Dance Gavin Dance: Interview with Will Swan at The Joint Las Vegas 12/5/17

[caption id="attachment_32656" align="aligncenter" width="1024"] Photo Credit Andrea Furguiele Legato[/caption]
by Robin Ervolina
If it's true what happens in Vegas stays in Vegas, I screwed up. I arrived at The Joint at Hard Rock Hotel and Casino prior to Dance Gavin Dance's limited engagement, sold out Mothership show with a million questions in my head and butterflies in my stomach. I was about to meet and interview Will Swan, and I knew I wasn't burying that in the desert.
When Mothership released in the summer of 2016 I eagerly accepted an advanced copy for review. The moment Jon Mess  (screamo guy) gave the call "Gimme that canvas/let me paint some shit" and Tilian Pearson (clean vocals) gave the response "Pass me some poison/let me take a hit," my musical trajectory changed. Lyrics and melodies wove their way into my psyche and Dance Gavin Dance became my passion. Seeing Mothership performed live meant flying from Florida to Vegas, which I did happily. When I received a last minute approval to photograph DGD and interview Will, I hit my first Vegas jackpot.
Will Swan comes out to the hall with almost a bit of ... reservation? I've interviewed people that clearly did NOT want to be dealing with press so I know that look, but this was familiar to me on more of a personal level. It was almost as if Will was thrust into the spotlight all alone with no ride or die to back him up, no wingman to start the conversation, no Thelma to accompany Louise off the cliff. I got it immediately. Immediately. My nerves disappeared as soon as I saw that Will Swan is not affected by his success and he's not going to put on a pretend face for an interview. This artist who has created brilliant melodies and inspired songs is just a normal guy, slightly hesitant when meeting someone for the first time. I'm suddenly overcome with the desire to be a gracious hostess, get him a sweet tea, and offer him my favorite recliner. All my questions are out the window. It's just me, Will, and 11 of my favorite minutes of 2017.

I take a deep breath and hit the record button. "Up in the casino, ain't no doubt I'm 'bout to let it all go..."

[caption id="attachment_32655" align="aligncenter" width="684"] Photo Credit Andrea Furguiele Legato[/caption]

Lightscape: Circles

by Robin Ervolina
Sometimes the music you listen to influences the way you hear another band. You find yourself drawn to similar genres, or vocalists, or riffs and moods that invoke a sense of comfort, your musical home if you will. Other times you are drawn in by something that captivates on its own accord. Such is the case with Lightscape's new EP Circles, due for release tomorrow (12/1/17). This alt rock quintet from the UK have amassed a local following and positioned themselves to sail their music across the pond, having recently shared the stage with US headliners Black Stone Cherry on their European tour. The music Lightscape creates is personal and instantly relatable.
"By Design" leads off the EP and its intro beats move me closer. Will Overton's vocals draw me in, the melody hooks me, and I get a sense the lyrics 'get me' intimately.

Once you put out the fire, but now you fan the flames
And as you search through the ashes, a heart remains
A heart that's clouded your judgment, fighting with all of the warning signs

It seems to me on first listen that the gist of Lightscape is in spitting out stories woven into addictive melodies, delivering them with clear and appealing vocal tones. In fact, vocals like this could be the center piece of a review. Overton holds out notes in a way that draws something out of me, making room to assimilate the intent into my own emotional landscape.

Second song "Circles" has a techno intro, reminiscent of Enter Shikari. I'm getting this 80s alternative vibe slipping in and out of my consciousness as well. It's another yearn-inducing tune with an easy hook and that voice that's bigger than life. In the history of rock there have been some solid vocalists that stood strong decade after decade. Overton could stand with the best of them. "Circles" is a sing along song for certain.
Third song "More to Life" delivers on that British influence from bands like ES and even Mike + The Mechanics. The composition and structure of these songs are so tight; the musicianship is solid, and once again Overton blows me away. He could sing the phone book and I'd buy into it. "Press Rewind" follows, and based on the title I know this one will hurt. It crawls in with a gentle intro creating feelings of regret. The melody haunts me, pulling memories forth that were best left dead.

And when I look at your face
I learn a lesson that I don't want to
I think you need an escape
I hope it's not too late

Sometimes remorse is personal. If I could sing a love song to the parts of me that I've let down, "Press Rewind" would be it. There is no respite from the emotional throttle as the next track "Haven't Got The Time" feels like falling off a cliff. Circles closes with "Live in Fear" an anthemic tune about pulling yourself together with lyrics that fly like weapons of self-defense.

Lightscape self-releases Circles in less than 24 hours, and I urge you to pick up a copy and support these up and comers. I don't know about in the UK, but this is a rock sound that has been missing from America for a long time. Follow Lightscape on Facebook as well so you don't miss out on future live performances!

Dolly Parton: I Believe in You

By Robin Ervolina
Sure, Shockwave is a rock magazine. I'll give you that. Yes, Dolly Parton is not remotely near our genre, and I praise her for never trying to cross over. She knows what she does remarkably well, and regardless of your musical preferences, you've got to give her that as well. When her publicist offered to let Shockwave Magazine review Dolly Parton's new and first children's CD I Believe in You, there was zero hesitation on my part. Many of the songs were inspired by books given away through Dolly Parton's foundation, the Imagination Library, including the title track "I Believe in You" based on everyone's favorite go-getter, The Little Engine That Could. It's adorable as you might imagine with its choo-choo intro, and Dolly Parton's storytelling flare. Her personality has a way of breaking through the tough exterior of adulthood as well, making it a CD you can stand for your kids to play over and over.
I Believe in You also includes Parton's classic "Coat of Many Colors" as well as a bonus reading, by Dolly, of her book Coat of Many Colors. I admit without shame, "Together Forever" is catchy, and harkens the 9 to 5 years. Bedtime lullaby "I'm Here" almost made me cry, but then I toughened up, poured a strong glass of apple juice, and hugged my teddy. "Imagination" has little Caribbean flair to the melody, and try as I might to take this review seriously, I found myself grinning at Dolly's infectious and playful delivery. Speaking of delivery, it doesn't get any more precious than in "Chemo Hero," and "Brave Little Soldier." Yes, childhood illness may not be the happiest of subject matters, but Dolly Parton handles these unthinkable situations with levity by drawing out the inner strength inherent in baby warriors. It's the voice you want to hear when you're down. It's the voice of encouragement and love.
The lessons and messages in I Believe in You are ones you want your children to memorize, and they are clearly delivered in a way your kids can hear and understand. Yes, it's a children's' CD, but if they're going to listen to any music geared to them, you cannot go wrong with Dolly Parton's I Believe in You. Far more tolerable than Barney, far more talented than Beyoncé (compare the writing credits, for instance), you can hold your head high and gift this to every toddler on your Christmas list this year. All proceeds from the sale of I Believe in You go to support the Imagination Library, which to date has mailed 98,587,211 books to children from birth to age five, to encourage literacy as a pathway to the realization of their dreams.

 

Tarja: From Spirits and Ghosts (Score for a Dark Christmas)

By Robin Ervolina
It takes a lot for me to listen to Christmas music, and even more for me to address anything related to Christmas before Thanksgiving. I'm a scroogity Scrooge and the commercialism of the Christ child is only acceptable after Turkey Day has its due. That being said, I greedily and hypocritically devoured the new CD from ethereal vocalist Tarja, partly because of her unparalleled talent, and partly because it's titled From Spirits and Ghosts (Score for a Dark Christmas) and the blackness of my jaded soul demanded it.
If you're unfamiliar with Tarja Soile Susanna Turunen-Cabuli let me briefly 411 you. This classically trained soprano hails from Finland and is the founder and former vocalist for the Finnish symphonic metal band Nightwish. Her elegant three range octave has earned her multiple awards and millions of fans world wide. Her first solo album post-Nightwish was Henkäys ikuisuudesta (2005), also a Christmas album. I suppose it's safe to say Tarja is not a scrooge, however the theme of this newest Christmas CD is not for the merry hearted.

On this album, I explored the other side of Christmas — the Christmas of the lonely people and the missing ones, the Christmas for those that do not find joy in the blinking lights and the jingle bells. -- Tarja

"O Come,  Come, Emmanuel" kicks off From Spirits and Ghosts (Score for a Dark Christmas) quite deceptively. It's extremely dressed down, barren of effects, most likely and rightly to highlight the dark angelic voice of Tarja. Soon however, the orchestra kicks in. I hope you make room for a new set of goosebumps. Tarja's voice produces one set, the grand orchestration another ... you know, basically like every Nightwish song ever. The second track is the one original tune on the CD. "Together" has an intro that is part Danny Elfman and part American Horror Story (Coven) and it's the loneliest Christmas song I've ever heard. It's entirely possible that before this CD is over, I may look forward to the holidays if for no other reason than to torture my blinking-lights-loving relatives. "We Three Kings" presents like a possessed music box full of haunting memories, a desert of Christmases past for maudlin souls. "Deck The Halls" delivers on the promise of a dark score and its dissidence is bone chilling. Children singing "fa la la la la, la la la la " in such a way will not go over well at the mall, but it sure as hell puts a Jack Skeleton smile on my face. All that being said, even a dark intent can't cast a shadow over the beautiful "Pie Jesu." Tarja's treatment of this popular requiem does the song more than justice; she elevates it. I considered skipping over the over-done "Amazing Grace" but decided in fairness to give it a shot. Tarja surprised me. With a War of the Worlds tripod roar underlying the celtic orchestration, Tarja soars above expectations and takes this classic to new heights. I wouldn't call it dark, but I would call it unique.
"O Tannenbaum" calls to mind possessed sugar-plum fairies tip toeing through a Tim Burton forest, and Tarja sounds the most mischievous of them all. The score is a stunning masterpiece, from tiny little music box tones to massive orchestrations.  "We Wish You A Merry Christmas" ends this CD and it's sinister as hell. We wish you a merry Christmas? Do we? And do we have a different definition of "merry" or "wish?" And who exactly is "we?" My former goth self so very much wishes this had been in my life earlier. Honestly, "we won't go until we get some" scares the hell out of me. I don't know what figgy pudding is but I'm afraid if I don't have it in my house, bad things will happen, worse-than-mistletoe level bad things.
In the end, From Spirits and Ghosts (Score for a Dark Christmas) achieves its goal and this Grinch's heart grew larger and darker. Now if you'll excuse me, I'm off to make some figgy pudding.
Track List

O Come, O Come, Emmanuel	4:57
Together	3:21
We Three Kings	3:54
Deck the Halls	2:45
Pie Jesu	3:28
Amazing Grace	4:43
O Tannenbaum	3:38
Have Yourself A Merry Little Christmas	3:40
God Rest Ye Merry Gentlemen	4:14
Feliz Navidad	5:49
What Child is This	4:56
We Wish You a Merry Christmas	4:07

Red Hymns: Vol. 2

Written by Robin Ervolina
When an opening track is your straight-out-of-the-gate introduction to a band, it requires a few things to be effective: lyrical intent, passionate delivery, and a gripping melody. Red Hymns' "Callisto" nails it and then some, and the rest of their new EP Vol. 2 follows suit magnificently.
Red Hymns' first EP Vol. 1 was released August of 2016. Vol. 2 hit October 2017 and is part of a four-EP collection (no release dates have been announced for Vol. 3 and 4). The first two EPs are well worth a listen, the last two worth the wait, I'd guarantee it. New Jersey raised up Red Hymns in 2015, but Jeremy Hernandez (vocals), Alexander Grullon (guitar), Robert Piccininni Jr. (bass) and Michael Cipriano (drums) play as cohesively as bands ten times their "age." There are no missteps here, no sorting out of sound to be detected. Red Hymns clearly knows who they are, and their handshake hello is groove-heavy rock. Their calling card is etched with melodic determination. Something this good should make me feel guilty. It fails to do so, though it does succeed in making me feel dirty, in a very, very good way.
Opening track "Callisto" seduces in an instant with a guitar-driven melody and compelling vocals. It's an intro that doesn't rely on one facet of Red Hymns but rather showcases their cohesion. Hernandez' vocals are sharp and clean, pulling you into the sway-inducing verse, then coaxing you through a sweet chorus before dropping you back into an undeniably enchanting tone. A tune of 4 minutes and 33 seconds with so many twists and turns takes masterful precision to pull off, and Red Hymns demonstrates they have just that. Side note: Red Hymns recently collaborated with Barrier Brewing Company and released a beer titled Endless Sky IPA, inspired by the lyrics in "Callisto." If it's as rich and complex as this track, it begs to be imbibed.
"Callisto" fades out with Hernandez calling "What do you want?" Try as I might I still can't answer that question on a grand scale, but in the moment, I want more of Red Hymns complicated melodic rock, and they satisfy with "Vultures" and "Terra Preta." "Vultures" gives me a drum-driven desire to move through the room like a predator stalking every word and note, and "Terra Preta," Portuguese for "black earth," closes out Vol. 2 (too soon) in the way every last song should; compelling the listener to listen again.
While there is a definitive sound to Red Hymns, it's unique and not remotely repetitive. Vol. 2, though only three-songs long, can be played in rotation endlessly. If you love this first song, you'll continue loving Vol. 2 and like me, stream Vol. 1 alongside it on Spotify. This is a collective I can happily and confidently stake my reputation on. The songs are crafted with care and delivered with intensity. It's a moody, solid, emotive pure rock offering. If you're lucky enough to live near Teaneck, NJ., you can catch Red Hymns in concert with He Is Legend at Debonair Music Hall on December 14. If not, do like me and follow Red Hymns on Facebook to keep track of future tour dates.

Barenaked Ladies: Fake Nudes

By Robin Ervolina
It's been One Week since I received the advance copy of Barenaked Ladies new CD Fake Nudes. There is something so homey about the first few strums of one of their well-crafted tunes, something so satisfying about the first lines, or any line, of any one of their songs. Whether you're a long-time fan, or you're Falling for the First Time, If I Had 1,000,000 dollars I'd wager to bet the new Barenaked Ladies CD Fake Nudes will surprise and delight you. All the BNL character and talent is intact, but this is not entirely the BNL you'd expect; Fake Nudes illustrates that it has, in fact NOT, All Been Done yet.
Opening track "Canada Dry" is everything I love about Barenaked Ladies. The lyrics are strokes on the canvas of song, placed carefully and effortlessly by a master of his craft. If you've ever returned to the scene of a great love affair and found yourself stranded by the memories, this is your tune. Following is "Bringing It Home." The message is inspiring; bust out a life worth living. However in retrospect, what makes it really special is the little bit of island flare in the intro providing the first glimpse that BNL is here to play. Another great anthem of dealing with life like a champ is "Lookin' Up." It's unbelievably peppy, and upholds a message of positivity. It's textbook BNL and it's going to be a communal singalong live. I'm serious. Bring your lighter app for your phone. This will end a set and bring down a house.
Here's where things start to get interesting. For Fake Nudes, Barenaked Ladies 15th studio album, the guys seem to have thrown a ton of caution into a headstrong wind. There are influences that are obvious: Simon and Garfunkle in "Dusty Rooms" and "Flying Dreams," some 90s smooth groove in "We Took The Night," and even some Beach Boys Meets Zappa in "Bag of Bones." The eclectic nature of Fake Nudes is intoxicating. There are comfort zones and surprises along the way, but one thing is certain; the storytellers are alive and well.
There are a fair amount of turned down tunes in Fake Nudes. "Sunshine" drops the mood with a steady rim shot and a gorgeous melody that guides you into Ed Robertson's prose. An intro like this begs the listener to pay attention to lyrics like these:

Sunshine burns your skin / sometimes the things we love so much just eat us up from the outside in / oceans' blue will drown / I could find a way to live with your ghost but I won't be happy until I leave this town

"Navigate" is a gentle ballad with a melody that floats in space and lyrics that ground you to your dreams. It's one of my favorite respite tunes on this CD. "You And Me" is a soulmate love song that pays homage to one of my favorite movies with the line "I'll be your Wesley and you'll be my Buttercup." This is why I love Barenaked Ladies. They get me. They just get me. "The Township of King" wraps Fake Nudes up like the snow white bow on a Tiffany blue box. It's a beautiful fairy tale style story at the outset that quickly turns gloomy as a yellow bird warns our protagonist that paradise is paveable.
There's some bizarre stuff going on in Fake Nudes no doubt, but I posture they can get away with it. Their content is engaging, introspective, and the delivery is both everything you expect and nothing you were prepared for. Barenaked Ladies will be touring with Better Than Ezra and KT Tunstall as celebrated guests on their “Last Summer on Earth 2018” tour kicking off on June 1st  and wrapping up on July 15th.  With each ticket purchased, fans receive a download of BNL’s new album Fake Nudes. Tour dates are listed below, but if you can't wait, Fake Nudes can be pre-ordered now and releases for purchase at all major music retailers on November 17th, 2017.
Last Summer on Earth 2018 Tour Dates

Friday, June 1st	Prior Lake, MN	Mystic Lake Casino Hotel
Saturday, June 2nd	Kansas City, MO	Starlight Theatre
Sunday, June 3rd	Council Bluffs, IA	Stir Cove at Harrah's Casino
Wednesday, June 6th	Missoula, MT	Big Sky Brewing Company
Thursday, June 7th	Boise, ID	Outlaw Field at the Idaho Botanical Garden
Friday, June 8th	Troutdale, OR	Edgefield
Saturday, June 9th	Redmond, WA	Marymoor Park
Tuesday, June 12th	Saratoga, CA	The Mountain Winery* - On sale TBD
Friday, June 15th	Los Angeles, CA	Greek Theatre
Saturday, June 16th	Las Vegas, NV	Red Rock Resort Spa & Casino - Sandbar
Tuesday, June 19th	Morrison, CO	Red Rocks Amphitheatre
Thursday, June 21st	Indianapolis, IN	Farm Bureau Insurance Lawn at White River State Park
Friday, June 22nd	Milwaukee, WI	Riverside Theater
Saturday, June 23rd	Cincinnati, OH	PNC Pavilion at Riverbend Music Center
Sunday, June 24th	Toledo, OH	Toledo Zoo Amphitheatre
Tuesday, June 26th	Philadelphia, PA	Mann Center for the Performing Arts
Wednesday, June 27th	Brooklyn, NY	Ford Amphitheatre at Coney Island
Friday, June 29th	Uncasville, CT	Mohegan Sun
Saturday, June 30th	Gilford, NH	Bank of New Hampshire Pavilion
Sunday, July 1st	Boston, MA	Blue Hills Bank Pavilion
Monday, July 2nd	Vienna, VA	The Filene Center – Wolf Trap
Wednesday, July 4th	Raleigh, NC	The Red Hat Amphitheater
Thursday, July 5th	Charlotte, NC	Charlotte Metro Credit Union Amphitheatre
Friday, July 6th	St. Augustine, FL	Saint Augustine Amphitheatre
Monday, July 9th	Baltimore, MD	Pier Six Pavilion** - On sale December 8th
Tuesday, July 10th	Lewiston, NY	Artpark
Wednesday, July 11th	Columbus, OH	Express Live!
Friday, July 13th	Chicago, IL	Huntington Bank Pavilion at Northerly Island
Saturday, July 14th	Clarkston, MI	DTE Energy Music Theatre
Sunday, July 15th	Cleveland, OH	Jacobs Pavilion at Nautica

Louder Than Life 2017 at Champions Park in Louisville, KY: Day #2 October 1, 2017

[caption id="attachment_29702" align="aligncenter" width="3910"] Photo Credit: Robin Ervolina[/caption]
Written by Tiffany A. Mitchell
Sad to see Day Two of Danny Wimmer Presents Louder Than Life festival come to an end. But first, waking up in our super awesome Air BnB, started out not so fun, after realizing I needed to take a quick trip to the emergency room in Louisville, KY. )knowing how ER's can tie you down for several hours,) my boss Robin went ahead to the festival before the first band to photograph came on and I jumped in a cab to the nearest ER. No worries, I was in and out and the panic of missing my the days interviews and bands, subsided and I got back just in time to hear Greta Van Fleet's phenomenal performance echo across the festival grounds. What a voice that Josh Kiszka has (check out my interview with Josh in a later post).
Walking back to the media tent to grab my table, singing along to "Highway Tune," the weather was perfect and my bittersweet feelings began to lighten up as I passed friends laughing with friends and families enjoying themselves with smiles on their faces. Louder Than Life is more that just a sick lineup of your favorite bands, it's family fun, a place to connect and meet like minds. A place where we all share a commonality, our love of music and togetherness. I decided to take the long way around, to checkout some of  the other vendors that I may have missed yesterday and I've heard a lot of buzz about the FYE Fan Experience tent. It's like your one-stop-shop to find all your favorite band’s music and possibly do an artist meet & greet and autograph signing with your favorite Louder Than Life performer. How awesome is that? The crowd around the tent was massive and I knew getting up close would take some maneuvering, so I decided to come back in a few hours and I may get lucky.
In my travels I stopped at the Monster Energy viewing deck for some pink lemonade hydration and a perfect view of the Loudmouth Stage as the not so death metal, at all, Eagles of Death Metal were jamming on stage. Checking the time, I had a few more minutes before my next interview, so I took my time walking, taking in the sights and sounds of this epic weekend. With so many options for food, fun and drinks all around, I think I need a few more days of louder than life Danny Wimmer( wink,wink ) to hit every vendor on the grounds. There was the exclusive bar called Down The Rabbit Hole Feat. Proprietors LLC of Death & Co, Bourbon World Presented By Courier-Journal, World’s Loudest Bourbon Tent filled with some our favorite distilleries and The Big Cheesy, Gourmet Grilled Cheese with a New Orleans flair and many, many more that I know I'm missing.
As I wrapped up my last few interviews of the day, I checked the schedule to see what the rest of day two had to offer. As I turned my frown upside down and brushed the dreaded end away into the wind, I couldn't help but get excited for the rest of the evenings lineup. On the Loudmouth Stage, Stone Sour would play followed by Incubus and on the Monster Energy Stage, Thrice, Rise Against and Prophets of Rage. Now I must live under a rock because most people I talked to had seen each of these bands at some point in their lives, for me, it would be my first time for all of them. I arrived at the Loudmouth Stage as Rise Against was on and from the stands, it was an overwhelming sight to behold. Now I've worked and attended festivals before and enjoy myself every time, maybe I was nostalgic, maybe it was just me. But to see thousands of people singing in unison, jumping with excitement to their favorite songs, created some unforgettable moments for so many. It could be a couple first date, or a family's child is old enough now to experience these moments together, or it's someone's first festival ever. So many stories, memories being made, friendships being built and bonds growing stronger. Louder Than Life means many things to many people, and as my first Louder adventure, it will be one I'll remember forever.
Thank you Danny Wimmer Presents and thanks to all the participating vendors, sponsors, patrons and fans who make the magic happen.
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Danny Wimmer Presents Bourbon and Beyond: Louisville, KY Sept 22-23, 2017

Written and photographed by Robin Ervolina
Danny Wimmer Presents is no stranger to Louisville, Kentucky. Four years ago DWP launched the first rock and metal festival, Louder Than Life at Champions Park. The lineup was, of course, stellar; those in the know, know to expect nothing less from DWP. However, Louder Than Life did something unique; incorporating the Kentucky community into the festival, LTL brought us the best bourbon and gourmet comfort food Louisville had to offer. Champions Park became a condensed version of all the things Louisville is known and loved for. Imagine my excitement when DWP launched Bourbon and Beyond this year and invited Shockwave Magazine to experience this epic event.
Bourbon and Beyond took the Louder Than Life template (literally the exact same set up in terms of stages and vendors) and blended in some unique features. Attendees had the opportunity to take part in bourbon education seminars from some of the biggest distilleries, as well as cooking demos with renowned chefs. In between sampling bourbon and food from the Bluegrass State, festival goers secured shaded spaces with lawn chairs and enjoyed a variety of music from local blue grass outfits to headliners Steve Miller Band on Saturday and Stevie Nicks on Sunday. Though the heat was blistering, the crowd was not deterred. DWP provided outdoor a/c units and massive water coolers so attendees could stay hydrated throughout the day.
One girl and a camera can only cover so much ground, and I was determined to bring as much of the experience to this review as possible. I captured some of the most amazing acts, from Shockwave favorite Kenny Wayne Shepherd to personal favorite Amos Lee. I was also in place to discover some new-to-me talents such as rockers Band of Horses and genre defying Shawn James & The Shapeshifters. However, the highlight of Friday's music homecoming was experiencing the iconic Buddy Guy tearing up the stage and charming an audience with his personality and extraordinary gifts. I also downloaded ZZ Ward's CD on the spot, and hung around for an intimate acoustic performance by Eddie Vedder. Check out the slideshow below for a taste of Bourbon and Beyond, Day One.
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Day two held the promise of cooler weather, more bourbon, addicting food offerings, and music to die for. Due to an unfortunate Uber incident I didn't arrive in time to catch Nashville's Caitlyn Smith from the photo pit, but I listened to her set, spellbound by her vocals and relatable lyrics. It was Sunday gospel at the church of good damn music, and if that's what you're needing, check out her new LP Starfire now. Disclaimer: when she holds that note out in "Tacoma" you will drop to your knees and confess your sins. The woman behind Meghan Trainor's I'm Gonna Love you and Garth Brooks' "Tacoma" has been hidden away long enough, so definitely check her out. Following Smith, and one of the most anticipated performances of the weekend, was none other than Lost Boy Keifer Sutherland playing tunes off his upcoming CD Down in a Hole. Sutherland stated that while he can't stand actors that try to form bands, he finally gave in because he's too old to give a shit. His ease on stage was as evident as his love of song. It's just one more thing this gentleman does to the fullest. I was also lucky enough to finally catch up with my hometown sweetheart Jonny Lang after all these years. He was soulful as a child playing in blues clubs back when, but he's grown nearly godlike in depth and talent. The list of legends carried throughout the day with the the exhuberant Trombone Shorty and Orleans Avenue, Philly's G Love and Special Sauce, Gary Clark Jr, Paul Rodgers, Joe Bonamassa, and finally the lady herself, Stevie Nicks. Check out slides from Day Two below.
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Bourbon and Beyond is not your typical DWP festival. There, I said it. If you like the rock festival vibe with it's crowd surfing and mosh pits, you may find yourself feeling slightly out of place here. The crowd is laid back, all ages, and this event is more than music and mayhem. Bourbon and Beyond is you with your family or friends, a lawn chair and a cold drink, maybe a free-style dance off with the people perched next to you under the beer tree. Yes, you get all the upscale food and DWP amenities you've come to know and love, but you get something different, dare I say something more. I found the roots of the music I've loved for years and I found scraps of the the melodic quilt that make up the fabric of tears and cheers and "yes Jesus that's the stuff!" If that's your jam, I can't encourage you enough to check out next year's Bourbon and Beyond. Bring your lawn chair and your chill, an empty stomach and primed liver. Come to learn, to taste, to imbibe, and to enjoy! Personally, this festival will be a MUST for me from here going forward.

The Symmetry of Autumn Leaves: Perennial

Written by Robin Ervolina

Chaos leads way to chaos ... resolve the noise and then turn up the volume ... welcome to the first few seconds of The Symmetry of Autumn Leaves' CD Perennial.
This band of instrumental architects hails from New England and consists of Chelsey Hahn and Chad Jewett (formerly of Lions Club) and Will Mulheron (formerly of Airplane, 1929). They have pieced together an interesting collection of sounds and lyrics, and while neither outshines the other, their orchestral choices immediately stand out.
The title track opens the CD as the blueprint for Perennial: a few seconds of disorderly horns and strings leads into a full-throttle punk beat. The pandemonium creates tension, then fails to resolve with anything less than bedlam. My adrenaline surge is nearly piqued by the end of "Fauves," the second track from Perennial. Track three kicks in with a recitation that appeals to my own sense of symmetry.

My heart is a pile of leaves
My heart is a pile of leaves
My heart is a pile of leaves
Underneath the apple tree
Underneath the apple tree
Underneath the apple tree

Thus, you have "Evergreen, un deux troit" with its steady chant and jazz-like improv. "The Witching Witching Witching Hour Blues" channels The Doors lesser known works, my personal favorites as they were untainted by Hollywood and its damnable silver screen. Leading from that mellow moment is a Dead Kennedy-esque tune "Hippolyte," followed by "Welton 69," which drops straight into the grunge movement of the late 90s then leaves you hanging with a few string plucks for about a minute. As Perennial progresses I don't know whether I'm supposed to thrash to it, or flip the switch on my black light and stare at my lava lamp.
Each time I think I have The Symmetry of Autumn Leaves figured out, they pull some maddening auditory gymnastics. Perennial is like a curious ensemble of oddly matched mates; no one knows why they work, but they form the couple everyone wants to be like. This sublime dichotomy is not soothing, but rather sets the neurons afire with possibility, and that is what art should do.
Perennial is a quirky little bit of fun and worth a listen. You can check it out on The Symmetry of Autumn Leaves' Bandcamp page now. Follow, like and love them here:

www.facebook.com/perennialCT/

https://twitter.com/perennialband

Allday: Speeding

Written by Robin Ervolina
I'm going to ask you to stretch a little... and if you've ever taken a gym class you'll know that stretching is good. The purpose of stretching is to avoid injury by warming the muscles and easing them into activity. Now that you see the benefit, stretch with me.
I'm listening to Allday, a quick-witted lyricist laying thoughts on a bed of melodic down. Not all music is for every purpose or mood; maybe your mood is thrashing, or your mood is dancing, or your mood is not punching your boss. Allday brings a mood that is instantly soothing; seriously taking me down a notch from "Oh fuck with me not" to "Okay, I have no fucks. Go about your business."
From the initial track "First Light" I'm just a wee babe in his hands, and I understand now why he's selling out shows in Australia and getting tapped for festival slots. The second track, "In Motion," is playing now, and I'm all up in it with a head bob and a shoulder roll. Maybe it's that Ed Sheeran thing I've got going on, but when the drop hits, I can't think. Go on, try to multitask; Allday brings you back like ‘ahhhh.’
I abhor dance clubs, but my friends drag me there, so I'm pretty familiar with the "oonce oonce" beat and tried lyrics prevalent in the scene. This is NOT that club sound. It will play there, no doubt, because I'm still moving like someone slipped my drink a date, but it's got way more substance. I'm reminded (and remember, I said I want you to stretch) of the first time someone sat on me (literally) and forced me to listen to Kendrick Lamar. This is also the same person who sat on me and tickled me until I peed my pants, but I digress. It was good for me then, and this is good for you now. The lyrics and content are elevated. It's not vapid. It's not usual. It's inspired. Take the end of "10 Drinks," with a recording of a rambling man recalling a psychotic episode after a day of drinking; it becomes clear that Allday is interested in telling stories, and they're personal to someone, even if it's not him.

I haven't stopped listening yet, and that means Allday just exceeded my attention span, which is normally about 15 minutes. I'm on "Ghost" and my second glass of wine is nigh. I'm begging the world wide web for a lyric sheet for each of these songs because I know there's more to Allday than a great spin and catchy tune. Thanks to 240k fans on Facebook alone, they're available to me. I'm treated to gems like:

I'm not sure what this hole is I grew inside - "Ghost"
What doesn't kill you makes you stronger
But sometimes you turn into a monster
But when you treat someone like they dirt
Then eventually they gon' turn around
And be the dirt that you said that they'd be - "Raceway"

Shaking me from my Google search is the track "Codeine 17" featuring the heavenly vocals of Graceland. It's not a sweet song, but it's brutal and honest. That day someone sat on me (Tyler) and made me listen to Lamar prepared me for the sound of struggle and choices. If an artist gives you their life in a song, you can appreciate the realness of that offering. I thought "Babyspiders" featuring Mallrat would be my favorite song on Speeding, with its steady rhythm line and once again, introspective and raw lyrics, but Allday saves the best for last with "Ultramarine," also featuring Mallrat. Says the artist:

 I also believe outro songs don’t count. So, I just went on a stream of consciousness trip through life with no drums because drums are for real songs, and an outro isn’t a real song. 

I'm not about to argue with him, but if this stream of consciousness isn't a real song, then to hell with real songs. I'm also not going to come at this like I'm some expert on hip hop and rap, but I'm going to come at this like I know what I like, and I like this.
Allday's "Speeding" is not PG-13, it's for adults, and it deserves an opportunity to lead you into your usual musical calisthenics. Check it out Speeding on iTunes now. Stretch with me.
Allday Tour Dates:

8/3 San Francisco CA - Rickshaw Stop 

8/5 Los Angeles CA - The Echo

8/6 Denver CO - Lost Lake Lounge

8/7 Chicago IL - Subterranean

8/9 Brooklyn NY - Rough Trade

8/12 Philadelphia PA - Voltage Lounge

8/13 Washington DC - DC9

8/14 Cambridge MA - Middle East Upstairs

Shockwave Outside The Rocks: Fame on Fire Covers Adele's "Hello"

Written by Robin Ervolina
I'm about to get tomatoes thrown at me, but I can't stand Adele's voice. WAIT! Let me explain. I was on board right up to her latest release. Her lyrics are painfully honest. Her melodies are mathmatecally structured to make you ugly cry. This last CD though? I actually paid for and then deleted 25. Her whining has reach level expert and I just can't. So guess what made me happy today?

Yes, Shockwave Outside The Rocks is featuring Fame on Fire AGAIN, because they're brilliant and they deserve another spotlight for this haunting cover. It's a great move, taking pop songs and twisting them up in the pop punk style, and while they're not the only ones doing it, they're my current favorite. Simply put, they have the midas touch when it comes to repurposing pop. And while pop punk has its own element of whine to their cheesy lyrics, it's one that's completely tolerable, and in the case of Fame on Fire, addicting as hell.

Doyle: II As We Die

by Robin Ervolina
When Jerry Only and Glenn Danzig taught a 16-year old Doyle Wolfgang Von Frankenstein how to play guitar, they changed music forever. The sound of Doyle slamming his right hand onto the strings of the Annihilator, his custom axe, is unmistakable, identifiable, and celebrated. Considered the creator of an entire genre, Doyle and company paved the way for hundreds of bands inspired by Horror Punk. So why wouldn't I jump at the chance to review this legend's newest CD II As We Die?
Premiere track "Kiss Me as We Die" ushers in this collection of thirteen songs. It opens with an eerie, and instantly recognizable guitar riff leading into a distinct Doyle hammering. The emotive tone is matched, nay elevated, by vocalist Alex Story of Cancerslug. As a (trick or) treat, Doyle's girlfriend and Arch Enemy vocalist Alissa White-Gluz brings some heavenly backing vocals to this track, once again proving this queen of scream is the owner of the most masterful instrument in the metal world. 
Wicked energy prevails throughout II As We Die, but there are a few slight reprieves from the beating. The intro to "Darkside" is bone chillingly beautiful. It's a haunting strum followed by an infectious drum and bass line, establishing a rhythm so solid it possesses you. I'd call it the "feel good track" of the CD but the lyrics are pure evil, as the genre is known to do. Follow-up tune "Witchcraft" is slightly less disturbing and has a hip-swagger come hither command. "We Belong to The Dead" is a rockabilly feature tune invoking visions of no-good punks holed up in a cemetery making blood pledges and rolling cigarettes, while ducking from the cops and stirring up a shit storm. (Oh, to be young again.)
Story's vocals keep the blood-curdling mood intact, singing low, screaming loud, and delivering images my nightmares hadn't considered before listening to II As We Die. Each track is a chapter in the latest installment by the progenitor of Horror Punk. Other noteworthy tracks include "Virgin Sacrifice," featuring Lamb of God's Randy Blythe, and "Blood on the Axe," which is the most apropos title a Doyle song could ever announce.  II As We Die released 6/2 and Doyle is out there touring with it, in case you're brave enough to take this on live ... and you particularly enjoy sleeping with the lights on.

 

Shockwave Outside The Rocks: Kesha Covers Bob Dylan's "Don't Think Twice, It's All Right"

By Robin Ervolina
About a million years ago, or maybe it was five or six, I came home from work and walked into my husband's office. "Are you listening to Nina Simone?" He replied, "Guess again." His eyes looked like he'd hacked down a pollen field. I listened for a moment and was convinced no one in the history of ever had delivered such an honest prose. Then it hit me that the timeline didn't work. I knew those words like the emo scarred back of my hand. This was The Poet Dylan. Nina couldn't cover Dylan. "Who?" He turned from his chair and said, "You should sit down, Babe. You're not going to like this."

That's how it happened for me, and this is how I think it should happen for you. Kesha, who has worked her ass off to make a name for herself speaking vapid lyrics about party girl ethos, can sing. She can, and she doesn't, and to this day it angers me. This version also makes me cry ugly because if everyone supported talent the way metal heads do, she'd never have to wake up feeling like P-Diddy again.

Exclusive Premier: Stories Through Storms - Rage (Ft. Spencer Charnas of Ice Nine Kills) Official Music Video

Catch the exclusive premiere for Stories Through Storms second single, ‘Rage’ featuring Spencer Charnas of Ice Nine Kills!

By Robin Ervolina

Vocalist, Storm shares, “Rage is about dealing with those inner demons that make you feel trapped and you can't get out. We all have some rage inside of us, but finding a way to get it out without negative consequences is the tricky part. Spencer was really awesome to work with both on the video and the song. He is a very kind dude and it was really cool to have someone so nice from the industry to work with us. Everyone in this band will always have nothing but great things to say about him and his band. We can't thank him enough for the time he spent on this single.”

 

 

Stories Through Storms (For Fans of: Attila, Beartooth) is a dual front men metalcore band from Kansas City, KS that recently released their EP, What Keeps Me Up At Night. With a melting pot of music tastes, Stories Through Storms has the ability to bring something to the table for everyone. From heavy Djenty breakdowns to catchy choruses and blazing fast vocals. The Duo of vocals almost seem to go to war in each song with the trading of lines back and forth, each vocalist with their own unique sound. Combining this front line vocal onslaught with a mixture of catchy guitar lines and a complimentary percussive attack, Stories Through Storms will resonate in your head until they hook.

Stories Through Storms has played with multiple acts along their journey such as Ice Nine Kills, The Devil Wears Prada, Northlane, Volumes, Like Moths To Flames, and multiple others. 

 

Florida Artist Spotlight: Happy Hour

I'm sitting at a picnic table behind a bar in Deerfield Beach, Florida with Happy Hour, a post-hardcore band hailing from Miami, FL. I stumbled upon them just four days prior when Tilian Pearson's mom shared their song "White Girls" on Facebook. I reached out to the guys and begged an interview, and they graciously obliged. So here we are, making the most of American Rock Bar and Grill's 2-for-1 drink special (though the guys barely look old enough). Nate Promkul (clean vocals), Eric Hidalgo, "the scary screamer guy" and guitarist, and Jacob Muniz (bass) allow me to kick off the interview with a few Dance Gavin Dance references before diving into their writing process. Nate grins and tells me there is a great collaborative effort between him and Eric when it comes to writing their individual lyrical contributions.

It's always fun because I feel like we come up with the really fun, stupid, or interesting ideas, and especially with this guy Eric because he's just really out there.

Happy Hour came together when Eric and Teddy, who will sit down with us later, decided they wanted to start a new project. Eric wrote a couple of songs and threw them up with a post on Facebook: Seeking Vocalist. Nate was one of the first people who messaged. Says Eric,

I'd seen him perform live. This guy is literally like R&B, Gospel, church vocalist live. He blew me away. It's one thing to hear a good singer recorded, but to see it live ... amazing. It blew me away. So he shot me a message, and he came over to my house. We had a couple of beers, started throwing around some silly ideas, and we just kind of ran with it from there.

"White Girls" was conceived at that first meeting of the minds, on the very same day America was electing its 45th president. Eric and Nate are open with their thoughts on the 11/8/16 inception of a satirical discourse on American culture.

Lyrically we do want to have fun, but we do try and bring light of certain issues that we are passionate about, like our political stances, which I think it's important, especially for our generation, to speak out and be vocal about what's going on in our country. 

We discuss everything from politics to feminism to white privilege. The second opening band takes the stage and we continue over their set because there's no way I'm calling it. I'm impressed with their composure and their ability to talk intelligently about serious topics. Teddy Senft (guitar) arrives to the picnic table and the mood instantly flips to comic relief.

I walked in and Gabe's mom said "Yo, get back there. They're interviewing!" I was like "Oh shit! I didn't even know I was supposed to be in on this." I legitimately jumped off that dude's drum. 

After a few laughs and some audio adjustments, Eric hands Jacob the mic so he can participate in the discussion of lyrics and Happy Hour. Jacob is mostly excited to talk about how he got into the band after hearing the demo for "White Girls."

I shot them a message and he was like, "Yeah, we're looking for a bass player where it's going to be kind of in the style of Dance Gavin Dance. I was like, "Shit, this is just exactly what I want. This is exactly what I want. I don't know how, but I'm going to find a way into this band."

Jacob appears a little nervous, suddenly blushes and hands the mic back to Nate. Eric tells me this is Happy Hour's first interview. Ever. Everyone laughs and agrees that being in a band is a collaborative effort, including conducting interviews. I'm still reeling at the fact that being at ease while speaking informatively on all matters is their baseline. I bookmark the moment I met rising stars.
They speak passionately about their music and the topics that inspire them. They give us insight on "Wild Blue" and feminism. They talk about infusing jazz, R&B, and reggae into their arrangements, screaming over reggae, and just trying to shake up their sound by presenting different aspects to the post-hardcore genre. It's during this time Nate announces he just graduated with his degree in musical theater.

When it comes to vocal influence, and what I really pride myself on, is that compared to a lot of other bands in the scene, I actually care a lot about being classically aligned when I sing so I'm not fucking up my voice at any point in the set. I have a lot of different influences when it comes to vocals, most of it being pop rock and R&B. In "Wild Blue" I wanted to show the fact that I can hit a D7, which is a D an octave above high C in head voice ... and then bring it all the way down to the very bottom of my range which is like a D2 or something like that. 

Comparison's to DGD's firsts vocalist Jonny Craig ensue. I wax that in Nate we have the soulfulness of Jonny and the range of Tilian. We send love to Kurt. We give mad respect to the screamo guy and admit we all wanna be the man with the bacon. In all, we have a fabulous conversation on a myriad of topics, from a shout out to mom ...

My parents are well-educated. My mom has her masters. She has some cool executive job, and here I am doing rock and roll, fucking it up. I'm fucking it up. I love you mom. 

... to a shout out to American Rock Bar and Grill and their fantastic 2-for-1 drink specials ...

If you are ever in Deerfield Beach ... American Rock Bar and Grill. We are called Happy Hour for a reason. None of us are sober right now. 

... followed by a shout out to Haha!, Dance Gavin Dance (+ friends) baby!! Swanposting 2 !!!  and Death of a Dance Gavin Dance (+friends) Swanposting ...

A lot of really cool people have personally messaged me, shared their own art with me which has been actually really good. I'm really surprised. Some people have shared stuff with me and I'm like "Fuck us, this is amazing!" 

... and a final shout AT the asshole that broke into Nate's car and stole his guitars. (Click this link to help fund their replacement.)

If you announce who you are, we will send you a free EP. Out of the sincereness of our heart we hope that it will change your mind and open your mind to ... Yo, fuck you!

We end with a round table love fest, and it is absolutely my white girl privilege to spend time with Happy Hour. Listen and enjoy our chat.

If you're lucky enough to be in the Orlando area on June 7th, you can check out Happy Hour, playing at Uncle Lou's Entertainment Hall at 1016 N Mills Ave. I would advise you get your asses out there, and pack some extra socks cuz their live performance knocks mine off.
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Sages: Close Your Eyes

By Robin Ervolina
It's the drum intro that smacks you in the face. It's the steady rhythmic push that urges you. It's the piercing vocals that call you. It's the ethereal backing vocal that haunts you. It's "Close Your Eyes" by Sages, and it's the song you need to hear, right now.
Listen to “Close Your Eyes” via Soundcloud
With a mix of metal and space rock, combining classic techniques with new sounds, Sacramento's Sages have a standout single in "Close Your Eyes." Every moment of this track is inspired, each twist and turn a surprise and delight. If you're a fan of Periphery, "Close Your Eyes" is a must listen. Fans of The Amity Affliction should give "Face The World" a spin as well. It's melancholic mood and hopeful refrain are the things dreams are made of.
*****
May 27 @ Country Club Saloon - Loomis, CA
June 7 @ Powerhouse Pub - Folsom, CA
June 24 @ Blue Lamp - Sacramento, CA
August 4 @ Goldfield Trading Post - Sacramento, CA w/ Black Map
August 19  @ Starlite Lounge - Sacramento, CA

Shockwave Outside The Rocks: Fame on Fire Covers Ed Sheeran's "Shape Of You"

Written by Robin Ervolina
Little combo lovin for you guys listening outside the box ...
For those of you who pretend you don't like Ed Sheeran, Fame on Fire has covered "Shape Of You" in a gorgeous pop punk style, so you can dig it and maintain your cred. For those of you who are confident enough to openly admit Ed, and this song, are sexy as hell, have no fear because pretty is as pretty does, proof is in the pudding, and damn these guys are easy on the eyes and ears.

These guys hail from West Palm Beach, FL aka my motherfuking backyard. Translation: more coverage to come. Count on it.

Shockwave Outside The Rocks: Sweet Crude's Mon Espirit

Written by Robin Ervolina
Shockwave Magazine loves to help our readers who also like listen outside the rock genre, think outside the box, or Outside The Rocks if you will. Join us as we discover a world of music in our newest weekly feature, Shockwave Outside The Rocks.
This week we introduce you to an amazing six-piece group from Louisiana, Sweet Crude. Listen as they burrow into your core, raise your goosebumps, and chill your spine. Singing in the Louisiana's native French dialect to gorgeous orchestrations, Sweet Crude creates a full wall of sound that is undeniably unique, and hauntingly gorgeous. Check out their video for Mon Espirit below.

Kozie: Life's A Bitch

Written by Robin Ervolina
This is all I needed to hear today.
"Life's A Bitch" by Kozie is ironically peaceful, easily anthemic, a little bit restless, but ultimately grounds me. There is peace in a chorus of the fed-up singing in one accord.

Life's a bitch, now
But I'll stand my ground

"Kozie is Cody Hoffman, a 25-year-old dude born and raised in New Jersey, but for the last 4 years living in Los Angeles. He works side by side with producer Gavin Mackillop (Phoenix, Goo Goo Dolls, Miley Cyrus) and is inspired by artists like Pink Floyd and John Mayer." Quote courtesy of Earshot Media

Restless Streets: Interview with Logan Carpenter

by Robin Ervolina
Melodic rock outfit Restless Streets hails from Albany, NY and just released their EP Together last month. I fell fast for their intensely person lyrics, their ambient sound, and the modern-day crooning of lead vocalist Logan Carpenter, who was kind enough to chat it up with me marathon style yesterday. Restless Streets started playing together at 14 years old, which isn't so unusual unless you consider the fact they also recorded their first EP at the same age, then rocketed into the spotlight in a major way.

We actually won a competition to play Taste of Chaos in New Albany with Avenged Sevenfold and Bullet For My Valentine and Bless The Fall and Atreyu. That was a massive experience for us that was like 7,000 people, sold out, at this arena in New Albany. We were only 14 at the time so that was crazy, but it kind of gave us the hope that we would be able to be at that level one day, full-time ... so from there we've just been working and kind of crafting our sound ever since.

Carpenter talks about the progression of Restless Streets moving forward from that experience, and why he left the drumming behind to take his place as frontman. 

I’ve always sang and I've always played guitar. I started playing music drumming; that's what I first got into. I always loved singing while I was on the kit, so when Restless Streets first started I actually sang and played drums with an overhead mic. I played that first sold out Taste of Chaos show as the singer and drummer of Restless Streets. It didn't really work out live because nobody knew that I was singing ... we kept getting people just saying, “You guys are great, but who is singing?” We would go a whole set and people still wouldn't figure out that it was me singing back there because I was so small behind the kit and the mic was back there just tucked away. So we knew we had to make a change. Writing lyrics, and writing in general, and singing has been something that I've always been super passionate about. I knew I wanted to be the singer and be writing the lyrics for this band. So I decided that we were going to get a drummer and that I'd pop up front to front the band ... 

A cursory listen to their newest EP Together reveals lyrics that are intentional and thought-provoking. Logan and I talked about the writing process for Together, and how important it is for him to produce songs that are personal and yet have universal appeal. 

The music definitely reflects all of our lives as a collective. I wouldn't say that's why the CD is called Together, but it's definitely part of it. I think I know all of [my band mates] very well, and I was able to kind of wrap all of our experiences and all of our feelings into the lyrics so that it's not just about my life, but it's definitely a combination of everyones'.

I spend so much time writing the lyrics and thinking about everything I'm saying. I'm really am a huge fan of words and the english language so I love to use them in inventive ways and I just love it. I love writing. It's cool that people are appreciating that and I think a lot of people are catching on. People are really latching on to this new record in a totally different way than they have to any of our other music … they listen to the lyrics; the lyrics are very clear ... we just made sure that the lyrics and the vocals are very prominent, and people are kind of taking it in as a piece of their own heart, a piece their own soul little bit.

I wrote the lyrics for all these songs in a way that I didn't want them to be incredibly specific towards one situation, because I wanted the listener to be able to take the song in and then have their own experience that comes to their mind as they're listening, and be able to relate each part of the song to something that they had actually experienced.

One of the more powerful tunes on Together is "Wrong Kids," which, with its accompanying video, aims to bring light to the pain of losing someone to addiction. Logan talks about the friend who inspired the song, and how necessary it was for him to not only take part in the conversation, but also put his own demons to rest. 

I felt obviously since that was such a huge part of my life and such a serious issue ... that it was really important for me to talk to. And I kind of felt like I needed to because it was so difficult for me that I kind of like pushed it down, and kind of tried to avoid thinking for a long time. But it was almost too weird for me to just like ignore the fact that happened, and the only way I know how to really cope with things is to write music about it and document it, so I know that I I said my piece, and it's out there for the world to experience, and brings awareness to the problem. I'm trying to do something more than just be sad and more than just complain or cry about it, but to tell people like, "Hey we can do something to try to fix this is instead of just being so sad about it all the time and letting it happen."

So that song is definitely very specific and very straight from the heart and very literal for me but you know even in the little bridge we have when I say, “I wish we were both talking like we always did, because you made it easy to speak," I feel like someone can hear that and it's a very soft spoken line, very sincere, and they can plug it into any experience that they've had, whether they miss someone because of a romantic relationship ending or a parent that they no longer — even not living in their city anymore, or parents getting divorced or you know whatever it is, whatever it may be. It's about connection and loss. I think I kept it to the point where it was obvious what the song was about for me, but people are easily able to take that and apply it to whatever they they're dealing with whatever loss they’re dealing with.

In a moment of unbridled enthusiasm, Logan tells me how Restless Streets got narrowed down from nearly 800 bands, to the one local New Albany outfit opening tonight for the Poison Reunion Tour with Tesla. From the initial pool, iHeart selected ten bands and opened up voting to fans. Shortly thereafter, the top three bands were announced.

So now it's three bands and we’re like, "Holy shit, this is insane," and at that point we were just laughing because we couldn’t believe it was down to three ... we've been so ready to do this kind of performance … we wrote the album to play in arenas. Songs like “Twin Flame” or even “Glow” and “Drive Fast are just massive songs ... small venues don't really do them justice ... those kind of songs that are really spacey and, like, you just see lighters in the air waving back and forth ...

The winner? Oh, they were hand-selected by none other than Bret Michaels himself, but not without a long drawn out radio teaser. 

So basically nine o'clock rolls around and we're all in our cars or our houses or whatever … Bret Michaels comes on, does a short interview, and then talks about all the shit that we're going to have at the show like a green room, the full stage and the lights, and I'm like "We better have won this show right now, like he’d better say our name." I’m yelling at the radio like, "Come on Bret Michaels, just spit it out." And he does. "The winner is Restless Streets'" and then they ripped into "A Little More Us" and started playing the song on the radio … every one at the station is screaming, and I was screaming, and my phone started blowing up like crazy...

Restless Streets has a few exciting things coming up they can't talk about yet, but while you're waiting for their tour announcement, or standing in line to see them open for Poison tonight, click the play button below and listen to our chat detailing Logan's path from ten-year old drummer to the guy about to sing to a sold out arena. 

One of the biggest reasons that people get so attached to music, and the enormous reason why I write music, is to connect with people. Like the EP title, we’re all in this Together.  We want to connect with people. We want people to support each other and feel as if there's a sense of community in the world, and that no one is alone in what they're going through. I think that's a huge benefit to writing and also to listening to music.

Happy Hour: White Girl Drinks

Written by Robin Ervolina
Thanks to the most awesome mom in the world (present company INCLUDED), I have discovered a new band. Let's talk Happy Hour and their single "White Girl Drinks."
Tilian Pearson's mom (Mama Pearson to you) dropped this gem of a tune on Facebook today, and since she raised Tilian, I consider her an authority on all things beautiful in the world. So I clicked play and oh sweet baby jeeps yes ... Happy Hour is in every Dance Gavin Dance fan's wheelhouse. In fact on their bandcamp page they list themselves as swancore. Yes, the beauty of that is absolute. There is no denying the DGD influence in the opening lines of this track as Nate Promku and Eric Hidalgo trade lines in messy/clean vocal unity.

I'm ready to order
A pumpkin spiced latte
Three shots of espresso
And please no whip cream

The messy vocals and lyrical ass-whipping are pure Jon Mess. It's everything about post hardcore that you want, need, or could ask for. When Promku glides in with the clean vocals, it answers the question, "What would happen if Johnny Craig returned to DGD?" The lyrics of the song are pure commentary in free-association styling. If I could pull quotes as examples I would be quoting the entire piece, it's that solid. Digs at pop culture and blatant political outrage are sprinkled atop this gorgeous piece like cinnamon atop your nondairy foam. Happy Hour is proof that our current dark age is birthing a renaissance.
If you love the madness of DGD, you can't miss out on Miami's Happy Hour. I'll be checking out their show on May 12th when they play one of my hometown clubs American Rock Bar & Grill. In the meantime feast your ears and your heart on the beauty that is Happy Hour.

Colours Couture with Sick Boyz Body Suspension at WJRR's Earthday Birthday 24 - Orlando, FL 4/22/17

[caption id="attachment_18269" align="aligncenter" width="6016"] Photo Credit: Robin Ervolina[/caption]
Written and Photographed by Robin Ervolina
WJRR's Earthday Birthday was a celebration of music, food, and lifestyle. Ryan Darnell brought Colours Couture to the party this year, featuring star tattoo artists, The Captain's Sideshow, and Sick Boyz Body Suspension. The tent was always hot, and never empty. Artists were open and happy to answer any questions from, "Does that hurt?" to "You want me to staple my tip to your cheek?" This was my favorite place to rest and recharge, and I returned often to talk to the stars of the side stage. Check out our pics below.
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Meka Nism at WJRR's Earthday Birthday 24 - Orlando, FL 4/22/17

[caption id="attachment_18442" align="aligncenter" width="3554"] Photo Credit: Robin Ervolina[/caption]
Written by Robin Ervolina
Left for me to summarize, I am struggling because of my instant and obvious bias. I interviewed Meka prior to EDBD and we just clicked. She probably clicks with everyone, but me not so much. Regardless, I wasn't sure what to expect when Meka Nism opened the main stage, but her fans sure did. The audience turned out early in the morning, even knowing they'd be stuck in the heat waiting for the headliners, because they knew Meka would bring gifts of spirit and encouragement. Colorful and alive, she commands the stage, supported by a tribe of amazing souls and talented artists. Meka Nism's set ended too soon. Relive it with our photos below.
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Goodbye June at WJRR's Earthday Birthday 24 - Orlando, FL 4/22/17

[caption id="attachment_18307" align="aligncenter" width="3948"] Photo Credit: Robin Ervolina[/caption]
Written by Robin Ervolina
"You see? You see? What did I tell you? I told you!" was heard loud and clear after Goodbye June took the stage at WJRR's Earthday Birthday 24. It was said by me, and I offer no apologies. I've been a fan since 2015 when cousins Landon, Brandon, Tyler and I sat down and talked music, church, and childhood, bonding over growing up in a small town where the two collide and blend and fuse into your soul. Goodbye June treated the fans to songs on their soon-to-be released Magic Valley, and at some point with tambourine in hand, Landon issued the holy rock n' roll altar call and church did happen.
Check out our photos below, and make sure you grab a copy of Magic Valley on May 5th.
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Anthrax & Killswitch Engage with The Devil Wears Prada and Code Orange at Orlando House of Blues 4-13-17

Written and Photographed by Robin Ervolina
The Killthrax Tour starring Anthrax and Killswitch Engage rolled through Orlando, Florida on April 13th and slammed into the House of Blues. Supporting the co-headliners were Code Orange and The Devil Wears Prada. Due to some technical issues at the nearly sold out venue, we missed Code Orange. However, while various media outlets waited on credentials, we stopped to listen to the music filtering outside the doors and into the courtyard. The eclectic nature of this lineup was the perfect setting for this power punk outfit bringing the heavy to mouse land. Damn shame we missed you, Code Orange, but rest assured, we're going to check you out as soon as we can.
[caption id="attachment_17634" align="aligncenter" width="4032"] Photo by Scott Langevin[/caption]
Midway through The Devil Wears Prada's second song, the press passes were sorted. I hauled ass into the photo pit just in time to catch the last song. The best part of this set was stepping back to experience TDWP live for the first time. The urgency in their performance made the hair on the back of my neck stand up. I felt every pulsating rhythm in my gut. Each riff was disorienting. Each scream grounded me. This total visceral experience quickly engulfed the classic rock fans waiting on Anthrax.
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Anthrax took the third time slot (co-headliners alternating each night throughout the tour). As a photographer, legends in my lens make me shake all over, but you have to settle your nerves so you can really appreciate what an honor it is to just be in the presence of one of the greatest thrash metal bands in history. I love watching Anthrax because they celebrate their music along with their fans. They have the pedigree of rock royalty and the appreciation and enthusiasm of a new band trying to pay their dues. Crowd surfers went up almost immediately, and the more the audience came unglued, the more fire emerged from Anthrax's eyes, sticks, and picks. Gentlemen, it was truly a gift to be in your presence.
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Closers Killswitch Engage exploded onto the stage, but shortly thereafter, singer Jesse Leach choosing the barrier over the spotlight. Leaning over into the crowd, he sang and hugged and communed with KsE fans. Funny, engaging, far-from politically or socially correct, Killswitch left me exhausted. I sat in the back after my shoot and had to pick my jaw up off the ground multiple times. Just when I thought I was settling into the madness, Anthrax's Joey Belladonna charged the stage and performed with KsE. There are no words. Even the non-stop circle pit froze. How do you react when you can't believe your eyes and ears? In Orlando we we fall silent, then erupt in a deafening roar. The pit pushed toward the rail, bodies flew into the air, sailing valiantly toward the stage. Security greeted each metal pilot with open arms, resting them safely on the ground to return back home to the pit.
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The humility of these gods of rock left me shaken, not stirred. You want to get your ass to a Killthrax show, so the rest of the tour goes like this:
4/25 – Seattle, Wash. @ Showbox SoDo*
4/26 – Portland, Ore. @ Roseland Theatre**
4/28 – Denver, Colo. @ The Fillmore**
4/29 – Omaha, Neb. @ Sokol Auditorium and Underground**
4/30 – Kansas City, Mo. @ The Midland*
5/01 – St. Louis, Mo. @ The Pageant**
5/03 – Toronto, Ontario @ The Danforth Music Hall**
5/05 – Huntington, N.Y. @ The Paramount**
5/06 – Clifton Park, N.Y. @ Upstate Concert Hall*
5/07 – Boston, Mass. @ House of Blues*
*Killswitch Engage closes
**Anthrax closes

Panic! At The Disco: BB&T Center, Sunrise Florida 4-15-17

Written and Photographed by Robin Ervolina
Plain and simple: Brendon Urie IS Panic! At The Disco. We could say it's because he's the sole remaining member from the original band formed in 2004, but at least one of this royal "we" would be lying. Urie has always been the force and the beauty behind the band, penning intellectual lyrics with a sharp bite and delivering them with a flawless voice.
Panic! At The Disco closed out their Death of a Bachelor Tour in Sunrise, Florida on April 15. The massive auditorium was filled with people of all ages; some surely too young to have been around when A Fever You Can't Sweat Out was released in 2005. But when Urie sang "I Write Sins Not Tragedies" the venue came alive with thousands of people joining in on at least the chorus. A fan since the onset, to see new generations celebrating the entire PATD catalog is too cool.
Urie is not just a charismatic frontman with a great set of pipes; he is a killer drummer and pianist, so fans were treated to a mashup of "24k Magic" and "Bitch Better Have My Money," and Billy Joel's "Movin' Out (Anthony's Song)." Other highlights included Urie singing a few bars of Frank Sinatra's "My Way" for the first time on a tour, and PATD's incredible cover of Queen's "Bohemian Rhapsody." When we arrived at our seats we all had construction paper hearts with "Love is not a choice" written on them. Curious little souvenirs were tucked away by some, but their purpose because clear when PATD broke out "Girls/Girls/Boys." Placing the hearts over the cell phone flashlight lit up the arena in a rainbow of colors and proved to be one of the most moving moments of the night.
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Tour support was provided by Saint Motel and Misterwives.
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