks that stand out
from the rest, but none that earn the label “fller.”
Some of these standout tracks include “Psychopathy
Red,” “Americon,” “World Painted Blood” and “Public
Display of Dismemberment.” With the ability to still
be writing such killer music, it’ll be bitter-sweet if
this proves to be Slayer’s last release but at least
they’ll have ended on a high note with their integrity
fully intact.
By Alxs Ness
Abort 96 Abort 97 Abort 97
Souls of Mischief
Montezuma’s Revenge
Hiero Imperium Records
What happens if you lock up four of
California’s dopest MC’s with one of the
East Coast’s maddest beat scientists in a
house in Oakland with no TV or phone for two
months? Apparently a thick slab of heavily
spiced, perfectly prepared Hip Hop balancing
the best elements of classic Hieroglyphics
lyricism from Opio, Tajai, A-Plus and Phesto
over the ever innovative and bumping beats
of the one and only Prince Paul, with help
from Hiero vet Domino. The appropriately
titled “Montezuma’s Revenge” lands like
an unexpected mudslide of illness and
leaves the listener breathless and green
in the face.
With a defnite emphasis on group
compositions highlighting the diverse skills
of the MC’s, Prince Paul’s methodological
approach has yielded a consistently
satisfying product aimed at a maturing
audience of connoisseur Hip Hop heads.
Tracks like “Postal” and “Tour Stories”
contrast the glamourous life with the
realities of relationships and human
unpredictability. “Poets” brings to the
fore the deadly accuracy of this often
underrated group of swordsmen over Paul’s
jazzy loops, until “Morgan Freeman” advises
Tajai to “drop that Old School shit!!!”.
“Fourmation” accepts the challenge, and
the Voltron unit does just that, dropping
Old School bombs over classic Boom Bap.
“Lickity Split” delves deeper into female
troubles, a theme Prince Paul seems often
drawn to, and the four fex fows colder
than brass balls.
While consistently bumping, “Montezuma’s
Revenge” rocks a laid-back confdence
beyond swagger, and exhibits the talents
of fve serious veterans, melded together
into a mind-altering musical experience
perfect for a solo blazing session when
you’re feeling world weary and embittered
by tepid rappers, yet red-eyed and vexed
enough to want some bite. Chuck D. said
he looked forward to the return of the Hip
Hop group, and here we have it, with the
standards and stakes as high as ever.
By Dave “Corvid” McCallum
Metropolis Records
In it’s eight years of existence, the New York City
formation Terrorfakt, rose to one of the most respected
and well-known bands in North America and beyond,
when it comes to rhythmic and power-noise. Ben
Dewalt has been on a steady roll since 2003 delivering
new albums as clockwork and 2009 is no diferent.
In between headlining the harsh/noise day of Kinetik
Festival in Montreal and working on numerous remixes,
Ben fnds time to write new material and he flls it
with a wide spectrum of emotions, mainly hate and
sarcasm, it seems. The new release, Re-Evolution, is
a yet another step into impressive rhythmic noise,
complete with a bunch of movie samples.
Never shy or short of words, Terrorfakt is more brutal
and heavy as ever and their popularity defes the fact
that their music is not for everybody, even including
people who like industrial in general. This is the way
this music should be done, and if you don’t like the
genre, you probably won’t like Re-Evolution either.
But if you’re up to it, dig in and enjoy the process
of “Deconstruction” of your brain, causing “Frontal
Damage” to it, frontal lobe that is. And if you’re patient
enough, “Skullfucker (Synnack Remix)” will add up to
a pleasant surprise with it’s almost dark-electro like
A must for fans. As for everybody else – watch out,
this wasn’t meant to be digested easily.
By Arceon
Abort 98 Abort 99
Vancouver Killing Spree
It’s Not About Murder
Not many local Vancouver bands will remind you
of S.N.F.U., Bad Brains, Fu Manchu, The Dayglo
Abortions and Minor Threat all rolled into one.
Don’t hurt yourself trying to think of any, its just
not going to happen. There is an anomaly though,
and thank fuck for anomalies. A new power trio is
on the scene and they’re on a spree, a Vancouver
Killing Spree.
All bullshit aside, Vancouver Killing Spree plays
pure punk rock, fast and loud, with a twist. That
twist is some of the sweetest bass noise to be
heard since John Wright strapped on a four string,
plugged that fucker in and kicked it with his boots
“Poor Impulse Control” and “Ball Peen Hammer”
both work beautifully as perfect rif laden
examples of punk rock fury with in-your-face bass.
“Hollinger” out S.N.F.U.’s S.N.F.U. (nice grammar)
while ”VKS” is the whitest Bad Brains song you’ll
ever hear (yes that was a compliment).
Punk rock has been constant for years. Local
bands like The Rebel Spell and The Jolts are
keeping it real, and more power to them, but what
punk rock really needs is something to shake up
the status quo. A kick in the balls is always fun
or a murderous rampage would be good, or better
yet, a Vancouver Killing Spree.
By Grimm “Ball Peen” Culhane
We, The Undersigned
Bleed The Constants
Diminished Fifth Records
We, The Undersigned and Diminished Fifth
Records present: Groovy party time metal
for nerds! Bleed The Constants keeps the
bar high for energy and creative heavy
rifage without losing the underlying groove
that keeps heads banging. It also keeps
heads turning with hilarious references
like on the opening track, IDDQD. If you
aren’t sure what this reference is, you
never played frst person shooters on a PC
in the 90’s. Back in those days, shooting
digital demons and listening to Machine
Head and Sepultura was a must.
These boys must be dreaming of Doom
and dabbling in phantasmagorical metal
fantasies to this very day. The songs
are relentless string theories defying
convention and convection until the core
boils over and the smell of burning guts
is pungent. Vocalist Tyler Feeney brings
back the low tenor of the late Nothingface
and squeezes it up a few tones with a
twist of modern, melodic, hillbilly-hoe-
down hardcore screaming to match the
fast dance sensibilities of his band mates.
Notable tracks include: Making a Break
for the Ocean, with some of the hookiest
licks you can shake a pointed stick at,
Burning Bodies featuring vocals by Chris
Schroeder, and Strassman’s Child featuring
atmospheric guitar work by Mason Tikl,
both of What’s He Building In There?
The title track features a fabulous wee
bass solo by Jai Sadler, a nice gesture in
the metal world where bass usually takes
a back seat in the mix. Don’t forget to
scream along with this one as the boys
proclaim “PICK UP
YOUR DEAD” to the unwitting masses.
Do not confuse this with the “Bring Out
Your Dead” sketch of Monty Python fame.
If you are indeed confused go check out
the band’s Myspace and peruse in the
lyrical content therein. Perhaps you will be
pleasantly surprised at how easily you can
clean the skeletal dead out of your closet
by indulging in this musical exorcism of
the stagnant.
As a haggard peasant once said, “There’s
some lovely flth down ‘ere!”
By ninjoelspy
Abort 98 Abort 99 Abort 99
Without Mercy
Ground zero
This autumn, Vancouver-based extreme
metal outft, Without Mercy, are swiftly
following up to their debut EP with their
frst full-length self-titled album which
carves in stone (or rather plastic track) all
the energy, fury and metal essence of this
remarkable quartet. Delivering in a strictly
no-pussy-metal style, they are showing
their strong capabilities of smashing your
brain against the inside of your own skull,
shattering your teeth and breaking the
spine, if necessary.
Lead by a remarkable female vocalist,
Alxs, they are on a non-stop train to metal
acknowledgment. “Without Mercy” is
soaked in infuences and is built in the best
metallic tradition of the last two decades,
absorbing everything you love from Pantera
to Lamb of God. The talent speaks for
itself and everything pop that has been
plaguing metal music is of-limits on this
release. Brace yourselves for impressive
solos (“CMDUC”), killer tracks like “Chasm”
and “Slit” and straightforward technical
approach to recording.
Don’t expect any atmospheric bullshit,
this is metal the way old-school titans did
it. This doesn’t stop young talent from
sparking and innovating though, namely
Matt (drums) who mixes classic thrash
beats with hardcore/crossover blasts,
as if reminding us that it’s not only Joey
Jordison’s of this world who are good
despite their age. The room for their growth
is truly enormous and after the sounds
of “All Else Fails” die away you are left
wondering what they’re going to sound
like in a couple of years. All they need is
a spark, and they will burn you…without
By Arceon
When [:SITD:] aren’t busy casting shadows in the
darkness (pun intended), doing split releases with
Painbastard and playing the iconic M’era Luna festival,
they are concentrating on delivering their unique brand
of apocalyptic electro and igniting every dance foor
their music can reach. And in 2009 as ever before they
are on top of everything, including themselves.
Rot comes as nothing less than one of the most
striking electronic releases of the year, devoted to the
traditional mix of synth-pop melodies and vocals (as
on “Pride”) along with dark electro-heavy beats and
harsh delivery (“Frontal”). What immediately strikes
you is how catchy the whole album is, maintaining the
heaviness and not repeating itself. It would be a sin
to say that there was any release so rich on hits since
Hocico’s Memorias Atras.
To top it all of, [:SITD:] is still exemplary in lyrics,
bringing sparkling intelligence into industrial, the level
of which can usually only be attributed to bands like
KMFDM (who are initially and deliberately oriented
on verbal content at least as much as music itself ).
Remember this when listening to songs like “zodiac”
and especially “MK Ultra”. Rot is the album that will
inhabit every music playing device that you have, and
you won’t be able to stop listening to it till your ears
bleed, and then, only to go and get the tissue.
[:SITD:] is the ofcial guide to dance-foor invasion,
and there’s no stopping them.
By Arceon
Abort 100 Abort 101
Brother Ali
w/ BK One, Evidence, Toki Wright
Friday, October 9, 2009
The Venue, Vancouver, BC
Brother Ali’s “Fresh Air Tour” was in town serving an eviction
notice to all the bullshit last night, with the scarily palpable
message that there is no more me or you, just US. The
imposing albino and cohorts BK One – always the portrait
of stamina on the decks, Toki Wright, and Evidence (of
Dilated Peoples) sailed above and beyond the call of music,
clutching a rapturous sell out crowd by the hearts and
injecting a well needed dose of uncut love into our lives.
Minnesota soul guru Toki Wright started shit popping,
moving the crowd with the demeanor of a veteran and the
crack lyricism of a young gun. Equal parts stage wisdom
and funky steez, he busted some joints of his new album, A
Diferent Mirror, and the shit sounds tighter than a pregnant
belly past due. Evidence of Dilated Peoples fame was next
to touch the mic and heighten the frenzy as The Venue flled
up. Spitting with unparalleled clarity, and dropping new
material, joints from the classic Weatherman LP as well as
Dilated Peoples favorites like “This Way” and “Worst Comes
To Worst”, Ev rocked like a headliner and got the reception
of one from the already ecstatic crowd.
Little did they know the biggest smack upside the head
was yet to come. When the ever-substantial Brother Ali
speaks, folks listen. But last night saw some next level
fanatical zeal going down. And in a city known for partying
like it’s on sedatives, the complete freakout inspired by the
Rhymesayers heavyweight was, well, a real breath of fresh
air. Ali took his set through the chapters of his career, giving
particular focus to his multifaceted new album, Us, as well
as playing favorites from The Undisputed Truth, Shadows
On The Sun, and even The Champion EP. Anthems like
“Uncle Sam Goddamn” saw the crowd in fervent support
of blistering statements like, “The government’s an addict/
with a billion dollar a week kill brown people habit”.
Perhaps as impressive as the songs themselves were some
of Ali’s words between them; the big brother made it clear
that he’s not playing along with any obsolete ways of
thinking, renouncing the homophobia, misogyny, racism,
and religious violence that no longer have a place in the
world. “The people who believe in this shit are dying of,” he
said, “I’m here serving an eviction notice to all the bullshit.”
But more than criticize, Ali encouraged listeners to replace
divisive ideas with the only reasonable successor: love, a
sentiment the Vancouver audience was more than happy
to get behind. He wrapped up with the new single “Fresh
Air”, a must-hear song about loving life accompanied on
the projection screen by rad backyard BBQ footage, and
sent the crowd into the streets with refreshed attitudes to
bring to their ciphers.
If you only make it to one underground rap show this year,
make no mistake about it, The Fresh Air Tour might be the
best twenty bones you ever spend. Do yourself a favor and
don’t miss it.
By Nigel “Fire Sandwich” Mojica
Photo by Jamie Sands
Abort 100 Abort 101 Abort 101
gonna hear Gift of Gab freestyle.” Shucks guys… But wait!
he’s saying something else…”You’re gonna hear Gift of Gab
freestyle…with LYRICS BORN!!”
And so God made it. Lyrics Born, the future Asian American
correspondent for the Hip Hop network, tore a strip of of
the usual half-hearted, 15 second freestyles that big MCs
tend to drop at shows, whipping out feisty, multisyllabic
bombs, countered by Gift of Gab in a passionate roar that
should’ve been his fow the whole night through. Indeed,
the tour’s host served the riled up crowd and set the lyrical
bar high for everyone in the Jam.
The big tuna, Chali 2na that is, has a voice like onyx and a
fow like a tap dancer on wet glue. He was the fnal bit of
heat to make the already steaming audience boil over with
joy. Hitting smooth raps, deep punchy lyrical marches, and
balls-out dance numbers with the accompaniment of an
eight-stringed bassist, keys, and a drummer, his set ran the
gamut of underground hip-hop styles, permeated through
and through by undeniable positivity. “I’m pretty damn
proud of this song, so if you know the words…” said the
Jurassic 5 heavyweight over the opening bars of “What’s
Golden” and proceeded to conduct the buck wild sea of
waving arms like a maestro to the apocalypse. Tuna hit up a
long, generous set, wrapping up with an extended freestyle
with the night’s other 4 acts. It was a party fueled by pure
spit, in a world where chops make a man, and the masses
sweat in exultation of large lung-ed kings.
By Dave “Corvid” McCallum & Nigel Mojica
Photo by Jamie Sands
Chali 2na, Gift Of Gab,
Mr. Lif, and Willie Evans Jr.,
Hosted by Lyrics Born
Tuesday, November 17, 2009
The Biltmore Cabaret, Vancouver, BC
Observant heads may have noticed that Tuesday night’s
installation of the Deadliest Catch tour marks the last touring
hip-hop show that’s gonna hit Vancouver before 2010. And
as Jimmy Bufet says, “You must attend the party at the end
of the world.” Vancouver never seemed more ready for a
zombie apocalypse than in the piss pouring rain, smoking
pinners and bent cigarettes behind the velvet rope- but in
the Biltmore’s pale dim light, the crowd looked collegiate,
healthy, and hungry for rhymes. Hungry enough, even…
to bite your arm of?
When asked what happened to his signature massive dreads,
the newly shorn Mr. Lif replied with glee – “I graduated!”, and
with each performance he graces his Vancouver audience
he consistently steps up his game lyrically and visually.
Over a shifting canvas of smothering bass and cascading
drum loops, Lif and his ever dope co-conspirator Willy Evans
Jr. took the minds and hearts of the capacity crowd on a
visionary journey through the pre and post-apocalyptic
world of the late North American nightmare. With Evans’
deceivingly laidback fow dropping psy-op stealth bombs
sounding like the best of Nas and Doom in a Warner Brothers
style, and Lif’s incendiary everyman prophet of doom
persona laying bare; the truths that we all want to hear, the
evening’s openers set the bar at a height few could ascend
to. With songs like “Earthcrusher” and “Collapse the Walls”
echoing the recent earthquake on the North Coast, Lif and
Evans’ elemental Hip Hop is like an invocation to the heights
for inspiration and 21st Century b-boy battle consciousness.
Gift Of Gab may not be what you’d call a slight man but best
believe he’s your tongue calisthenics instructor’s instructor.
The Blackalicious MC’s lyrical escapades are revered by
lovers of rap, auctions, and the dictionary alike and as always
his solid following showed up to have their minds melted
over his jagged soundscape of diddly-daddly wookada
wookada whimsy. He played some showstoppers; of course,
“Deception” had the house in a raucous singalong, and
“Alphabetical Aerobics” tickled some fancy (in spite of Gift
puttering of at the end). He was pretty adamant around
the close of his set that we weren’t going to hear him
freestyle. The crowd tried to change his mind with shouts
and applause, but he remained infexible, “you’re still not
Abort 102 Abort 103
Dethklok/Mastodon with Converge and High
on Fire
Sunday, October 4, 2009
Orpheum Theatre, Vancouver, BC
Kicking of the night, High on Fire from Oakland, CA tore
through their set while front man Matt Pike (ex-Sleep)
mesmerized the crowd with his psychotic performance
style. Though they sounded and looked great, their slower,
stoner metal would no doubt would have been better suited
to this summer’s Down tour or something along those lines.
Nevertheless, they put on a great show and would have
undoubtedly gotten a better reception on a more-suited bill.
Next up, receiving a strongly mixed crowd response was
extreme metal/punk band Converge. By this time it seemed
clear that whoever organized this show was either trying
to draw a diverse crowd by including a variety of musical
styles or they took a huge bong hit before fnalizing the
decisions. Either way, it no doubt sucked for the bands that
had to play to a bunch of disapproving, stone-faced metal
heads. Like pros however, Converge played an extremely
high-energy, intense set without holding back or heckling
the crowd.
When co-headliners Mastodon hit the stage, it seemed that
at last we were on the right track. Unfortunately this feeling
was smashed when they proceeded to play their latest
album Crack the Skye in its entirety. This new album has
seen them all but abandon the brutal sludge/progressive
sound that earned them renown, now adopting a style that
could be best described as a metal version of Tool. For those
not familiar with these tracks, their set felt like 1 continuous
song that would most likely be awesome while on acid, but
without acid, no crowd interaction or song introductions,
was drawn-out and tedious.
Despite these aforementioned setbacks, it was well worth
the wait. Dethklok put on one of the best metal shows
that Vancouver has seen in a long, long time. Starting with
Metalocalypse’s theme song, Brendon Small (Guitars and
vox) and Gene Hoglan (Drums), along with touring members
Mike Keneally (Guitars) and Bryan Beller (Bass) immediately
destroyed any doubts that they wouldn’t be able to pull it of
live. Not only did they completely reproduce the Dethklok
sound, they did so 100% in synch with the cartoon version
of the band, which played along on a giant screen above the
stage. While they all sounded fawless, Gene Hoglan AKA
The Atomic Clock was a crowd favorite. This guy proved
once again why he is one of the most respected metal
drummers in the world.
Including a perfect mix of tracks from both Dethalbums,
they played through some classics including “Duncan Hills
Cofee Jingle” and “Murmaider” as well as the killer new
tracks “The Gears” and “Burn the Earth” to name a few. In
addition, appearances by the Tribunal, Facebones and a
couple hilarious scenes with Nathan Explosion, Skwisgaar,
Toki and Pickles made for a captivating live performance.
This show defnitely set the bar high for touring bands in
the next while.
By Alxs Ness
Photo by Scott Alexander
Dethklok Set List:
Burn the Earth
Black Fire Upon Us
Birthday Dethday
Duncan Hills Cofee
Deth Support
The Gears
Go Into the Water
Abort 102 Abort 103 Abort 103
Emilie Autumn and Her Bloody Crumpets
Friday, October 30th, 2009
The Rickshaw, Vancouver, BC
As we near the end of civilization, with decadence and lust
quickly becoming the staples of a fearful and depraved
society, what was once considered taboo is now embraced
and lauded. Hollywood’s present fascinations with violence
and bloodshed has had it’s day and the time has come for
peace, love, and sexual ambiguity to reign supreme. No
better example of this can be seen than Emilie Autumn’s
“The Asylum Tour” appearance at the Rickshaw on Friday
night. With the talented and equally endowed members
of Emilie’s Bloody Crumpets in tow, it was a sexy evening
of Gothic playfulness and “Victoriandustrial” harmonies.
Truly a talented vocalist in her own right, Emilie also
displayed her adeptness at harpsichord, violin, costumery,
set design and seething sexuality. Intrinsically more of a
Gothic Burlesque performance than a musical gig per se,
what “Plague Rat” in their right mind is going to complain
when fve scantily clad women insist upon writhing about
in a makeshift bedroom, devising ways to corrupt each
other and the audience?
Highlights this evening (besides the set design, costumes and
slinky sexiness), included an amazing dance performances
by the feather wielding Naughty Veronica, who defnitely
made several of the audience members stand at attention.
The sexy antics of the other Bloody Crumpets; Aprella, The
Pirate Captain – Miss Maggot and the Blessed Contessa
presented a wonderful diversion and Gothic Broadway like
performance, like haunted dolls coming to life and exploring
their sexuality in front of the rest of the toys… or Plague
Rats, what have you.
Deth Support
The Gears
Go Into the Water
Musical selections for the evening’s festivities included
songs from across Emilie’s discography, most notably a well
choreographed and erotic rendition of “I Want My Innocence
Back” involving all of the Bloody Crumpets. Powerful songs were
given second place to the “burlesqueness” of this show, with no
complaints either generated or necessary.
Words just can’t do justice to a visual and audio feast such as
this. A spellbound all ages audience showed much deserved
appreciation for this her frst of what will undoubtedly be many
appearances of Emilie Autumn and Her Bloody Crumpets in
By Grimm “Plague Rat” Culhane
Photo by Scott Alexander
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Heathenfest America 2009
Wednesday, November 25, 2009
The Red Room, Vancouver, Canada

This Wednesday Vancouver’s Red Room played host to
the last North American date of the Heathenfest America
2009 tour. Stocked with an army of some of the best folk
metal around –Eluveitie, Alestorm, Vreid and Kivimetsan
Druidi with some death metal reinforcement courtesy of
Belphegor- and acquiring the support of two of Vancouver’s
best folk metal bands –Scythia and Trollband- Heathenfest
descended on this cold, rainy night with the sole intention
of drinking our city dry and raising some hell in the process.
Scythia hit the stage frst. Having already garnered a lot of
attention in the local scene for their energetic live show and
distinctive take on the folk metal genre, this up and coming
6-piece got the show started right. Tearing through their
much too short of a set, they made the most of the small
stage, ensuring an entertaining performance and leaving
a strong impression. Up next, Trollband picked up where
Scythia left of kicking out a nice, dynamic mix of fast and
slow songs. Although they were short one guitarist, the
remaining members did a great job holding it down. Though
their sound is varied, there’s defnitely a more aggressive
feel to these guys and their choice to end with one of the
most brutal songs in their set defnitely pleased fans with
a bias for the heavy stuf.
Next, Kivimetsan Druidi, based out of Finland, mixed it up
a bit with the operatic-style vocals of Leeni-Maria, not to
mention her stage presence which varied at will between
seductive and humorous. By the end of their set, she had
the crowd worked up and ready for Norwegian black metal
band Vreid. Though not quite as brutal as Belphegor, Vreid
was the frst band of the night to bring a consistently heavy
sound. Unfortunately, many of their songs were pretty
standard, each song resembling the next. Though they were
heavy and fast, there wasn’t a whole of variety between
tracks, which led to an overall unexciting set.
Darlings of the evening, Scottish pirate metal heathens
Alestorm stole the show. Without a doubt, many people
came just to see them as the venue was half cleared out
the moment they left the stage. With some great drinking
songs and an apparently never-ending supply of energy,
they brought the Red Room to life. When they kicked into
their frst song, almost everyone in the venue made their
way down to the foor, drink in hand. Front man Christopher
Bowes proved to be quite the character, making jokes
throughout their set and throwing down some sick solos
on the keytar.
Next up, Belphegor stormed the stage only to fnd that half
the venue had cleared out. Unfortunately, Belphegor, the
only blackened death metal band on the bill were sort of
the odd ducks on the tour and consequently the reception
for them wasn’t the warmest. That being said, those of us
who stayed, those of us who appreciate having our faces
torn of by the Austrian quartet, were treated to a killer
fucking show. Never one to disappoint, vocalist Helmut
was in fne grotesque form, swearing at the crowd during
sound check, taking pauses to make pig sounds into the
mic while staring blankly at the crowd and pouring blood
over himself during “Justine Soaked in Blood.” …
Finally, Eluveitie flled the stage beyond capacity with their 8
member line-up. While certain aspects of their sound could
be categorized as a cross between the Black Dahlia Murder
and Amon Amarth, their use of instruments seldom seen
in metal music –i.e. mandolin, whistles, hurdy-gurdy and
bagpipes to name a few- gives them a depth that helps
them transcend these infuences. With a seamless melding
of brutal aggression and moments of contemplative beauty,
Eluveitie are probably one of the most diverse bands to
come around in a long time.
By Alxs Ness
Photo by Scott Alexander
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even graced the stage again (after his raucous opening set
with N.E.R.D.) to join Jay for “So Ambitious” of Blueprint 3.
Laced with classics as his set was, new joints of the third
Blueprint were almost the best part of the evening. Songs
like “Run This Town”, “D.O.A.” and “So Ambitious” carried
so well live- every word being audible enough even for a
frst-time listener- it’s like they were made to be performed.
Jigga’s message to the people, “You can do whatever you
want in this world.” Easy to say, but seeing the ruler still
in his prime after more than a decade in the game, and
looking around at the packed arena with their diamonds up,
easier to believe. He reiterated it once more before being
lowered through that hole in the stage, “Don’t let anybody
fuck with your dreams; you can do anything you want to.”
After all, oaks grow under strong winds and diamonds are
made under pressure, and it seems dudes like Jigga are
around to help the rest of us stay focused. Before playing
his last joint, Jay took a full ten minutes and pointed out
the audience members who’d been holding him down all
night. “I see you with the white sunnies…don’t hurt your
ankle jumping up and down like that.”
Outside, trails of limo exhaust posed on the wet pavement
for quick snapshots before fxing their trajectory to the stars.
“I know one of y’all out there is gonna change the world,”
Jay said. Let’s hope it’s not a fascist.
By Nigel “Young” Mojica
Photo by Scott Alexander
Jay-z w/ N.E.R.D. and DJ Flipout
Friday, October 16, 2009
GM Place, Vancouver, BC
Jigga what? Jigga who? Where’s Wale? Oh wait, who cares?
Brooklyn’s favorite son was met by a boiling tempest of love
that could’ve cooked a sea monster when he rose through a
trap door in the stage at GM Place Friday night. Like the color
black, worship is something the veteran performer wears
well. Indeed, shades on and diamonds sparkling, young Hov
really did look like that young rapper, but his all-pro stage
show benefted from some veteran moves- like getting
the sickest drummer he could fnd to hold the band down.
With a juggernaut assembly of lights and speakers stacked
behind him, Hova never looked more like captain of the rap
game than on the prow of that multi-million dollar pirate
ship of technology. First Mate Memphis Bleek stepped on
deck to join Jay on Blueprint 1 classic “U Don’t Know” and
stuck around to swashbuckle lines and compare jewelry.
Jay dropped jewels from across his catalog backed by
his tighter-than-tight band, the Roc Boys, creating an
enormous sound that had the Vancouver audience giddy,
bouncing obscenely to classics like “Big Pimpin” and “Can
I Get A”. Soprano sax rained over the crowd during “Death
Of Autotune”. “Stick to rap,” Jay said, dropping out to let
us fll in the blank- “You’re T-Pain-ing too much!”. Jay was
a walking testament to the power of good old fashioned
spitting, utilizing no gadgets, no recorded backing tracks,
and no fuckin autotune to rock the house, just crisp clear
vocals and remarkable timing.
1999 classic, “Hard Knock Life” had the room in a side-to-side
that weakened the foundations of the arena.. but it’s cool,
I’m sure he can aford to foot the repair bill. Pharrell Williams
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Moonspell, Divine Heresy,
Secrets of the Moon w/guests
Tuesday, October 27, 2009
Venue, Vancouver, BC
Divine Heresy proved that their style is unique from other
deathcore bands. The band’s lead guitarist, Dino Cazares,
produced sounds of twisted power chords with his eight
string axe which he efortlessly manipulated. Lead singer,
Travis Neal switched between two vocal styles: a cleaner
rock and roll style and deep growling/screeches –but who
the hell could understand what he was singing about…?
Who the hell cares while such pure brutal metal is on stage!
Bass player, Joe Payne, sometimes straight up banged on his
bass’ strings to get the efective thud sound. Divine Heresy
live is a much grittier and louder band then what you’d hear
in their albums including their latest; Bringer of Plagues.
Their sound is powerful with enthusiasm that drove their
dominating sound into the audience, who absorbed it all
and let it fuel their pent up wild sides.
Secrets Of The Moon, a doom metal band formed in
Osnabruck, Germany, took their time building up the
audience’s tension with long haunting and eerie intros.
The whole band was a stand up act, never faltering or
making a joke out of themselves. Particularly the drummer,
Thrawn Thelemnar, stood out with a patient but prominent
drumming style. When other doom metal drummers could
continuously play something simple, (slow tempos being
curricular in doom metal) his beats would intersperse
and compliment a songs tone. Secrets Of the Moon can
personify the sound of evil and hearing it live was chilling.
The crowd’s anxiety is fnally fed as the lights dimmed
for Moonspell –cheers and yelling followed. The band
played each song to a tee. It may be that Moonspell’s songs
have cleaner compositions with more distinct sounds,
but hearing the opening bands to Moonspell there was
defnitely a professional diference. Moonspell sounded
clear as their CD recording for their latest album Night
Eternal; except for the lead singer, Fernando Ribeiro, with
his thick accent, it was sometimes hard to make out the
audio thunderstorm chorus’. Ribeiro liked to get right in the
audience’s face and even at the back you could see he was
giving it his from all the beads of sweat glistening on his
face. Pedro Paizao’s ethereal synthesizer, Ricardo Amorim
and Aires Pereira’s heavy driving guitar rifs, along with
Ribeiro’s unholy-evangelist-like howling came together
for an epic heavy metal experience in Vancouver’s Venue.
It was a diverse line up: doom metal, deathcore and
headlining was gothic metal. Because of The Venue’s tight
spacing every performance was a personal experience
between the bands and the fans. The crowd had nothing
mufing them from hearing each bands interpretation of
heavy metal.
By Brandon Siemens
Photo by Scott Alexander
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Finally, the loudest, tightest 3 piece in existence took
the stage and beat us all silly. After 34 fucking years of
bludgeoning our senses one thing is abundantly clear,
Lemmy is God and Motörhead is eternal. The current line-
up of Lemmy, Phil Campbell and Mikkey Dee (playing
together since 1992) is as good a combination of players
as Motörhead has ever had. Ripping through “Stay Clean,”
“The Bomber” and “Killed by Death” (like hot knifng butter)
proved you can’t change or improve upon perfection.
The fashing lights and syncopated beats of a freight train
collision combined with repeated pile drivers to the solar
plexis and ear splitting aural mana are what keep Motörhead
vital and easily the loudest and most consistent act out
What more could you ask for? How about an acoustic
encore of “Whorehouse Blues” with Lemmy on harmonica
followed by “Ace of Spades?” We’ll you got that too, so shut
the hell up already!
This was a rather unusual, yet appropriate line-up for a
Thursday night gig, but Southern fried Rock and Heavy
Metal go together like tissues and pornography so everyone
went home happy.
By Grimm “I should have stayed and drank Jack Daniels
with Lemmy ” Culhane
Photo by Scott Alexander
Motörhead w/
Reverend Horton Heat & Nashville Pussy
Thursday, October 1, 2009
The Vogue Theatre – Vancouver, BC
There are simple guidelines that make any gig going venture
a successful one. First, make friends with the bartender the
moment you arrive. Second, bring large friends to secure
your place at the front of the stage and third, make sure
those friends have money and can carry 3 beers in each
hand without spilling any. If you managed all three of these
at the Motörhead show Thursday night at the Vogue Theatre
then you are one of the many people who thoroughly
enjoyed themselves and are deaf as a post today.
Straight from Hell (via Texas), the sexiest band in Rock and
Roll, Nashville Pussy, opened the show with high octane
and plunging neck lines. Playing every show like its their
last gig ever, Nashville Pussy cranked out song after song of
crotch infused rock! New material was pure super-charged
Pussy, almost more Pussy than previous Pussy, yet still as
Pussy as Pussy gets… from Nashville that is. Their psychotic
fnish was an amazing chaotic crescendo of busted strings
and feedback. Pretty sure someone shit their pants over
that one, wow!
Single-handedly keeping warm summer nights and cruising
in convertibles alive and well, The Reverend Horton Heat
took over from there and shook things up with country-fed
punkabilly. As the psycho-billy troubadours of the whiskey
and cigarette set, Reverend Heat and the boys give credence
to beer soaked brawls, hot rods, drug induced craziness
and, of course, cacti. Raucous and bass heavy, you could
feel your heart palpitating in your chest as they relentlessly
thundered through their set. Mercy, mercy me.
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Nadja w/ guests
Saturday, October 3rd, 2009
Rickshaw Theater, Vancouver, BC
Vancouver is rarely treated by quality live
experimental music, and especially as good as
the brilliant mix of drone and shoegazer that is
Nadja. A duo of Aldan Baker and Leah Buckaref,
their style, productivity and performances are
downright unique. Considering the amount of
releases since their conception in 2003, one can
certainly claim that there’s just too little time to
put into music what their talent wants to share
with the world.
Nevertheless they managed quite well till
now, having delivered more that 25 releases
in less than 7 years. So when they began to
play “Thaumogenesis” on a late Saturday night
in Rickshaw Theatre, the already homelike
atmosphere in the crowd has turned into a
unity of hearts and minds, fowing into the void.
Even though some people were standing, the
better option was to sit back, relax and let your
mind wander in tune with the surreal video art,
shown in the back.
As the ambient and almost dream-pop like
passages drifted into heavy drone rifs and
hypnotizing percussion, the chaos in the depth
of the universe revealed perfect harmony, flled
with faces, shapes and barely recognizable
Earth landscapes, acting as a teleport to and
through realities and dimensions. Only Nadja
are able to induce this state of mind on such
short notice and the rest of the 60-minute long
track is pure satisfaction of the dissolving mind.
As the night began to grow old, time limits and
local reality once again mercilessly cut into the
magic of music and left us all begging for more.
Literally, as a shout from the audience proved:
“Please, play forever!”. There was an out-of-
this-world feeling that night, a combination
of experiences and atmosphere that you can’t
grasp every day: Nadja playing, people buying
vinyl and sincerely enjoying it, everybody
understanding and appreciating what was
going on.
Nadja is one band you must see live before you
die. Transcending.
Special thanks to Bryan and Malice
Words and Photo By ArceO)))n
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taking showmanship to the next level. With face-melting
fows, a voice like tearing manila paper, and “gonorrhea
in my mouth” as he put it, Snak lived up to his title as The
What doesn’t work: The Modern. It’s a nice enough club and
everything, but try coming back in after having a cigarette
(that the bouncers made you smoke across the street
because the dessert crowd at the Chill Winston couldn’t
hack y’all creeping by the window. Seriously). You’d think
that, having successfully completed the original retinal scan,
groin cupping, and mandatory $4 backpack check, your well
earned stamp would accord you speedy re-entry into the
the dry haven of bass and friends.. but this isn’t commercial
drive, hippy. Be prepared to kick it in the rain, 3rd class
citizen style, while everybody gets searched again at a DJ
Screw pace: the sort of shit you’d expect at a pretty boy
nightclub, but downright ofensive to the spirit of hip hop.
And now ladies and gentlemen, the Monday night main
event. In the black trunks, hailing from Sufolk County, Long
Island, weighing in at at two armfuls of stones, the legendary
dip-dip diverse socializer himself, R.A. The Rugged Man:
peoples champ. He dropped some hay makers in the frst
round, including “Lessons” and his verse from “Chains”, that
were pretty sweet, but no there was no knockout in this
fght. Perhaps it was the throat infection he complained
of early on, or the one hour of sleep they’d got the night
before, or maybe his voice was still hoarse from putting
Floyd Mayweather Jr. on well needed blast in that widely
publicized interview recently. Whatever the case may be,
R.A. spat pretty clean, but the whole set could’ve benefted
from a louder mic and an adrenaline shot.
By Nigel Mojica
Photo by Jamie Sands
R.A. The Rugged Man w/
Brass Tackz, Groundbreakers, Little T,
Rhymists, and Reveal
November 16, 2009,
The Modern, Vancouver BC
Monday night was live and rugged at The Modern in
Gastown- another packed show cementing MNL’s spot as
one of Vancity’s longest running and most popular nights.
What works:
MNL proves that, living amongst us, there are still honest-
to-god hotties that love rap and at least tolerate rappers. So
just because your art forces you to spend all your money on
boutique clothes that don’t match or ft doesn’t mean you
have to court a janky weedhead with gum in her beard if
you don’t want to. That’s right fellas, there are fy women out
there who, while under the mysterious and demoralizing
spell of hip hop, will let their butts be squeezed ad nauseum
and might even buy you a drink after.
More importantly though, Monday Night Live, currently in
the capable hands of young MC/promoter extraordinaire,
Emotionz, provides the stage for a rotating caste of local
talent, afording up and coming acts the opportunity to
share bills with rap heavyweights like R.A. The Rugged Man,
J-Live, Cunninlynguists, and countless others over the years.
Vancouver’s own Groundbreakers were among the hungry
milieu to touch the mic this night. Still pumped from the
recent completion of their forthcoming album “From The
Ground Up” the fresh-faced fve, no strangers in the local
scene, kicked a bomb set that fused contemporary hype
and a hard nod to the golden era.
And speaking of new releases, this past Halloween marked
the FREE online release of “The Outft” by Brass Tackz. The
gruesome union of Snak The Ripper, Evil Ebenezer, and
Young Sin (plus D-Rec on the wheels) have been on tour
with R.A., stopping at home in Van last night for Snak’s
birthday. The trio fall evenly across a spectrum with Sin’s
smooth, linear rhyming at one end and Snak’s delirious
drainpipe sermons on the other. While Evil, who’s craziness
hangs in the middle, strikes me as Brass Tackz’ foremost
lyrical mastermind, mind you it was Snak (the birthday boy)
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Satyricon w/ Chthonic and Without Mercy
Wednesday, October 14th, 2009
The Rickshaw Theatre, Vancouver, BC
Norwegian black metal is predominantly best digested on
misanthropic walks through a sunset-clad forest, preferably
with a blood-splattered axe on your shoulder. But a rainy
autumn Vancouver day can do too, especially in a great
live venue like The Rickshaw, perfect to welcome Mephisto
himself in person. Bleeding Through had fallen of the tour
due to personal issues, although it seems that they weren’t
missed, especially with a such a wicked line-up.
Opening the show local extreme metal outft Without
Mercy can be best characterized as the saviours of metal
souls in Vancouver, tortured by pussy metal, they indeed
saved the day (or rather night), rushing to the stage last
minute to deliver a mind-crushing set including their
latest single “Chasm”, to the best of their ability, which
seems to be only limited by physical space on stage. Alxs
Ness (vocals) skillfully orchestrated the numb crowd into a
highly warmed-up union, pleasing old fans and surprising
everybody else into thinking “exactly why the fuck haven’t
I seen them live yet?”
After a considerable break, Taiwan’s CHTHONIC appeared on
stage in full gear, masks and pulsing energy, ready to rock
the walls of The Rickshaw. The same energy has already won
them the award for “Best International Artist” at the Tibetan
Music Awards and tonight it has ran like an electro-shock
through every metalhead in the venue. Lead by Freddy (Left
Face of Maradou), this has to be one of the most original
sympho-black metal bands out there and they kill live. When
you’re not busy getting yourself a headache trying to follow
Jesse’s (The Infernal) fngers on guitar, you are amazed at the
way the sound of the oriental two-string violin is integrated
into their music. If you didn’t like CHTHONIC last night, you
should get punched in the face.
It was Satyricon’s frst headlining show in Vancouver and
the loyal fans clearly couldn’t wait for it to happen. When
the Norwegian black metal sextet appeared on stage, the
crowd exploded and the rest of the show can be viewed
as a testament to this statement: some bands are out there
only because the long-time fans still support them. Nobody
argues their talent and their contribution to the genre, but
with a bland sound and a rather weak stage presence they
can’t be viewed as a prominent member of the second wave
of black metal, which they nevertheless are. It’s always great
to hear “King”, “The Pentagram Burns” and “Mother North”
live, but something has to change to keep people interested
and especially attract new fans. Bleak at best.
CHTHONIC defnitely stole the night and marked themselves
as one of the best sympho-black metal bands to ever appear
on a Vancouver stage.
By ArCHTHeon
Photo by Scott Alexander
Abort 110 Abort 111 Abort 111
Saul Williams w/ Guests
Tuesday November 17th, 2009
Venue, Vancouver, British Columbia
Venue still stands after Saul Williams got through
with it. This is surprising if you consider the fact
that the bass was thumping so loudly all night
drinks were literally skittering across tables. The
night started out with Houston, Texas-based act
American Fangs stepping up to the plate, delivering
their unique mix of totally ordinary hard rock. While
the music itself was as bland as Kenny G’s shower
curtain they actually made quite the show of it. At
one point the lead singer jumped into the moshpit
with his microphone in his hand and took a shot
to the nuts which he shrugged of like a bronze-
cullioned Sean Connery.
Next up was Earl Greyhound, a New York three-
piece that blew the roof of the place with their
psychedelic zeppelin-inspired shreddery in spite of
their name giving the impression they’re comprised
of former Fleet Foxes members. Third up was CX
KiDTRONiK & Tchaka Diallo, who exploded onto the
stage from nowhere and cranked shit up a notch for
all of ffteen minutes with their crazy-assed grimey
beats and over-the-top outfts.
Finally, with a roar from the crowd, Saul Williams
slithered onto the stage like a hip-hop reptile and
funk-molested the crowd for the next hour and a
half. Performing his last show in the “Niggy Tardust”
persona on the very stage in which he debuted it,
Saul ascended the scene clad in a golden cape,
purple suit jacket, and huge tasseled boots. All
done up with sparkling face paint and technicolor
feathers in his hair like a modern-day George
Clinton he strutted about confdently, exuding
funky pheromones which likely melted every
panty in a three-block radius. Perfectly comfortable
dancing around the stage like a lithe groove-snake
on the prowl, Saul had complete control over the
audience the entire time on-stage, ramping them
up at his leisure and then calming them down with
snippets of his terrifc slam poetry only to ramp
them up again with his kickin’ beats. While some
might cringe at reading the words “slam poetry”
it actually worked perfectly as he used it to segue
between songs, changing the mood depending
on which track was coming up next.
For the fnale he whipped the crowd into a frenzy with
a raucous version of “List of Demands(Reparations)”,
before he once again calmed them down with some
poetic nuggets and then exited gracefully, shaking
hands and dishing out high-fves all the way.
By A.W. Reid
Photo by Scott Alexander
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Skinny Puppy w/ Vverevvolf Grehv
Tuesday, November 3, 2009
The Rickshaw Theatre – Vancouver, BC
When you woke up this morning was your eyesight
distorted and your mind like goo? Did you feel like
you’d dropped acid and forgot where you parked
your id? Did everything just seem to be extra
lame today? If you have answered yes to any of
these questions there’s a good chance you were
at the Skinny Puppy “In Solvent See” Tour stop at
the Rickshaw last night. If you weren’t there and
these symptoms still persist, you may want to
seek professional help and fnd out what the fuck
is wrong with you and why did you missed this
awesome spectacle.
Show opener Vverevvolf Grehv (pronounced
Werewolf Grave) commenced to bend the hell
out of everyone’s proverbial shit with a feshy
noise-core solo set. Comprised of Dapose (Michael
Dappen) from the electronic band The Faint,
Vverevvolf Grehv was one dude, a guitar, a laptop
and enough distortion efects to outft an entire
Jimi Hendrix revival meeting. This is the heavy duty
weirdness you’d come to expect from the opening
act for such a show. Although countless hours of
quality masturbation time were obviously lost in
perfecting this rif laden opening set, the crowd
was enthralled and a little surprised so much sound
could come out of one guy. Think Wayne Static on
window pane acid and you’re out of your mind,
but in the ballpark.
With visits as rare as hen’s teeth these days,
Skinny Puppy and their aptly named “In Solvent
See” Tour (R.I.P. SPV) brought the founders of
electro-industrial music back to their hometown
Vancouver… fnally! “Rivetheads” and “Puppy
People” from all walks of life converged on The
Rickshaw to witness a visually stunning and
musically amazing hour and a half long set by
none other than the band far beyond time, space
and dimension. This evening’s multimedia tour de
force of mesmeric proportions included exactly
what you’d expect from Skinny Puppy, multiple
screens and projectors displaying creative and
original visuals, Ogre’s iconic costumery and music,
music, music! This night’s musical highlight had
to be the amazing version of “ugLi,” resplendent
with a bajillion images of Jesus and Ogre’s vocal prowess.
Truly amazing artists and musicians, Skinny Puppy never
fails to impress and stimulate. Last night was no exception
as a sold out Rickshaw crowd was pleased to confrm with
huge applause and a lackluster job performance today at
work. Eighteen long years between shows in Vancouver
can almost be forgiven when Skinny Puppy puts on a
phenomenal, multi-media performance of this magnitude,
but if they wait that long again we may have to hunt them
down like dogs… regardless of their size.
By Grimm “Used Rig” Culhane
Photo by Scott Alexander
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showed us that complex technical death metal does not
need to cause the audience to stand like deer caught in the
headlights; bewildered and mind-blown. Although there
was a lot of that no doubt, the boys made sure that their
neck-breaking grooves got everybody moving.
Opening with the frst track from their latest Blood Oath,
legendary death metal act Sufocation stormed the stage
intent on leaving everyone in the Rickshaw bloodier and
more belligerent than before. Playing a few tracks from their
latest as well as Efgy of the Forgotten, Pierced from Within
and their self-titled (2006), they were all non-stop power.
Defnitely one of the most intense live bands around, these
guys, who have been together since 1989 have not lost
anything over the years; in fact, they sound tighter now than
ever. Drummer Mike Smith, one of the principal innovators
of the blast beat, kept the pace while lead guitarist Terrance
Hobbs broke up the rifs with some killer solos. Vocalist
Fran Mullen, in fne form as well, made sure the crowd
was on their toes –giving us some of his usual rants. With
a “don’t give a fuck” attitude, relentlessly powerful vocals
and commanding stage presence, Mullen is the archetype
of the death metal front man.
Find more photos like this on ABORT Magazine/ABORT TV’s
Ofcial Online Street Team
By Alxs Ness
Photo by Scott Alexander
Sufocation w/ The Faceless,
Sufokate and Tard
Sunday, November 15th, 2009
The Rickshaw Theatre, Vancouver, BC
It’s not news that Canada’s border has fucked up more shows
than overdoses and band politics combined. None the less,
every time a band is denied entry from the states, fans are
left disappointed and promoters are left scrambling trying
to fnd a reliable support act without notice. Unfortunately,
this Sunday at the Rickshaw was such an occasion, when
both Vital Remains and Enfold Darkness had to cancel their
sets due to border issues. This was a low blow for the mini-
tour considering Annotations of an Autopsy were forced
to pull out of the Vancouver show as well as the upcoming
Planetary Depravity tour with the Faceless and Dying Fetus
due to recent changes in US immigration policies. Luckily
Sufokate –who are also on the Planetary Depravity tour
were able to jump in as well as Vancouver’s own death
metal heathens Tard.
First up, Tard broke the news that Vital Remains would
not be playing. Despite initial heckling, the crowd paid
due respects to this amusingly crass, politically incorrect,
recently overhauled 3 piece whose extreme death metal
sound always ensures an excellent live show. Despite the
line-up change, they sounded brutal as ever, this time with
the entire band taking up vocal duties as they churned
out such classics as “Repeat Ofender” and “Sack of Shit.”
Defnitely a great band to watch and an excellent choice
to get the crowd riled up.
Next up, Sufokate from Oakland, CA took the stage to the
now warmed up crowd. They certainly kept the momentum
going with a hardcore inspired sound that stayed heavy as
fuck throughout. With vocalist Ricky Hoover belting out
some surprisingly low growls and bass player Bray Almini
doing some serious head spins (with dreads) that could
cause decapitations, Sufokate took over where Tard left
of, inciting some impressive action in the pit.
With much anticipation, Encino’s the Faceless reminded
us why they are quickly becoming one of the world’s most
talked about death metal acts. Although last year found
them uncharacteristically nervous and reserved when they
opened for Cannibal Corpse at the Croation Cultural Centre,
they absolutely dominated last night. Playing through their
latest album Planetary Duality in its entirety, the Faceless
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Propagandhi with The Rebel Spell
Tuesday, October 27, 2009
The Rickshaw Theatre, Vancouver, BC
The government is trying to lull us into complacence
with their evil meat spell, killing brown people in
the desert is the new black, and worst of all, you
still don’t know how to use a toilet. Propagandhi
were in town Tuesday night and best believe they
brought their gripes. Hopefully they had their own
bathroom, because otherwise they have a whole
new set of human rights abuses to admonish: the
type where humans abuse their rights to piss and
litter all over the fuckin’ venue when they don’t
have to clean up after. Sorry fuckface, but your
admission didn’t include an invitation to be a flthy
non-contributing feral child cunt.
Vancouver’s own The Rebel Spell were the big buzz
in the lobby. One of Van’s best loved punk bands,
the Spell, fronted by a hybrid of Ivan Drago from
Rocky IV and the tall Nazi from The Pianist, burned
through a half hour of contempt for the global
death machine, evoking memories of the glory
days of Epitaph, being 14, and jacking of to Shirley
Manson on MuchMusic (What’s wrong with that?
– Ed) with a hot dog in the other hand. Drummer
“Stepha” had the performance of the night, stealing
the show and putting even Propagandhi’s Jord
Samolesky to shame with her brazen shit-kicking.
The Rebel Spell made the hometown audience
proud and their huge draw was apparent from the
number of mouths singing along. Not to mention,
half the good looking girls at this cock party were
in the band, so god bless ‘em for that too.
Punk may be in her 30’s, but she’s no less of a
motherfucker. Propagandhi took the Mike Tyson
approach and threw knockouts from round 1,
driving the audience mad with degenerate rage
over tracks like “Back to the Motor League” and
“Less Talk More Rock”. The Loser-peg residents
sounded harder and tighter than ever, playing
blistering two-guitar flls on matching SG’s with
perfect precision and hammering out anthemic
protest songs like the world depended on it. And
it very well may. In an age when once-conscious
bands seem increasingly apt to be let astray by
money and fellatio, Propagandhi are representing
the good fght with every chord. As a matter of fact,
when a stray money pouch landed on stage, founder Chris
Hannah even let the audience know “someone’s disgusting
leather wallet is up here…” and threw it aside.
The good fght has and will forever be a magnet for self-
righteous snobs. And by the way, if gaseous meat is murder,
than you’re a fucking murderer Chris Hannah, because I fart
a whole chicken in your general direction. Notwithstanding
this detail, Propagandhi didn’t disappoint. They are some
of Canadian punk’s coolest dads and the righteous life has
sharpened their sound to deadly perfection. The mixed
crowd of young and old, derelict and runaway, square
and hooligan all got their money’s worth, along with the
added satisfaction of knowing that conscious Canadian
rock is in good hands for now. Look for Supporting Caste,
in stores now.
By Nigel Mojica
Photo by Jamie Sands
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Final act of the night, Hatebreed, paid many respects to
Cannibal Corpse throughout their set, even dedicating
one of the last songs of the night, “Perseverance” to them.
The humility did not end there as frontman Jamey Jasta
recounted a story of a tour they did in Japan, where they
lost their guitars and only one band out of 40 at a particular
show stepped up to the plate to lend them their gear. This
band was Slayer. They followed the story with the cover
“Ghosts of War” which is featured on their highly successful
cover album For the Lions. They also played a number of
songs from their latest album (self-titled) which was released
worldwide back in October. With a solid mix of newer and
older material, the crowd was united on the foor with a
steady dose of heavy and empowering tracks.
By Alxs Ness
Photo By Scott Alexander
Hatebreed w/ Cannibal Corpse, Unearth,
Born of Osiris and Hate Eternal
Wednesday, December 2, 2009
The Commodore Ballroom, Vancouver, Canada
A black shroud of doom descended upon Vancouver
when brutal death metal band Hate Eternal kicked of the
Decimation of the Nation 2 show at the Commodore this
Wednesday. It was difcult not to notice how nonsensical
it was that a well established and respected act like Hate
Eternal, who have been going strong for 12 years would
be opening for the trendy and relatively new (2 years)
Born of Osiris. It’s unfortunate too considering that this
meant they were only able to play 3 songs. Regardless of
the short set time however, it was immediately obvious
that this 3-piece packs a heavy punch and achieves a
more massive sound than many 6-piece bands.
While Born of Osiris seem to ft the description of the kind
of fy-by-night metalcore band that has been springing
up overnight the last few years (and disappearing just
as quick), credit should be given where credit is due.
With a sound that has strong death metal and metalcore
elements, they were a sensible choice as segue into
Unearth. Besides their sound, their extremely energetic
set brought the undead momentarily back to life in
anticipation of the non-stop action of the latter’s set.
Though looking slightly road-worn, Unearth were able
to pull it together and perform their signature energetic
live-show to full efect. Always one to set the crowd
ablaze, the Massachusetts based metalcore band got
everyone onto the foor. Tracks like “Sanctity of Brothers”,
“My Will Be Done” and “Black Hearts Now Reign” –in
which guitarists Ken and Buz threw their cabs onto the
stage and shredded on top of them- got a strong crowd
response. Keeping the energy fowing until the very end,
vocalist Trevor Phipps provoked the crowd into giving
it everything they had; reminding us that while only 30
seconds remained, this was our chance at 30 seconds
of energy and pure aggression.
Cannibal Corpse started their set with “Evisceration
Plague.” With its slow, driving rifs, this is the perfect
song to get the crowd warmed up and prepared for
the insanity to follow with favorites such as “I Cum
Blood”, “Make Them Sufer” and “Hammer Smashed
Face.” Like Unearth, Corpse seemed slightly worn-out;
evidenced mainly in less head spins than usual by
Corpsegrinder. None the less, they put on a great show
and Corpsegrinder, despite a slightly less than average
(for him) amount of head banging, still kicked the asses
of everyone trying to match him. In this vein he put out
one of the best quotes I’ve heard in quite some time
“short hair is not a fucking excuse.” There’s the challenge,
good luck trying to meet it.
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Legendary Pixies frontman Frank Black shares a few choice words with
ABORT Magazine’s Grimm Culhane in green room of Vancouver’s Media
Club. Topics range from the early days of The Pixies to the present state of
the music business to how weed can enhance your skills at parallel park-
ing. Who says rock stars don’t have something valuable to contribute to
society… besides the music of course.
21 & Under with…..
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Grimm Culhane: Hi this is Grimm
Culhane for ABORT Magazine, we’re here
with… Frank Black… also known as…
Frank Black: Black Francis.
Frank: Also known as… that’s it.
ABORT: That’s you.
Frank: The government knows me as something else,
but we don’t need to talk about that.
21 & Under with…..
ABORT: Me as well, so yeah, fair enough.
Let’s get right down to it. We spoke briefy about
this before we started, but where are you in your
career right now? What stage as a musician are
you in?
Frank: Probably, like a lot of people, approaching a
sort of rocky area really in terms of the business, in terms of
the fnance because people aren’t buying CDs. The record
companies are all up in arms, everyone and their mother is
out on the road so of course trying to book a tour is diffcult
because either the clubs are all full, you can’t get in on the
night you want to get in for or the patrons have been to six
shows that month and if you’re not hot you’re only going to
get the real faithful. If you’ve got a little bit of hotness going
on of course everyone’s at your
Continued >
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show. I just turned down a little tour because there just
wasn’t enough money. It was like; I can’t go on tour with
7 or 8 guys, a band, a crew and a bus and everything and
make any money, so I said no. Having said that, you’ve
been around for a long time if you have some credibility, if
you have some “street cred” and suddenly Mexico’s calling,
or suddenly Australia’s calling, or suddenly hey there’s some
festival in Iowa that wants to pay you a boatload of money
to go there and do your thing. So you have this credibility
factor, some sort of name recognition so you’re allowed
in various doors. That’s a kind of stability I suppose that
I’ve always had as a result of The Pixies or as a result of
remaining, if not hot, at least busy. I haven’t been sitting
around with people wondering “where the hell’s he been
for ten years?” I probably, if anything, have too many
records coming out. “How ‘bout this? How ‘bout that?” You
know? I’m always trying something new.
ABORT: With record sales plummeting
and tours harder to book, what remains vital to
you as an artist?
Frank: As long as I stay in print, that’s all I care
about. That’s the only thing I’m really striving for. Stay in
print, just like Lou Reed, just like Iggy Pop. Keep ‘em in
print and you never know. You might make a record that’s
a real classic record that may not even be applauded when
it comes out, but if it’s a good record eventually people will
fgure it out and go, “oh yeah, that Lust for Life record, that’s
a good record,” you know what I mean? Now it’s a classic
record. I’m sure in 1978 people weren’t going “touché
Iggy,” they were going “what the fuck old dude? Have you
heard of the Ramones or the Sex Pistols?” or whoever he
was competing with at the time. You got this guy David
Bowie producing and look at all the guitar solos on this
thing. He was playing at a club like this (The Media Club)
I’m sure. I don’t know, I wasn’t there, but I’ve seen some
footage from back in the day of Iggy in 1978 on his tour
and he wasn’t playing stadiums or anything. He’s on a little
night club tour. I didn’t hear that record until 5 or 6 years
after it came out. There I was in college an I found this used
copy of Lust For Life and The Idiot and that’s when I became
a convert. And now, of course, you turn on the TV and
“bomp bomp bomp, bomp bomp ba dada bomp” there it is.
Everyone in the world has heard that song.
ABORT: So what’s more important the cult
status or is it the monetary gain?
Frank: I want to remain chief of my own operations.
I don’t want to work for “The Man.” I don’t want to work for
someone else. I don’t want to have to compromise my art.
I don’t want to have to do some super favour record deal
kind of thing where give up my artistic freedom. Do I really
want to have some sort of lowest common denominator hit?
Do I really want some sort of mozzarella sticks song? Do I
really want to have the sort of…
ABORT: Flash in the pan kind of thing?
Frank: Yeah. Do I really want to do that or do I want
to have some sort of integrity and stick around for a long
time and have a career and make some interesting records
and be true to myself and cultivate that? That’s my path.
That’s the way I started out. I mean I love The Beatles and I
love The Who and Led Zeppelin and everything, but when I
was a kid I didn’t view it in those terms. I viewed it in pure
terms about music. I love music. I love this record. I love
that record and it wasn’t about how famous you’re going to
be or what party you going to get invited to? It was pure. I
was a young kid listening to music so when I got into it seri-
ously when I was about 19 or 20 and I tried to start a band
called The Pixies it was still pure and it was involved in
what was called “alternative rock” or what was at the time
called “college rock” or “indie rock.” It was not about trying
to be like whatever the mediocre, top 50 that was going on.
It was anti-that. It was about doing something against it all.
So that’s where I come from.
ABORT: Is touring now as a solo act in
smaller clubs reminiscent of the early days
starting out with The Pixies?
Frank: I remember this club in Boston, its gone now,
it was called The Ratskellar, “The Rat,” they called it, and
that’s where The Pixies used to play a lot of their early gigs
and this dressing room… I swear, its like I’m there again.
Now this was New England so things are older there, the
buildings are older, but its like I’m there again. Very strange.
Almost surreal, like a fashback or something.
ABORT: Does that response infer a liking
for drugs? Perhaps not now, but in the early
Frank: No…
ABORT: Ok, how about weed?
Frank: No. I used to smoke weed when I was
younger, in my 20s and a little bit when I was in my 30s,
but at some point I just stopped. I still enjoy the fragrance
“I want to remain chief
of my own operations. I
don’t want to work for
“The Man.” I don’t want
to work for someone
else. I don’t want to
-Frank Black
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if I smell it in the venue or something. I’m not good with
drugs. A double espresso, doppio macchiato is about as
intense as I can get. I was never really that good with the
weed. I enjoyed it at the beginning, but then I was smoking
and smoking and suddenly its six o’clock in the morning
and there I was with my cigar. Not a lot of self control. I’m
not good for the drugs.
ABORT: Did it help you creatively in that
early period?
Frank: No. Never. I always owned that too, I never
pretended that I was creative. The only thing I could do
better under the infuence of marijuana was double parking.
Pulling into a parking space (SNAPS FINGERS!) one move!
It didn’t matter how tight it was, that was the only thing I
could do.
Both: (LAUGH)
Frank: Other than that, what do you do? Eat potato
chips I guess. I had two glasses of wine, in preparation so to
speak, for our interview. Simple, nothing special, but that’s
about it.
ABORT: Ah, sure, I understand. I had a
Slurpee so… I’m totally peaking right now.
Frank: (LAUGHS) I can’t drink when I’m playing…
well… I CAN drink when I’m playing, but what I do is tend
to stumble, tend to forget lyrics, that sort of thing, espe-
cially an acoustic show. Its very nerve wracking because
the faithful are there and they’re just right with you every
couplet and you mess up and they’re all “hey, he missed
the line.” They don’t miss anything! That’s why I tend to not
ABORT: One last question. I’m curious,
what does the future hold for you?
Frank: Well I’ve always got little gigs, little tours, so
I’ll be doing that. I’m always looking for an excuse to make
a record so I’m always thinking about that. If I have some
time I get a free pass from my wife for a few days away from
the house and the kids and I’ll just show up at the studio
and I won’t even have songs most of the time. Let’s just start
playing, whatever, we’ll make a song out of it somehow.
BOTH: (Laugh)
Frank: That’s kind of where I’m working at right now
and I’m liking that. Ok, I made a Herman Brood concept
album, what do I do now? Wikipedia, random article
search, you know?
Frank: I did that for two hours one night until I
fnally stumbled upon something that I was all “ah, ok, I can
get into this.”
ABORT: I appreciate you taking the time
and talking with us Frank.
Frank: Oh, hey, no problem. I really enjoyed our
conversation. Thank you very much.
The Pixies ‘Minotaur’ Box Set is in Stores Now
By Grimm Culhane
Special thanks to Eric Alper of E1 Canada
Frank and Grimm
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It’s our Annual Best of Lists and we thought
we would start with our spoiled & ungrateful
staff who don’t give a shit about anything but
themselves …and so they should. They work
hard, play hard, fuck hard and have major
egos that they richly deserve for all their vol-
unteered hours and dedicated effort. For this
- we salute you. You fucking cocksuckers.
E.S. “ Insert any curse word, domestic or foreign” Day –
1. BEST ALBUM- Nothing. A horrible year for music.
2. BEST LIVE SHOW/CONCERT – Lamb of God at UBC (for
the simple fact Randy Blythe gave the magazine props in
front of 6000 kids – thanks bro!)
3. BEST FILM - Bronson
5. BEST LOCAL GROUP/BAND – Tie: Ninjaspy/Without
Mercy (as usual)
7. BEST PLACE TO DO DRUGS – Anywhere, it’s Vancouver
I wasn’t living here, but I love the weed and lack of snow
ABORT MAGAZINE – Have nothing better to do while waiting
to exit the earth.

Grimm “I like putting names in the middle of my name” Culhane
- Managing Editor (Vancouver)
1. Fu Manchu - Signs of Infnite Power
2. Eagles of Death Metal
3. Drag Me to Hell/ District 9 (tie!)
4. The Rickshaw
5. Ninjaspy (still!)
6. Jem Gallery
7. Any alley in East Van will do, but jeez, with the amount
of drugs I do how am I supposed to remember something like
8. Car accidents/The City Morgue (tie!)
9. Cavity searches were all year round and not just during
the Olympics.
10. I’m working for fucking free!?
Dave “Don’t answer that, it’s just Scott” McCallum, Hip-Hop
1. Rira - Horses Work For Donkey’s Wages
2. Rock the Bells 2009
3. Global Metal
4. The Rickshaw Theatre
5. Team Killawatt
6. The Alleys of the Downtown Eastside
7. Backstage at Rock the Bells
8. Commercial Drive “Drivefest”, more like
9. ...if people would have the balls to call bullshit on all the
fakes and support the real.
10. I enjoy the steady stream of emotional abuse I receive
from the editor, it reminds me of my ex.....
ARCEON aka Sergii “Son of Bitch” Kurstak – Managing Editor
1. In Strict Confdence - My Despair
2. Killswitch Engage at PNE
3 District 9
4. Commodore Ballroom
5. Ninjaspy
6. Vancouver Art Gallery (or whatever the fuck it is where
they have those hilarious exhibitions no one ever goes to
7. Scott’s place of course
8. At a hip show
9. Vancouver would be a better place to live if (wait for it) it
wasn’t Vancouver.
10. Because it rocks and everything you drink is on the rocks
and you can listen to a multitude of rocks.
1. PI Nature, Ninjaspy - Zestone
Best of 2009 –
E.S Day
Dave M
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2. Emilie Autumn - Rickshaw Theatre
3. Lesbian Vampire Killers (just for the title)
4. Commodore
5. Fake Shark, Real Zombie / Ninjaspy
7. Main and Hastings
8. The Astoria
9. If people actually cared about things.. for example, metal
heads at LAMB OF GOD acting like well behaved toddlers
going to see Raff
10. Free swag

DANIEL “Slackerack” BACHARACH - Senior Layout/Art
Director (Nanaimo, BC)
1. Raekwon - OB4CL2
2. Gallows’ set @ Warped Tour
3. That porno with Sarah Palin
4. In Nanaimo? I dunno...the Cambie?
5. Rorschach
6. In Nanaimo? I dunno, there really isn’t one...the one at
the school?
7. At the waterfront
8. The Georgia Straight
9. I was addicted to meth.
10.The street cred, the hunnies, the free narcotics and the
blowies from scott.
JAMIE “The Colonel” SANDS - Staff photographer /Videographer
1. Fuck 2009
2. Dropkick Murphys
3. Zombieland
4. Commodore Ballroom
5. Run With The Heard or Azrael of Imaginations Treetrunk
6. Fuck Artists and Photographers
7. In a Bong
8. On Main Street while throwing granola and scarfs in to
busy lanes of traffc
9. ...if we had copious amounts of grass, beautiful girls
everywhere and waterfalls of liquor....hummm 2 out of 3 ain’t
10. Taking my sweet time submitting photos to cause Scott as
much stress as possible... WUTANG!!!
ALXS “Arrrrrrrrggggghhh” NESS - Staff Writer (Queen of The
1. Cannibal Corpse -Evisceration Plague
2. Dethklok/Mastodon (Vancouver)
3. BEST FILM- Nothing
4. The Commodore
5. Theocide
6. Centre A
7. The Bus
8. The Bus
9. there were more venues for live music, especially metal
10. sadomasochistic tendencies
Continued >
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AJANI “Regarding Photographic Images” Charles
1. A tie between Jay-Z’s “Blueprint 3” And The Clipse’s “Til
The Casket Drops”
2. Rock The Bells (Toronto)
3. Quentin Tarantino’s “Inglourious Basterds”
4. The MOD Club -- I’ve taken some great pictures there
5. In terms of live performances, it’s a tie between Melanie
Fiona and Saukrates
6. The AGO
7. Kindred Cafe
8. Queen Street West
9. Toronto would be a better if talented independent artists
supported one another even more so than they currently do
10. It adds to my world domination
Joel “ I got the blues” Parent aka Ninjoelspy – Staff Writer/
Ninjaspy frontman/guitarist
1. Mastodon- Crack the Skye
2. Tom Morello - The Nightwatchman
3 .Inglorious basterds
4. The Black Pirate Pub,Thunder Bay, Ontario
5. Canada: What’s He Building in There?
Vancouver: Whitey
The Tokyo Ninja Lemming featuring the works of meghan
corsie, Laura pummell, John Bowen, Eva Dominelli, Brad
Croshaw, the purple house crew and team crew.
7.The boss’ desk
8. Its not even funny anymore.
9. Uncle Fatih got a cloning machine
10. I work for abort magazine?!

KASSANDRA “Blow my fucking brains out” GUAGLIARDI – Staff
1. Method Man & Redman - Blackout! 2
2. Rock the Bells
3. Coraline
4.Fortune Soundclub
5.Bogus Tokus
6.Chapel Arts
7.East Van
8.Scott’s inbox
9.Less rain, better dance parties and liquor sold at 711
10. So I can hand out business cards (and scam free tickets-

NIGEL” Green, Yellow and Brown” MOJICA – Staff Writer
1. Cormega - Born and Raised
2. Brother Ali @ The Venue
3. Drag Me To Hell... or Cloudy With A Chance Of Meatballs
4. The Rickshaw
5. The Rebel Spell
6. X Gallery
7. The Downtown East Side
8. Funky Winker Beans
9. I could read minds!
10. you meen I no gat pay? I did ate a whole onion tho!
A.W. “Unusually thick penis” REID – Staff Writer
1. DOOM - Born Like This
2. White Lung
3. District 9
4. The Commodore
5. White Lung
6. The VAG
7. Laser/Disco bowling night Grandview Lanes, Commercial
8. Their mom’s bed
9. It rained liquor and cigarettes
10. The money I’m secretly embezzling.
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NICK “ I’m not Dave” TCHIR – Layout/Art Dept.
1. August Burns Red-Constellations
2. DOOM CANNON ft. My Daughter the Ranger, A Textbook
3. Star Trek
4. Commodore Ballroon
6. The one I havn’t made yet
7. Spinning on top of the Habour Center
8. American Apparel and Funky Winkerbeans
9. It would be a better place to live if ther served beer
at Mcdonalds.
10. They don’t give a fuck about what you think
DAVE “ I’m not Nick” GRAHAM – Layout/Graphic Designer
1. The Echo Verses by The Arusha Accord
2. Architects with Misery Signals Vancouver B.C June 2009
3. Inglorious Basterds
4. The Bourbon
5. Doom Cannon
6. The Fall
7. Any McDonalds bathroom
8. Cambie
9. Vancouver would be a better place to live if there were less
10. It makes me look cool.
Continued >
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ALEXANDRIA “I don’t live in Prince George” LEE –
1. Five Finger Death Punch- The Way of the Fist
2. AC/DC
3. The Union
4. Sweatshop (R.I.P)
5. Taal Mala
6. Emily Carr Grad show- Artist- Jeffery Hallbauer
7. blood alley
8. Granville st.
9. traffc wasn’t the shits.
10. To smoke weed with the boss

Lost but not forgotten. Actually, make that just plain
old – lost.: Jimmy Lynch, Sarah Hamilton, Gary La-
chance, Eva Vulgar, John Norby, Sylvia McFadden,
Chris Webber.
JONATHAN ”Why didn’t you use my Back-
grounds?” PARSONS - Contributor/Transcriber
(North Carolina, USA)
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The Year in Revolt:
Shooting Gallery
-Scott Alexander
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-Scott Alexander
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The Year in Revolt:
Shooting Gallery
-Ajani charles
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The Year in Revolt:
Shooting Gallery
-jamie sands
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-jamie sands
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The ABORT Interview
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The ABORT Interview
ABORT: First of, let’s break the ice. In
the mainstream public’s eye in 2009,
the DJ/Turntablist: an overrated novelty
or an underrated musician?
z-Trip: Both. I think, depending on the DJ.
Certain cats have a bit of hype behind them, just
like you would with any band, a boy band like
the Backstreet Boys or something. They’ve got a
big hype behind them, a big push. Then you’ve
got plenty of cats who have been putting in the
work or still do put in the work who aren’t as
acknowledged. I mean, that’s kind of anything,
whether it be DJs or bands, you’re always gonna
have the hyped up entity and you’re always
gonna have the underground underdog so to
speak. It’s kind of relative.
Do you ever feel like, to keep your spot,
you need to tailor for your listenership?
z-Trip: Sometimes. But, for me, I can only do
that so much before I feel like I’m giving in
and I think it’s important to always be able
to throw a couple curve balls- even if it clears
the dance foor or gives people, y’know, not
the best reaction to you. Sometimes you need
that just to keep a balance because you can’t
please everyone in the room at the same time.
Sometimes it’s intentional, sometimes it’s
unintentional but, I think, so long as you keep
it somewhat unpredictable from time to time,
for me, I feel like I’m doing my job. It depends
also on the crowd you play for to. Some people
only want stuf that’s familiar that they can
digest, other people totally want stuf that’s
unfamiliar, and then you’ve gotta fgure out
how to navigate through those crowds by sort
of giving each entity enough of what they want
while also satisfying yourself by playing enough
things that you want to push on a crowd that
you really want to champion or that you’re
Is there anything you mash up in the
basement where you’re like, “shit, I
could never put this out” or “people
are gonna hate this and I’ll put it out
for that reason”?
z-Trip: Well, yeah there’s been time where I’ve
found some stuf where I’m like “this is just so
incredible, but it might miss a lot of people.”
For example?
z-Trip: Shit, I can’t think of an example of the
top of my head but there’s always that thing
that’s too experimental or too over the top but
there’s always a time and a place to drop a thing.
Sometimes I’ll come up with a mix and I’ll sit on
it for months because I’m like, “naw, this isn’t the
right crowd,” then all of a sudden I’m in front of,
like, a jam band crowd and I’m like “these guys
are- this totally them” and it’s like you drop it
and they’re like “Fuck yeah!” Just because you
have a cool mix doesn’t mean it’s the right time
and place to drop it. Sometimes you have to let
something incubate for a while, yknow. There’s
also plenty of mixes that I’ve done that are the
opposite, where I’ll do it and I’ll be like, “aw, no
one’s gonna fucking feel this” and everyone feels
it and it becomes like an anthem. There’s th: e
thing I did with Shadow and, uh, Janis Joplin. I
did a mix with those two and I thought “this is
way too heavy for a club,” and then I’m in a club
and people are like, “play that tune!” and then I
play it and the club’s like “Yeah!”. So sometimes
it totally goes against what you think. A lot of
times towards the end of my set I’ll throw a
curve-ball and usually that’s what people come
up to me about after. I think it’s important to do
that, to not always play it safe.
What do you think was the ballsiest
thing you ever did for a crowd?
z-Trip: You know the ballsiest thing I ever did, I
think, was when I played for the troops in Kuwait.
They few me out there to do this Myspace event
called “Operation Myspace” and it was me, The
Pussycat Dolls, Jessica Simpson, Filter, and...
what was the other band...rock band...shit. It
was the fuckin “OOO WAA-AA-AA” that fuckin
band, what’s their...
Jamie Sands:: Disturbed?
z-Trip: Disturbed! Thanks, anyway, it was the
most random thing because, when they asked
me to do it they said “ya, I think Chris Cornell’s
gonna be in it,” and a couple other people and
I thought, “aw cool, Chris Cornell.” Audioslave,
Rage, I see the connection, at least I’d fnd
somebody I could kinda bond with, and I’ll get
to the song I dropped, but the process to get
there was a little crazy because I didn’t want
people to think my doing this equated to my
support for the war so I was really sorta hesitant.
So I ended up calling Chuck D. I was like “Chuck,
dude I need some guidance. I grew up listening
to protest music like yours, y’know, Last Poets.
Me going out to do this thing for the troops,
I’m a little freaked out about how people might
respond to that.” And he was like, “y’know what,
this is really about the troops. Go out there and
give them something. This isn’t really about
anything else.” I was still a little on the fence
and I had Shepard Fairey reach out to Henry
Rollins. Rollins gave me some feedback and was
like, “This show isn’t about you it’s about them.
At the end of the day you get to come home,
they have to say there. And, if you’re trying to
push your political views on people they’ve
heard it all before; they’ve got their mind made
up. On top of that, they’re the one’s going and
fghting so your view doesn’t mean shit to them.”
And that really sort of made me go, “you know
what, that’s good, because then this needs to
just be about giving them a little bit of, y’know,
something to go with..” So the song that I played.
I did my whole set and at the very end I played
this song by Adele called “Hometown Glory”. It’s
a really mellow tune with keys and the message
in it is kind of interesting the way the song came
to me. Right before we left I was trying to fnd
something to rally behind “home” ‘cause nobody
can really shit on home. If I say, “hey, we want
you guys all to come home,” who could really
front on that? That’s sort of an omni-stance
where it’s like I wouldn’t get in trouble with all
the guys who were gung ho, who signed up to
go fght and kick ass. And also, if I throw that
out there, who’s gonna argue about wanting to
come home and be with their people. So, at the
end of my set - they were videotaping the whole
show, it’s online, you can actually go check it
out. I noticed that all the performers who were
playing were like, “we love you guys, we love
you guys,” and trying to, you know, show their
support and my thing was like, “y’know what,
this is my last song and I want to play a song
for the people that are at home watching you.
Turn the cameras
Abort 138 Abort 139
of me and put them on the crowd.” For the whole song. It’s like a 5 minute
long song. It was crazy because once we did that it took all the attention
of me and put it on troops so the people at home could see their loved
ones and shit. And the crazy- the ballsiest thing getting to answer your
question, sorry it’s so long winded. The ballsiest thing was at the very end
of the set, I had a Jello Biafra sample, and the Jello Biafra sample was “We
support our troops,” I threw that at the very end and everyone was like,
“Yeaaah!” but the whole line was “We support our troops most because
we say bring them home.” So I did “We support our troops,” “yeah!” “We
support our troops,” “yeah!” and at the very end I was like “We support
our troops most because we say bring them home!” and it was like
“AAAAHHH!” but also at the end you could hear yelling out, like,
“fnish the job!” so it was really sorta..tough. As a side note to
that, what’s really cool was that I got a lot of people hitting
me up on Myspace the next day like “Hey, I got to see my
son or my uncle or whatever. Thank you for pointing
the cameras on people,” and there was one chick in
particular who was like, “I was sitting there looking
at the screen trying to see my boyfriend with his
mother. We were sitting there and they panned
across the screen and you saw his face and he was
mouthing the words ‘I love you Brooke, I love you
Brooke’ “ and they saw that and both broke down
and cried and that sort of touched me because
that, to me, is what it was about. I can tell you one
other thing, this is the one camp they all go to
before they get shipped of to go fght.
On a political tip, one thing you’re known
for is being very active during the Obama campai gn.
You put out “Victory Lap” when he won. So now, eight
months into the presidency, how are you feeling about
America and about the presidency?
z-Trip: Well, there
are certainly
things that
I’m a b i t
a b o u t .
T h e r e ’ s
certainly things
I’m excited about. I’m
excited about a little bit
of a push to take Cuba of
the shit list. Should’ve been
done years ago. I like the fact
that he’s trying to take a stand and
call out some of the Republicans for drumming up all this
bullshit about the health bill that he’s trying to pass. But there’s also plenty
of things where I feel he’s not taking a big enough stand in sort of putting
it out there. But again, it’s also still relatively early in his presidency for
me to start pulling opinions on it. I will say that I wish he’d be a bit more
aggressive because I feel like he’s trying to cater to both sides and while
Abort 138 Abort 139 Abort 139
I understand that I don’t necessarily agree with that. I think the time to cater to both sides is over. Because, as much as he’s trying to cater
to that Republican side, those people don’t give a fuck one way or the other and you’re not going to convert anybody. I think the time
to say “ok, well I tried to work with you, now I’m gonna try to do what’s best,” that’s gotta happen because if not, I think he’s gonna end
up pissing of more people and putting a bigger wedge between the two. Either way I’m happy we elected him and not Mclain. I think
Mclain would’ve been a pretty bad mistake.
Do you take comfort in the fact that Obama says “Jackass”?
z-Trip: (laughs) I take comfort in the fact that Obama says he smoked AND inhaled. I think that’s actually a cool thing. It’s appropriate to
have a president that’s a little more in touch, I think it helps.
Getting back to the music, we’ve seen you remix Nirvana and Canada’s own Rush, would you consider doing
more mixing on a rock or metal tip?
z-Trip: Absolutely. There’s a project I’m working on called “Hellraiser” and it’s pretty much a metal-based project. It’s something I’ve been
wanting to do for years but it’s something that’s also taken me a lot of time because I want to do it right and also I have not label push
that’s cracking a whip on me, so it’s something I’m gonna do as I want to do it. But I’ve always fucked around with metal and I’ve always
appreciated metal. It’s kind of where I come from. I come from this metal background and this hip-hop background back when it wasn’t
really too cool to have a foot in both worlds. It’s interesting because i feel like there’s plenty of people who appreciate both and they
both have a lot of the same qualities and that’s something I’ve always notice and recognized. I started playing drums before anything. So
there’s this Hellraiser project I’m doing that’s really sorta the project I’ve always wanted to do but, y’know, waiting for the right people,
getting the right guitarist, the right players because it’s the kind of music that you need a lot of skill to play. Also, I’ve heard people sample
or try and do metal shit and if you don’t come from a metal background it’s totally transparent. For me I don’t want to do it half-assed. I
recorded two or three songs with this band Dub Trio who are friends of mine; they’re great. We recorded a couple things but we’re still
noodling around with some stuf, but we were talking about doing a whole project together. Those guys to me are an incredible band
because they’re playing metal and dub and it’s instrumental and those are like my three favorite things. There’s plenty of musicians from
that world and I’m trying to knock on their door like, “hey guys, I got this idea..” but it’s still, oddly enough, a bit foreign for this hip-hop DJ
to be knocking on their door going “hey man, let’s make this hip-hop metal record because some people still have a hard time fguring
out how they work well, but I know exactly how they work well.
And how is that?
z-Trip: Well, they both embody a lot of the same energy and the same message. A lot of protest in their
music. A lot of people feeling like they’re being discriminated against whether it’s because you have long
hair, because you’re black, or you don’t ft the mold of society, whatever it is. There are a lot of protest vibes
within all of it and you know it’s funny because hip-hop, early hip-hop, a lot of the protest hip-hop and a
lot of the acknowledged stuf whether it be D.P. or Public Enemy or whoever. Those guys were teaching me
things and giving all this ammo that I didn’t know was out there about all sorts of diferent styles, whether
it me music or culture or politics, and the same thing I was getting from metal. It was like this underdog
mentality hearing these guys belt out these tunes and be ridiculed against and fghting back. Also, good
versus evil, the clichés of that. The funny thing is, you can fnd the common thread through all music. You
can fnd it in country, in blue, it’s all there, and you just have to fgure out how to tie the two together.
Hip-hop and metal are both forms of musical extremism.
z-Trip: Oh completely. There are people who have crossed those bridges. Y’know, when P.E. linked up with
Anthrax, that was a huge connect. Run DMC and Aerosmith, although it wasn’t metal it was still both sides
of the tracks.
Laim Howlett from Prodigy’s “Dirtchamber Sessions”...
z-Trip: Exactly, there’s so many. There’s people out there who do it and do it well but it’s few and far between.
I think it takes someone who respects and understands both. It’s funny, I listen to anyone who tries to
incorporate hip-hop into their world, but if you’re not from a hip-hop world, all the people from hip-hop
will hear your song and be like “oh, this is a faker,” y’know? Same thing with metal. You have to love both
kinds of music and you have to appreciate and have knowledge of both. To me, Rick Rubin is the ultimate
conduit for that. A guy who did Cool J, Run DMC, and ends up doing System and Slayer’s frst fuckin records.
He’s got an ear for it and a love for it. He’s a huge infuence to me.
Thank you so much for speaking with us
z-Trip: Word
Abort 140 Abort 141
Dave Bone’s Recipe for an Anti-Supergroup
I Cup, fnely chopped Clutch
1 Clove, minced Fu Manchu
1 Tinly sliced Fireball Ministry
1 Pound of raw CKY
Mix in blender until thick and heavy, pour into
Submerge face into bowl, drown and enjoy!
Serves 6 Billion

E.S. Day: we are on the phone with
Neil Fallon from The Company
band also from the band Clutch
but today we are focusing on The
Company Band. Which I guess Neil
we could say is a rock supergroup,
or are you already fed up with that

Neil Fallon: Well we are no Chickenfoot.
ABORT: Holy fuck, now you just
fucking ruined my frst bit, I had
a whole thing on Chickenfoot, so
thanks Neil (laughs). So rock super-
group. Let’s just say this; to me I am
in my forties, growing up - a rock
supergroup to me would be like
you just mentioned, Chickenfoot,
where you bring in all these guys
but The Company Band seems
to be more of a conglomerate of
good buddies from some, really
well followed and respected bands
who got together to jam and then
made an album out of it. Is that
more or less what it is? You’re not
marketing this as a supergroup?
Th e Co mpa ny
Ba nd !s
Nei l Fa l l o n
By E.S. Day
Photo by Jamie Sands
Abort 140 Abort 141 Abort 141
Neil: No, supergroup is just such a terrible
moniker. I wouldn’t want to be in a super
group to be quite honest. this started I think
Jesse [Margera, drummer CKY]wanted
me to sing on some and then we kind of,
everybody just hit it off so we said lets make
more music simply because its fun.
ABORT: Now for our readers who
don’t know, lets run down the rest
of the band members and respect-
ably the bands there in. Jesse you
just mentioned is from CKY.
Neil: Correct and we have Jim Rona from
Fireball Ministry and we have Brad Davis
from Fu Manchu.
ABORT: Fu Manchu, we just gave
their new album a great review
as well. Now by the way we are
missing Dave Bone, my bad.
Neil: Dave Bone, in all fairness, he is kind
of the man behind the curtain for this band.
He writes a lions share of the music and
spear heads everything for us and i think
sometimes he doesn’t get the credits he
deserves because simply he doesn’t have
another band to kind of put him in that posi-
tions but he is the man behind the wheel a
lot of ways
ABORT: That just fucked up my
next question is Dave the odd man
out. cuz when you say Dave Bone
a question mark comes to mind i
mean for most people who aren’t
in the now?
Neil: He is sort of like the Karl Rove of the
band. He has the power he’s just not in the
ABORT: Fair enough. So Dave Bone
is the backbone (no pun) behind
The Company Band. Is he the one
who got the band started so to
speak, or initiated the idea of put-
ting together an album and doing
some touring?
Neil: Well if I remember correctly and I
probably don’t, Jesse contacted Jim and then
Jim had known Dave and I hadn’t known
Dave and once he stepped into the picture
things just kind of fell into the scenario and
there was no blueprint to begin with, it just
ended up that way.

ABORT: Restricted Release, what
label is that? and who’s doing distribution?
Neil: Candlelight is putting it out and we put venture capital on the
back sort of as a goof. Venture capital is not really a record label.

ABORT: So that’s it, so we are looking at worldwide
release or North American with a different distributor
from Europe.
Neil: You know I don’t have the answer for that.
ABORT: no problem and we don’t need one I just
thought I would ask. Is it safe to say that band each
member has been listening to each member’s music
previous to this?
Neil: Sure
ABORT: Yeah for sure, you guys are all fans or each
other etc...
Neil: well clutch toured with CKY and we’ve also done a run of
shows with freball ministry and we also toured with Fu Manchu,
man that was in ‘94 was the frst tour.

ABORT: Oh wow, good stuff. That was back when a
lot of that and here we go again…with the moniker
“Stoner Metal” or “stoner rock” or “sludge”, but
that stuff was a real underground genre then. If you
Google stoner rock its ridiculous what comes up,
everybody is stoner now and I just fucking hate that it
drives me nuts, same views from you?
Neil: Yes, it’s terrible. Yeah I mean if you’re in a band and you call
yourself stoner rock then your probably not. And its the description
or moniker that’s terrible. Most of the bands that get lumped into
that just can’t stand it and I understand why and it did matter when
it was interesting and fresh about ffteen years ago but like most
things that people jump onto it becomes derivative and then you
get second, third and fourth generations and then it just comes the
lowest common denominator and who gives a fuck.
ABORT: fair enough. Doing a Bachman-turner
Overdrive cover I hear
Neil: yes
- Neil Fallon

“Yeah I mean if
you’re in a band and
you call yourself
stoner rock then your
probably not.”
Abort 142 Abort 143
ABORT: Any other Canadian acts
that is on your iPod right now we
are a Canadian magazine, so you
better say the right thing.
Neil: okay well..
ABORT: Don’t say Rush for Christ
sake, but are you listening to any
other Canadian stuff?
Neil: Well, Neil Young is one of my favorite
artists, he’s timeless.
ABORT: Oh okay, how about
some of the newer bands like
Die Mannequin? or people that
are trying to break out of that
Canadian shell at least that the
CanCon shadow.
Neil: You know to be quite honest you
would be hard pressed for me to mention
new American bands let alone a Canadian

ABORT: Fair enough, well we will
move on then. Would it be safe
to say that the company band
consists of a lot of groups that get
together your doing the BTO cover
are there any other tracks live if not
on record.
Neil: we did this Freddie King tune umm
live that we didn’t put on the record but
that’s the only one to be quite honest we
only have 12- well I guess 15 songs as a
band so once we get a couple more under
our belt we will worry about some cover
ABORT: okay now you guys have
put out the EP 2007 Sign here, here
and here. Was that a poke at the
industry, a little stab?

Neil: Uh a little, it wasn’t so much pointed
at the music industry as corporate clichés
ABORT: are you trying to get any
kind of message across on stage
or you just don’t give a fuck your
just playing some good music and
that’s that. It’s what this band is all
about. No message just music?
Neil: yeah there you go. I’m not intelligent
enough to give a message

ABORT: Good, nor am I or our
readers, so good - we will leave
it at that.(laughs) what are we
looking at for touring Neil, for the
Company band in 2009- 2010?
Neil: its tough, it’s not going to happen in
2009 but we are looking to do some things
at the top of 2010. It’s very diffcult because
half of us are in California and half of us
are out east and we’ve all got our other
things going on. Hopefully we will be able
to do something early in January if not we
defnably want to buckle down and get
something before to long
ABORT: True, and of course I cannot
get off the phone without asking
a Clutch question. What’s next for
Clutch? and what are the plans for
recording, touring, etc.. if you can
drop a quick dime?

Neil: Sure, the band takes off for Europe
for four weeks, come back then do a Us
quick week long around new years, then uh
Australia in February then we are looking to
start writing the new record
ABORT: tentative title?
Neil: Oh, we have to write some songs frst.
ABORT: Label?

Neil: Uh, we have our own label now.
ABORT: And what else, that’s about
it. The Company band album
is self-titled and is out now via
Restricted Release, available on
iTunes and of course you can visit
the band at www.MySpace/the-
coband. Look for the band on tour
hopefully in 2010 and that’s about
it. I appreciate your time, thank
you very much.
Neil: Thanks for the opportunity.
Abort 142 Abort 143 Abort 143
Corvid Scans the I.D. of Vancouver’s Hip-Hop Scene
ou know, ever since they tore Granville Street up like raw
anal rape and brought in this bitchass “Clubsafe” bullshit,
old Corvid’s been out on the town less and less lately.
I mean, who really wants to endure the body search (that often amounts to the
most action I’ll get on any given night...), ID scan and digital photo shot, let alone
the humorless attitude of the ‘roid-raging meathead bouncers (half of whom used
to work for Mossad...) who only smile when they’re dragging some poor fuck out
back for a smackdown? What the fuck would Prodigy say? Not only do the Illuminati
want my mind, soul and body, they’ve slowly taken over nearly every downtown
venue and turned Hip Hop into a human battery caught in the matrix - bled dry so
the machines can convince us everything’s ok. What we have here is now the very
opposite of Hip Hop - do you think that Kool Herc and Afrika Bambataa developed
the blueprint in shiny clubs where pigs from the “Integrated Gang Task Force” roll in
practically on cue? Fuck that. Hip Hop Culture was born and grew up in basements,
rec rooms, community halls, parks, gymnasiums and warehouses, and most of all...
on the corner. The only consolation is that these fools will ultimately fail, and soon,
because honestly who the fuck are these people that can aford to drop ffty bucks
a night for a local underground show?
Case in point. No names to protect the innocent, but the other day old Corvid rolled
downtown with the crew to support one of our own, rocking a set that night at a
downtown Hip Hop weekly. After driving in circles for way too long trying to fnd
the place (it ain’t easy...), we rolled up to the door about six deep. Cordoned of with
crushed velvet ropes and oozing neon and shitty top forty Rap and Bullshit, the place
was the very picture of bourgeois Vancity vanity, all fash and no soul. The three
hundred pound doorman was clearly too busy chatting with the coatcheck girl to
pay us any heed, so we chilled on some nicotine for a full ten minutes. My man was
getting antsy in anticipation, and wanted to get his beats cd to the DJ so, against
our advice he unsnapped one of the ropes and headed for the door. As if on cue,
Jabba was on him, bellowing at him to “get your fucking ass back there or I’ll fucking
beat the shit out of you!”. No shit. I made some comment (sarcastically) that this was
the reason the club was so packed. Next comes the promoter, who on seeing our
dirty half dozen felt he had to project his own failure on our man, with a “I thought
you were gonna sell a lot of tickets!”. This at 10:30, and yes more were coming. It
all brought to mind the time last year when the pricks at Gossip demanded that DJ
Muggs provide ID at the door for his own show. DJ motherfucking Muggs! When
they told him he had to check his hat, he quickly responded with “I’m getting the
fuck out of here! Do You know who the fuck I am?”. The whole situation was quickly
defused by the promoter, while Supernatural stood in amazed silence.
What I’m saying is this. It is time for anyone in this pathetic fucked up city who lives,
breathes, eats, sleeps, shits, fucks and fghts for Hip Hop to call bullshit on this whole
scene. It’s time to demand more from promoters who are mocking our culture, taking
our money, and not even providing us with a good time. Peace, Love,
Unity, and Fun Without Violence, remember? Or did you ever really know
it in the frst place? All this time, and still Hip Hop is an imported culture
here, like Reggae music or Dubstep. Imported without connection to
its roots, and therefore merely a mimicry or derivation of the original.
Which is not to say that there are not hundreds here who live Hip Hop,
and have the necessary talent, skill, dedication and over-standing to build
a real movement outside of the clubs and venues of Babylon. If you don’t
know, I’m not telling you, ‘cause I don’t want to attract hipsters, but sufce
to say that we are coming for you! From the basements, community
centers, galleries, cofee-shops, tunnels and grimy warehouses of East
Van we are absorbing the vibrations of the overground and fipping
them, preparing for a movement that cuts through the crap like lasers
through cataracts.
In the words of Immortal Technique, “just because you put on a show, or
host a battle, that don’t make you important at all! It’s because of me,
and everyone like me, that you do what you do, so shut the fuck up and
stay in your place!”. Why the hell are we, as artists, begging for ffteen
minute sets that we have to hustle tickets for or we pay to play? Because
someone is making money, and there’s nothing wrong with that, it’s just
that it’s never going to lead to good music. Just ask anyone who’s not a
Hip Hop fan, let alone someone from out of town - who’s good/famous/
the next thing in Vancouver Hip Hop? Unless they say Swollen Members,
or Moka Only (God save us...), they don’t know, don’t care, and wish it
would all just go away. Why? Because fans haven’t demanded a high
standard of music and the music is therefore not universal to a wider
audience, and those that do blow up have a limited local appeal that
will probably never expand to a larger market like Toronto.
Given time, the Vancouver pressure cooker will turn coal into diamonds,
hidden gems will shine and the tree of life will bear fruit. But frst, we
need to prune the dead branches and cut out the deadrot. Marcus Garvey
said, “when all else fails to mobilize the people, conditions will”, and who
knows what visionary Hip Hop styles will be inspired by post-Apocalympic
Vancouver, when the last shall be frst and the frst shall be last?
Hold your head son, hold your head.
Peace, Corvid.
Abort 144 Abort 144 Abort 145
ABORT Magazine’s Grimm
Culhane and Skinny Puppy’s lead singer
Ogre share a beer and reminisce about
the band’s 26 years of electro-industrial
existence. Discussing everything from
early shows to their latest marketing
strategies, from Syd Barrett to the SPV
Records insolvency, the boys even fnd
time to share a laugh amidst the ongo-
ing struggle of the Vancouver Downtown
Grimm: Alright, this is Grimm Culhane for ABORT Magazine.
We’re here once again with Ogre…
Ogre: Yep
ABORT: Of Skinny Puppy…
Ogre: Yes.
ABORT: Good seeing you again.
Ogre: You too.
ABORT: Its been a while since we last talked.
Ogre: A year. Almost a year to the day.
ABORT: That long ago? Wow. How have you been? You
look great.
Ogre: I’m doing very good, yeah.
ABORT: Busy?
Ogre: Yeah, busy. I did another flm in the
Ogre of Skinny Puppy
Grimm and Ogre of Skinny Puppy
Abort 144 Abort 145 Abort 145
last year since I talked to you. I did a movie
called 2001 Maniacs – Field of Screams. Its
the sequel to the remake of the Herschell B
Gordon Lewis movie Two Thousand Maniacs!
ABORT: And who’s directing that?
Ogre: Tim Sullivan, who did the remake
with Eli Roth, did the original with Robert
Englund. In the sequel Robert doesn’t return,
but Bill Moseley plays Mayor Buckman.
ABORT: You work a lot with Bill Moseley seems to me,
besides your work with ohGr and the flm work.
Ogre: Well, we became friends.
We go hiking together.
ABORT: He seems like a really nice guy, well rounded,
educated and smart.
Ogre: Really well educated person, extremely
intelligent and also very down to earth and
a pleasure to be around. He gave me so many
amazing tips and support and within the 2001
Maniacs – Field of Screams there’s a real
kind of camaraderie there that shows in a
lot of ways. It was my frst role where I was
actually doing dialogue and so he was very
helpful just from a comfort level. So yeah,
we see each other about once a month.
ABORT: Now we’ve got to talk about Skinny Puppy. You’re
on tour right now, In Solvent See. Does that have anything
to do with the record label?
Ogre: (chuckles) Yeah it does actually. I mean
its intertwined and we’re trying to make the best
of it, but SPV went into insolvency right towards
the end of our recording cycle with them and so
we were left in a place of turning in a record to
what should have been a reunited and stronger
label by August. What happened instead is they
went into insolvency. The insolvency court
took over and they’re trying to basically sell
the label to Sony and in the mean time it left us
between a rock and a hard place. Basically all
bills before the insolvency are not being paid
and everything after the insolvency is busi-
ness as usual and business as usual means it
was supposed to be resolved August 2nd and
its gone on till now and there’s no resolve.
We were left in a place where we
either turn in the album we were working on,
deliver it to the void, or try something else. We
tried a number of different things to accom-
modate the whole situation. One was we were
going to turn in a pseudo Metal Machine record
and we actually fnished that, but there was
some disagreement between all of us as to even
turning that in as a Skinny Puppy product, so it’s
become an ohGr album only because we had
started moving in this direction of working on a
noise record and we had 4 days of very creative,
incredible time in the studio with Mark (Walk),
my co-writer. We ended up with a record that
just didn’t work out with the scope of the band,
so we took it as an ohGr record. At that point we
recognized that the whole insolvency issue was
going to take a long time and so we decided that
instead of focusing on a new album release we’d
work on a single and do a tour that was more…
not necessarily retrospective, because its actu-
ally turned out to be a very intense, odd sort of
combination of all of our music along with some
very strange theatrics. In a sense we’re embracing
the while idea of the antiquated music system,
the antiquated ideals in America and our own
decrepitude in the sense that we’ve been around
for 26 years. We’re approaching it that way and
we’re going to release a single based on the idea
of insolvency. We’re going to put up stock certif-
cates which range from 20 dollars to $2.4 million
(laughs). The idea being that you choose what-
ever you want, what you want to buy in at, and
the idea of our company, Insolvency Inc., is that
you will invest in us, we will take your money and
spend it and you’ll never lose less than zero.
Both: (Laugh)
Ogre: And so we’re going to sell these stock
certifcates from 20 dollars to $2.4 million.
We’ve given away the $2.4 million to Litany
(www.litany.net/) which is a fan built web-
site, which is basically “our” website. We’ve
given Corey, the moderator, $2.4 million which
allows him to dictate what the band does. Then
it goes from $100 Thousand down to $20 down
to free. When you click on each certifcate it’s
the certifcate you’re buying, but you get a free
download of the song as well. That enables us
to circumvent the label system, because we’re
not selling music per se that we’re under con-
tract to produce, we’re selling a certifcate.
Abort 146 Abort 146 Abort 147
ABORT: This sounds very similar to what Public Enemy have
done with their most recent efforts, asking their fans to
pony up and help produce the album. Is it similar to that?
Ogre: It’s a one off thing we’re doing until we
get all this sorted out and fgure out where we
stand with the label because right now we’ve
asked for a lot of information we’re just not get-
ting. If we self release something right now we
could be sued and its happened to us before in
the past. It happened to me with ohGr when I left
American Recordings. We’re looking for unique
ways of marketing. Times being what they are,
the “In Solvent See” Tour is based on a song
off our frst album Remission titled Solvent. To
me solvents dissolve things, they take things
away and in a sense the insolvency is kind of
prophecy into this mixture of whatever esoteric
mumbo-jumbo that’s in the economy to like
coalesce and then separate and reveal a new
model that’s not based on some German physi-
cist who’s absolutely mad and who’s theories
have been proven wrong back in the last century.
Both: (Laugh)
Ogre: Basically what our modern, neo-classical
economic system is based off of is the idea
that “it will always replenish itself.” We’ve
always been a band that’s gone between the
lines in a lot of ways and we’re just looking at
novel ways to market music… and its fun! It’s
totally fun. Its trying to take a horrible situa-
tion and fnd something good within it, because
right now, in a sense, we are stuck without a
label. But we still have a strong following.
ABORT: Yes! Wow! I was looking online, did a simple
search on Skinny Puppy and there are tons of fanatic fan
bases out there.
Ogre: (Laughs)
ABORT: Like “101 reasons why you should love no other
band than Skinny Puppy,” and these people are serious.
Ogre: Well that’s a bit perverse isn’t it?
(laughs) Sometimes I think its out of sheer per-
sistence and longevity. Its like that old guy
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By: Scott Alexander
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Arceon: It’s widely known that as a band Dir en grey
exploded in virtually no time and over the course of
years changed the style a number of times, retaining
the fan base. How do you manage to do that? How do
you pick the direction?
Kaoru : I think it’s just all by playing a lot of concerts,
you know, touring a lot. We take in everything that we
feel from the atmosphere of the shows, the response
we get, digesting everything that gets thrown our way.
We have never deliberately tried to change our style.
For example when we make albums, we never have a
predetermined style in mind. We choose to go with
the fow and see what comes out of the process. It is
usually when we are in the middle of doing something
that we realize what we want to do.
ABORT: You have conquered North America before
without singing in English at all, why make English
versions of “Glass Skin” and “Dozing Green” on Uro-
boros? Or have they been originally written in Eng-
Kaoru: Both songs were originally written in Japanese,
and we simply thought it might be interesting if we try
a new take with English lyrics.
ABORT: Speaking of “Glass Skin”, your attire, behav-
ior and music videos in general had a totally diferent
face 5 years ago. What happened? Has the perception
of you in Japan changed?
Kaoru: Tere will always be people who prefer the
“us” from before and those who like us as we are now.
Dir en Grey are nothing less than a Japanese marvel, who have been revolutionizing the perception of “J-Rock” in
their homeland and beyond, for more than a decade. Speaking of genre, they are the most difcult band to de-
fne and while they are ready to embark on a new North American tour, guitarist Kaoru was
kind enough to chat with ABORT’s Arceon, to discuss their style, past, present and future endeavours
and of course, their new brand new DVD “Average Blasphemy”.
Abort 150 Abort 151 Abort 151
Arceon: It’s widely known that as a band Dir en grey
exploded in virtually no time and over the course of
years changed the style a number of times, retaining
the fan base. How do you manage to do that? How do
you pick the direction?
Kaoru : I think it’s just all by playing a lot of concerts,
you know, touring a lot. We take in everything that we
feel from the atmosphere of the shows, the response
we get, digesting everything that gets thrown our way.
We have never deliberately tried to change our style.
For example when we make albums, we never have a
predetermined style in mind. We choose to go with
the fow and see what comes out of the process. It is
usually when we are in the middle of doing something
that we realize what we want to do.
ABORT: You have conquered North America before
without singing in English at all, why make English
versions of “Glass Skin” and “Dozing Green” on Uro-
boros? Or have they been originally written in Eng-
Kaoru: Both songs were originally written in Japanese,
and we simply thought it might be interesting if we try
a new take with English lyrics.
ABORT: Speaking of “Glass Skin”, your attire, behav-
ior and music videos in general had a totally diferent
face 5 years ago. What happened? Has the perception
of you in Japan changed?
Kaoru: Tere will always be people who prefer the
“us” from before and those who like us as we are now.
I think that will not change. With “Glass Skin” we
implemented a lot of our older styles so many people
would relate to it as they did with our older songs. But
I think that if people try to really listen to it, they will
realize that not much has changed about us.
ABORT: Will you ever return to visual kei?
Kaoru: No, but to tell you the truth we have never
thought that we were a visual-kei band. I mean, back
then you wouldn’t say “Yes, let’s start a visual-kei”
band. Tere was no such branding. But at the same
time, we never know what we might want to embark
upon in the future, so who knows.
ABORT: How did you get an idea of making a DVD
and why at this particular time? What will we see on
Average Blasphemy?
Kaoru: Tere are a selection of music videos from
songs that were in “Marrow Of A Bone” and “Urobo-
ros.” We also have a new full length version of “VI-
NUSHKA,” a new take of “RED SOIL.” We also in-
cluded a digest of some live clips that were originally
only available in Japan for our Fanclub members.
ABORT: You’ve been labeled nu-metal and even met-
alcore before, but j-rock is still largely a mystery on
North American market. Would you characterize Dir
en Grey as adventists of j-rock here?
Kaoru:  We do not have a preference when it comes to
genre, it’s up to people to decide on what we are but we
do not think that we are the Adventist of j-rock. 
Plus we don’t see ourselves as being the leading force
in this scene in America.  In fact we feel that we still
have a very long road ahead of us before we actually
get somewhere.
ABORT: Dir en grey is touring like there’s no tomor-
row. Are you planning on making a new album any
time soon or are you taking a break?
Kaoru:  We have started working on new songs and
will be releasing a single this December.  We will also
be writing more songs when we return to Japan afer
this tour.  We will defnitely be touring again next year.
ABORT: What’s the craziest show outside Japan that
you ever had?
Kaoru:  Right now I can say our frst time in Chile
was wild.  Te fans were amazing and I think we
were as excited as they were about the show.  Seeing
the amount of people who came out to the show was
pretty mind-blowing.
A: Is there a chance to see gore, and censor hell in your
videos and shows again?
Kaoru:  Hopefully there is, as long as we are not re-
stricted by the rules put out by the censorship board. 
(laughs) It really all depends on the songs we make, on
the messages and how we feel like presenting it.  We
always try to express our songs as direct as possible.
Dir en Grey are nothing less than a Japanese marvel, who have been revolutionizing the perception of “J-Rock” in
their homeland and beyond, for more than a decade. Speaking of genre, they are the most difcult band to de-
fne and while they are ready to embark on a new North American tour, guitarist Kaoru was
kind enough to chat with ABORT’s Arceon, to discuss their style, past, present and future endeavours
and of course, their new brand new DVD “Average Blasphemy”.
Abort 152 Abort 153
Abort 152 Abort 153 Abort 153

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